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****INDIVIDUAL ITEMS SOLD SEPARATELY IN WORLD****
Includes:
⚫Box Couch (Adult)
⚫Box Arm Chair (Adult)
⚫Coffee Table
⚫Texture Hud
⚫Ceiling Lamp (Click for On/Off) (Adjustable for lower ceilings)
⚫Wood Burner (Click for flame+sound On/Off)
⚫Lemonade Jug (Giver) ([AV]menu Click for wearable drinks)
⚫Lemonade Jug+Glass (Decor)
⚫Lemons+Mint (Decor)
⚫Mother-in-Law's Tongue Plant (Decor)
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Box Couch;
Animations:
⚫6 Single Sits M&F
⚫6 Hugs + Sequence
⚫24 Sex(16 sitting + 8 laying) W/ Speed Control + 2 Sequences
---------------------------------------------------------
Box Arm Chair;
Animations:
⚫6 Single Sits M&F
⚫6 Hugs + Sequence
⚫16 Sex W/ Speed Control + Sequence
Both Compatible with:
⚫Physics Cock & V Bento
⚫MyStory (+5% Energy/+5%Happiness/+5%Social)
Lemonade:
There is a decor version and a scripted version of the Lemonade.
the scripted version uses [AV]menu, (For auto-attach add the Avsitter experience to your land) Anyone can touch and get a drink from the menu (Bento hold or drink animations) and it will auto-detach after 5 mins.
Texture hud with 3 sections, 1 part for the couch, 1 part for the arm chair and the middle has the coffee table textures.
Land Impact:
⚫Box Couch 12 Prim
⚫Box Arm Chair 6 Prim
⚫Coffee Table 2 Prim
⚫Texture Hud
⚫Ceiling Lamp 1 Prim
⚫Wood Burner 5 Prim
⚫Lemonade Jug 2 Prim
⚫Lemons+Mint 2 Prim
⚫Mother-in-Law's Tongue Plant 1 Prim
Copy/Mod
Original Mesh
Demo:
maps.secondlife.com/secondlife/Tealeaf/247/37/33
Marketplace:
marketplace.secondlife.com/p/Cazaz-Box-Couch-Set-Adult/25...
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
More from last weekend's Eastbourne Airshow (Airbourne) - the Breitling Wing Walkers doing their stuff
Here you will find Curator Adriano Pedrosa amazing list of participating artist for Venice Biennale 2024 and the thematic :
---------------------
Biennale participants include the MAHKU—Movimento dos Artistas Huni Kuin collective from Brazil, the Mataaho Collective from Aotearoa (New Zealand), Erica Rutherford, Isaac Chong Wai, Elyla, Violeta Quispe, Louis Fratino, Dean Sameshima, and Evelyn Taocheng Wang, as well as three historical outsider female artists, Madge Gill, Anna Zemánková, and Aloïse Corbaz.
The “Nucleo Contemporaneo” will include a section dedicated to the Disobedience Archive, a project founded by Milan curator Marco Scotini .This section itself is divided into two sections “Diaspora activism” and “Gender Disobedience,”
Bona Pieyre de Mandiargues, Toro Nuziale, 1958.
112 artists from the Global South, primarily ones from Latin America, Africa, the Middle East, and Asia.
Among the artists are Selwyn Wilson, Cícero Dias, Yédemaria, Laura Rodig, Rómulo Rozo, Grace Salome Abra Kwami, Lee Qoede, Gerard Sekoto, and Inji Efflatoun, who was also shown in Okwui Enwezor’s 2015 Venice Biennale exhibition.
artists in the abstraction section include Samia Halaby, Eduardo Terrazas, Sandy Adsett, Fanny Sanín, and Etel Adnan, w
Mohamed Chabâa,
List for the 2024 Venice Biennale.
Pacita Abad, Mariam Abdel-Aleem. Etel AdnanSandy Adsett, Wairoa, New Zealand
Affandi. Zubeida Agha, Dia al-Azzawi,Claudia Alarcón & Silät
,Rafa al-Nasiri, Miguel Alandia Pantoja,. Aloïse, Giulia Andreani,Claudia Andujar, María Aranís ValdiviaAravani Art Project ,Iván Argote,. Karimah Ashadu,Dana Awartani, Aycoobo (Wilson Rodríguez),. Margarita AzurdiaLeilah Babirye,Libero Badii, Ezekiel Baroukh Baya , Aly Ben Salem, Semiha Berksoy, Gianni Bertini,Lina Bo Bardi, Maria Bonomi , Bordadoras de Isla Negra ,Victor Brecheret , Huguette Caland Sol Calero Elda Cerrato , Mohammed Chebaa , Georgette Chen Galileo ChiniKudzanai Chiurai , Isaac Chong Wai , Saloua Raouda Choucair , Chaouki Choukini , Chua Mia Tee Claire FontaineManauara Clandestina , River Claure Julia Codesido , Liz Collins , Jaime Colson , Waldemar Cordeiro , Monika Correa ,Beatriz Cortez ,Olga Costa Miguel Covarrubias ,Victor Juan Cúnsolo ,. Andrés Curruchich ,Rosa Elena Curruchich janira da Motta e Silva , Olga De Amaral , Filippo de Pisis , Juan Del Prete ,Pablo Delano ,Emiliano Di Cavalcanti ,Danilo Di Prete , Cícero Dias , Disobedience Archive – Marco Scotini
with Ursula Biemann, Black Audio-Film Collective, Seba Calfuqueo, Simone Cangelosi, Cinéastes pour les sans-papiers, Critical Art Ensemble, Snow Hnin Ei Hlaing, Marcelo Expósito, Maria Galindo & Mujeres Creando, Barbara Hammer, mixrice, Khaled Jarrar, Sara Jordenö, Bani Khoshnoudi, Maria Kourkouta & Niki Giannari, Pedro Lemebel, LIMINAL & Border Forensics, Angela Melitopoulos, Jota Mombaça, Carlos Motta, Zanele Muholi, Pınar Öğrenci, Daniela Ortiz, Thunska Pansittivorakul, Anand Patwardhan, Pilot TV Collective, Queerocracy, Oliver Ressler and Zanny Begg, Carole Roussopoulos, Güliz Sağlam, Irwan Ahmett & Tita Salina, Tejal Shah, Chi Yin Sim, Hito Steyerl, Sweatmother, Raphaël Grisey and Bouba Touré, Nguyễn Trinh Thi, James Wentzy, Želimir Žilnik ,Juana Elena Diz ,. Tarsila do Amaral , Saliba Douaihy , Dullah , . Inji Efflatoun , Uzo Egonu , Mohammad Ehsaei , Hatem El Mekki , Aref El Rayess , Ibrahim El-Salahi ,. Elyla , Ben Enwonwu , Romany Eveleigh , Hamed Ewais , Beni Soueif, Egypt, Dumile Feni , Alessandra Ferrini , Cesare Ferro Milone ,Raquel Forner , Simone Forti ,. Victor Fotso Nyie , Louis Fratino , Paolo Gasparini ,Ṣàngódáre Gbádégẹsin Àjàlá , Umberto Giangrandi , Madge Gill , Marlene Gilson , Luigi Domenico Gismondi , Domenico Gnoli , Gabrielle Goliath , Brett Graham Fred Graham , Enrique Grau Araújo , Oswaldo Guayasamín , Nedda Guidi ,Hendra Gunawan , Antonio Jose Guzman & Iva Jankovic
Marie Hadad , Samia Halaby ,Tahia Halim , Lauren Halsey , Nazek Hamdi , Mohamed Hamidi , Faik Hassan , Kadhim Hayder , Gilberto Hernández Ortega ,. Carmen Herrera , Evan Ifekoya , Julia Isídrez , Mohammed Issiakhem , Elena Izcue Cobián , María Izquierdo , Nour Jaouda , Rindon Johnson , Joyce Joumaa* , Mohammed Kacimi , Frida Kahlo , Nazira Karimi* , George Keyt , Bhupen Khakhar Bouchra Khalili , Kiluanji Kia Henda ,Linda Kohen ,Shalom Kufakwatenzi , Ram Kumar ,Fred Kuwornu Grace Salome Kwami , Lai Foong Moi , Wifredo Lam , Judith Lauand , Maggie Laubser ,Simon Lekgetho Celia Leyton Vidal , Lim Mu Hue , Romualdo Locatelli , Bertina Lopes , Amadeo Luciano Lorenzato ,Anita Magsaysay-Ho ,MAHKU ,Esther Mahlangu , Anna Maria Maiolino ,Anita Malfatti , Ernest Mancoba , Edna Manley , Josiah Manzi , Teresa Margolles , Maria Martins , María Martorell , Mataaho Collective ,Naminapu Maymuru-White , Mohamed Melehi , Carlos Mérida , Gladys Mgudlandlu ,Omar Mismar , Sabelo Mlangeni , Tina Modotti , Bahman Mohasses ,Roberto Montenegro ,Camilo Mori Serrano ,. Ahmed Morsi , Effat Naghi , Ismael Nery , Malangatana Valente Ngwenya , Paula Nicho , Costantino Nivola , Taylor Nkomo , Marina Núñez del Prado , Philomé Obin ,. Sénèque Obin , Alejandro Obregón , Tomie Ohtake , Uche Okeke , Marco Ospina , Samia Osseiran Junblatt , Daniel Otero Torres ,. Lydia Ourahmane , Pan Yuliang , Dalton Paula ,Amelia Peláez , George Pemba , Fulvio Pennacchi , Claudio Perna , Emilio Pettoruti , Lê Phổ , Bona Pieyre De Mandiargues , Ester Pilone , 230. La Chola Poblete ,Charmaine Poh , Maria Polo ,Candido Portinari , 234. Sandra Poulson* ,B. Prabha , Lidy Prati ,Puppies Puppies (Jade Guanaro Kuriki-Olivo) , 8. Lee Qoede Agnes Questionmark,Violeta Quispe , Alfredo Ramos Martinez , Sayed Haider Raza , Armando Reverón , Emma Reyes , Diego Rivera , Juana Marta Rodas , Laura Rodig Pizarro , Abel Rodríguez , Aydeé Rodriguez Lopez , 0. Freddy Rodriguez , Miguel Ángel Rojas , Rosa Rolanda , Jamini Roy ,. Rómulo Rozo ,. Erica Rutherford , José Sabogal , Mahmoud Sabri , Syed Sadequain , Nena Saguil , Mahmoud Saïd , Kazuya Sakai , Ione Saldanha ,Dean Sameshima , Zilia Sán, Bárbara Sánchez-Kane ,. Nenne Sanguineti Poggi , Fanny Sanín , Aligi Sassu ,Greta Schödl , Ana Segovia , Gerard Sekoto , Jewad Selim ,Lorna Selim , Joshua Serafin , Kang Seung Lee , Gino Severini , Amrita Sher-Gil , Anwar Jalal Shemza , Yinka Shonibare , Doreen Sibanda , Fadjar Sidik ,Gazbia Sirry , Lucas Sithole , Francis Newton Souza , Joseph Stella , Irma Stern , Leopold Strobl , Emiria Sunassa , 290. Armodio Tamayo , Maria Taniguchi , Evelyn Taocheng Wang , Lucy Tejada , Mariana Telleria ,Güneş Terkol ,Eduardo Terrazas Clorindo Testa ,. Salman Toor , Frieda Toranzo Jaeger , Horacio Torres , Joaquin Torres-García , Mario Tozzi , Twins Seven Seven ,Ahmed Umar , Arpillera ,Rubem Valentim ,. Edoardo Daniele Villa , Eliseu Visconti , Alfredo Volpi , Kay WalkingStick , WangShui , Agnes Waruguru , Nairobi, Kenya,
Barrington Watson , Osmond Watson , Susanne Wenger , Emmi Whitehorse , Selwyn Wilson , Chang Woosoung , Celeste Woss y Gil , Xiyadie ,. Rember Yahuarcani ,Santiago Yahuarcani , Nil Yalter , Joseca Mokahesi Yanomami , André Taniki Yanomami , Yêdamaria , Ramses Younan , Kim YunShin , Fahrelnissa Zeid , Anna Zemánková , Bibi Zogbé ,
------
Lifetime Achievement Awards Go to Nil Yalter, Anna Maria Maiolino edition featuring Beatriz Cortez, Olga De Amaral, Hito Steyerl , Simone Forti, Samia Halaby, Lauren Halsey, Rindon Johsnon, Bouchra Khalili, Teresa Margolles, Ahmed Morsi, Puppies Puppies (Jade Guanaro Kuriki), Zilia Sánchez, Ana Segovia, Yinka Shonibare, Salman Toor, Kay WalkingStick, and WangShui.
But there will also be a number of well-known historical artists and recently deceased artists this time, such as Pacita Abad, Etel Adnan, Huguette Caland, Tarsila do Amaral, Carmen Herrera, María Izquierdo, Frida Kahlo, Wifredo Lam, Judith Lauand, Tina Modotti, Tomie Ohtake, Diego Rivera, Freddy Rodriguez, Jewad Selim, Joaquin Torres-García, and Rubem Valentim.
the title of “Stranieri Ovunque – Foreigners Everywhere,” which borrows its title from a series of neon works by Palermo-based French artist collective Claire Fontaine
Pedrosa is the artistic director of the Museu de Arte de São Paulo,Pedrosa said the guiding theme of the “Nucleo Contemporaneo” is an expansive definition of “foreigner” that also includes “the queer artist,
Renzo Martens and the art collective of Congolese plantation workers will represent the Netherlands at the next Venice Biennale.
AustraliaArtist: Archie Moore
Curator: Ellie Buttrose
AustriaArtist: Anna Jermolaewa
Curator: Gabriele SpindlerBelgium
Artists: Simona Denicolai and Ivo Provoost
Curator: Antoinette Jattio
Benin
Artists: Ishola Akpo, Moufouli Bello, Romuald Hazoumè, and Chloé Quenum
Curator: Azu Nwagbogu
Brazil
Artist: Glicéria Tupinambá
Curators: Arissana Pataxó, Denilson Baniwa, and Gustavo Caboco Wapichana
Canada
Artist: Kapwani Kiwanga
Curator: Gaëtane Verna
Cyprus
Artists: LLC, Endrosia, and Haig Aivazian
Curator: None
Croatia
Artist: Vlatka Horvat
Curator: Antonia Majača
Denmark
Artist: Inuuteq Storch
Curator: Louise Wolthers
John Akomfrah to Represent Great Britain at Venice Biennale 2024
Estonia
Artist: Edith Karlson
Curator: No official curator
Ethiopia
Artist: Tesfaye Urgessa
Curator: Lemn Sissay
Finland
Artists: Pia Lindman, Vidha Saumya, and Jenni-Juulia Wallinheimo-Heimonen
Curators: Yvonne Billimore and Jussi Koitela
Germany
Curator: Çağla Ilk
Great Britain
Artist: John Akomfrah
Trevor Yeung to Represent Hong Kong at Venice Biennale 2024
Hong Kong
Artist: Trevor Yeung
Curator: Olivia Chow
Hungary
Artist: Márton Nemes
Curator: Róna Kopeczky
Iceland
Artist: Hildigunnur Birgisdóttir
Curator: Dan Byers
Ireland
Artist: Eimar Walshe
Curator: Sara Greavu
Italy
Artist: Massimo Bartolini
Curator: Luca Cerizza
Japan
Artist: Yuko Mohri
Curator: Sook-Kyung Lee
Kosovo
Artist: Doruntina Kastrati
Curator: Erëmira Krasniq
Latvia
Artist: Amanda Ziemele
Curator: Adam Budak
Lebanon
Artist: Mounira Al-Solh
Curators: Nada Ghandour and Dina Bizri
Lithuania
Artists: Pakui Hardware (Neringa Cerniauskaite and Ugnius Gelguda) and Marija Teresė Rožanskaitė
Luxembourg
Artists: Andrea Mancini and the Every Island collective
Curator: Joel Valabrega
Malta
Artist: Matthew Atard
Curators: Sara Dolfi Agostini and Elyse Tonna.
Netherlands
Artists: Renzo Martens and Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC)
Curator: Hicham Khalidi
Nigeria
Artists: Tunji Adeniyi-Jones, Ndidi Dike, Onyeka Igwe, Toyin Ojih Odutola, Abraham Oghobase, Precious Okoyomon, Yinka Shonibare CBE (RA), and Fatimah Tuggar.
Curator: Aindrea Emelife
Nordic Countries
Artists: Lap-See Lam (Sweden), Kholod Hawash (Finland), and Tze Yeung Ho (Norway)
Curator: Asrin Haidari
Philippines
Artist: Mark Savlatus
Curator: Carlos Quijon Jr.
Poland
Artist: Ignacy Czwartos
Curators: Piotr Bernatowicz and Dariusz Karłowicz
Portugal
Artist-curators: Mónica de Miranda, Sónia Vaz Borges, and Vânia Gala
San Marino
Artist: Eddie Martinez
Curator: Alison M. Gingeras
Saudi Arabia
Artist: Manal AlDowayan
Curators: Jessica Cerasi and Maya El Khalil with assistant curator Shadin AlBulaihed
Singapore
Artist: Robert Zhao Renhui
Curator: Haeju Kim
South Korea
Artist: Koo Jeong A
Curators: Jacob Fabricius and Lee Seol-hui
Spain
Artist: Sandra Gamarra
Curator: Agustín Pérez Rubio
Switzerland
Artist: Guerreiro do Divino Amor
Curator: Andrea Bellini
Taiwan
Artist: Yuan Goang-Ming
Curator: Abby Chen
Turkey
Artist: Gülsün Karamustafa
Curator: Esra Sarıgedik Öktem
United Arab Emirates
Artist: Abdullah Al Saadi
Curator: Tarek Abou El Fetouh
United States
Artist: Jeffrey Gibson
Curators: Kathleen Ash-Milby and Abigail Winograd
—-----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
—-------------
#art #artist #artistic #artists #arte #artwork
#artcontemporain contemporary art Giardini Arsenal
venice Veneziako Venecija Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía HungarianVelence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHEN ,Dakar; Biennalist
kritik[edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
BasqueVeneziako Venecija[edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
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Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text,Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
en.wikipedia.org/wiki/Thierry_Geoffroy
I stumbled across an unusual scene at Shoreham Airport when I passed on the way home from work looking for my picture of the day. A group of unruly kids shouting "Fat Boy, Fat Boy" at an obviously "slim" chap - how rude :-) - but he seemed to take it well, even allowing a professional looking camera man to film the abuse. Norman, I think was the chap's name :-)
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
you can include these #western #wear #kurtis in your wardrobe at an unbelievable price, to know more just click here
Include Youth's annual conference - 'Getting the Right Youth Justice; engaging with the findings of the Review of the Youth Justice System in Northern Ireland' - was held at the La Mon Hotel & Country Club, Belfast, on October 27 2011.
200 delegates attended the event, including senior civil servants, senior decision-makers, elected representatives, policy leads within the sector, community workers and practitioners working with marginalised young people. All were invited to debate the findings and join in the discussions.
For more information about include youth visit www.includeyouth.org
Capital Dock will include 313,000 square feet of office space across three buildings, as well as 204 residential units across two buildings - one of which will incorporate a 19-storey tower. The proposed development would also have a new 1.5 acre landscaped public park and square, designated cultural space and retail units [they all do don’t they? they are known as POPS].
More about POPS at www.theguardian.com/cities/2015/aug/04/pops-privately-own...
Event Nights include jazz, live piano music and quizzes.
The licensed Museum Café is open from 9.30am 7 days a week and is open until 10.00pm on Wednesday to Sunday with a three course menu . On Monday and Tuesday the Café is open until 5.00pm.
Whether you are enjoying a meal in our tabled area or melting into our leather sofas with a coffee and newspaper we are sure you will find a relaxing atmosphere waiting for you in the Café's listed building setting. During the day, and in the evening if they wish, customers can use the dedicated outdoor seating area to soak up the atmosphere of the historic Royal Arsenal. We frequently refresh our evening menus and we always offer a special of the day.
The map includes Andersonville, which didn't open until February 1864. Therefore, the map represents conditions circa 1864-1865.
Sneden, R. K. (1864/65) Map of South Carolina, Georgia, Alabama, and Tennessee. [Map] Retrieved from the Library of Congress, 1/17/2021
Summary
Shows the southern border of South Carolina, northern border of Georgia, and eastern borders of Alabama and Tennessee, with railroads, towns, forts, prisons, landforms, and waterways.
Contributor Names
Sneden, Robert Knox, 1832-1918.
Notes
- This item is from the collections of the Virginia Historical Society; please contact the institution for more information.
- Available also through the Library of Congress web site as a raster image.
- Robert Knox Sneden scrapbook (Mss5:7 Sn237:1), Virginia Historical Society.
- In the Robert Knox Sneden diary, 1861-1865 (v. 6, p. 21).
Medium
1 map : pen-and-ink and watercolor ; 13 x 16 cm.
Repository
Virginia Historical Society P.O. Box 7311, Richmond, VA 23221-0311 USA vau
Digital Id
hdl.loc.gov/loc.ndlpcoop/gvhs01.vhs00053
___________
Mike's notes:
Note – This image has been digitally adjusted for one or more of the following:
– fade correction,
– color, contrast, and/or saturation enhancement
– selected spot and/or scratch removal
– cropped for composition and/or to accentuate subject
Includes Ground Cover, Falling Leaves, Shadows & Flowers
slurl.com/secondlife/Shiki/145/208/21
Includes head, body, three wigs, face protector, Leeke olive eyes with case, eye putty, two pair boots, one pair sneakers, two pair jeans, tshirt, shorts, two button down shirts, one vest, one sweater, one tank top and one biker jacket - one small chip in faceup just above eyelash, which I couldn't get in a photo
Acadia National Park includes several small uninhabited offshore islands. One of these, Bar Island, can be reached by foot from Bar Harbor at low tide. In fact, this famous gravel bar is what gave the harbor and town of Bar Harbor their name.
We were fortunate to be present at low tide and joined several dozen other people who made the trek across the exposed bar. On the island is a short hiking trail through the forest and not much else.
A couple of people actually drove their vehicles across to the island on the day of our visit. a few others were going across to camp for the night, awaiting tomorrow's low tide to make their return trip. Those who spend any time on the island should be aware of the tide schedule, or else risk being stranded for several hours if caught by a rising tide. The tides in this area have an unusually large fluctuation between high and low.
The Bar may be reached by going immediately north of the West Street town pier in Bar Harbor, Maine.
The new collection includes a jacket, made from a ochre or light brown cotton denim with the cutest delicate stripes ; ).
The jacket has a matching pants, but is sold seperately. Although jackets are one of the most time consuming pieces, I love to include them and of course, a collection for the colder season wouldn't be complete without a jacket!
Which combination do you like best? I'm curious to know : )!
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Dear friends,
Coming today to my Etsy store is my new collection “Falling leaves” that features many lovely designs for the colder days in autumn colors and with beautiful floral prints.
There are, as usual, many photos uploaded to my flickr stream, I’d be honored if you took the time to browse through them. Enjoy the colourful season!
Dearest greetings,
Nina*
Accessories include the adapter ring, lens hood, Kodak Retinar 37mm telephoto lens, Kodak 37mm close-up lenses (+7 and +10 diopters), and Kodak Retinar 37 mm Wide-Angle Lens.
My first digital camera, purchased new in November 2003.
January 2011 - I think this thing is dead, RIP.
Dahlia (UK /deɪliə/ or US /dɑːliə/) is a genus of bushy, tuberous, herbaceous perennial plants native to Mexico. A member of the Asteraceae (or Compositae), dicotyledonous plants, related species include the sunflower, daisy, chrysanthemum, and zinnia. There are 42 species of dahlia, with hybrids commonly grown as garden plants. Flower forms are variable, with one head per stem; these can be as small as 5.1 cm diameter or up to 30 cm ("dinner plate"). This great variety results from dahlias being octoploids—that is, they have eight sets of homologous chromosomes, whereas most plants have only two. In addition, dahlias also contain many transposons - genetic pieces that move from place to place upon an allele - which contributes to their manifesting such great diversity.
The stems are leafy, ranging in height from as low as 30 cm to more than 1.8–2.4 m. The majority of species do not produce scented flowers or cultivars. Like most plants that do not attract pollinating insects through scent, they are brightly colored, displaying most hues, with the exception of blue.
The dahlia was declared the national flower of Mexico in 1963. The tubers were grown as a food crop by the Aztecs, but this use largely died out after the Spanish Conquest. Attempts to introduce the tubers as a food crop in Europe were unsuccessful.
DESCRIPTION
Perennial plants, with mostly tuberous roots. While some have herbaceous stems, others have stems which lignify in the absence of secondary tissue and resprout following winter dormancy, allowing further seasons of growth. as a member of the Asteraceae the flower head is actually a composite (hence the older name Compositae) with both central disc florets and surrounding ray florets. Each floret is a flower in its own right, but is often incorrectly described as a petal, particularly by horticulturalists. The modern mame Asteraceae refers to the appearance of a star with surrounding rays.
TAXONOMY
HISTORY
EARLY HISTORY
Spaniards reported finding the plants growing in Mexico in 1525, but the earliest known description is by Francisco Hernández, physician to Philip II, who was ordered to visit Mexico in 1570 to study the "natural products of that country". They were used as a source of food by the indigenous peoples, and were both gathered in the wild and cultivated. The Aztecs used them to treat epilepsy, and employed the long hollow stem of the (Dahlia imperalis) for water pipes. The indigenous peoples variously identified the plants as "Chichipatl" (Toltecs) and "Acocotle" or "Cocoxochitl" (Aztecs). From Hernandez' perception of Aztec, to Spanish, through various other translations, the word is "water cane", "water pipe", "water pipe flower", "hollow stem flower" and "cane flower". All these refer to the hollowness of the plants' stem.Hernandez described two varieties of dahlias (the pinwheel-like Dahlia pinnata and the huge Dahlia imperialis) as well as other medicinal plants of New Spain. Francisco Dominguez, a Hidalgo gentleman who accompanied Hernandez on part of his seven-year study, made a series of drawings to supplement the four volume report. Three of his drawings showed plants with flowers: two resembled the modern bedding dahlia, and one resembled the species Dahlia merki; all displayed a high degree of doubleness. In 1578 the manuscript, entitled Nova Plantarum, Animalium et Mineralium Mexicanorum Historia, was sent back to the Escorial in Madrid; they were not translated into Latin by Francisco Ximenes until 1615. In 1640, Francisco Cesi, President of the Academia Linei of Rome, bought the Ximenes translation, and after annotating it, published it in 1649-1651 in two volumes as Rerum Medicarum Novae Hispaniae Thesaurus Seu Nova Plantarium, Animalium et Mineraliuím Mexicanorum Historia. The original manuscripts were destroyed in a fire in the mid-1600s.
EUROPEAN INTRODUCTION
In 1787, the French botanist Nicolas-Joseph Thiéry de Menonville, sent to Mexico to steal the cochineal insect valued for its scarlet dye, reported the strangely beautiful flowers he had seen growing in a garden in Oaxaca. In 1789, Vicente Cervantes, Director of the Botanical Garden at Mexico City, sent "plant parts" to Abbe Antonio José Cavanilles, Director of the Royal Gardens of Madrid. Cavanilles flowered one plant that same year, then the second one a year later. In 1791 he called the new growths "Dahlia" for Anders Dahl. The first plant was called Dahlia pinnata after its pinnate foliage; the second, Dahlia rosea for its rose-purple color. In 1796 Cavanilles flowered a third plant from the parts sent by Cervantes, which he named Dahlia coccinea for its scarlet color.In 1798, Cavanilles sent D. Pinnata seeds to Parma, Italy. That year, the Marchioness of Bute, wife of The Earl of Bute, the English Ambassador to Spain, obtained a few seeds from Cavanilles and sent them to Kew Gardens, where they flowered but were lost after two to three years. In the following years Madrid sent seeds to Berlin and Dresden in Germany, and to Turin and Thiene in Italy. In 1802, Cavanilles sent tubers of "these three" (D. pinnata, D. rosea, D. coccinea) to Swiss botanist Augustin Pyramus de Candolle at University of Montpelier in France, Andre Thouin at the Jardin des Plantes in Paris and Scottish botanist William Aiton at Kew Gardens. That same year, John Fraser, English nurseryman and later botanical collector to the Czar of Russia, brought D. coccinea seeds from Paris to the Apothecaries Gardens in England, where they flowered in his greenhouse a year later, providing Botanical Magazine with an illustration.In 1804, a new species, Dahlia sambucifolia, was successfully grown at Holland House, Kensington. Whilst in Madrid in 1804, Lady Holland was given either dahlia seeds or tubers by Cavanilles. She sent them back to England, to Lord Holland's librarian Mr Buonaiuti at Holland House, who successfully raised the plants. A year later, Buonaiuti produced two double flowers. The plants raised in 1804 did not survive; new stock was brought from France in 1815. In 1824, Lord Holland sent his wife a note containing the following verse:
"The dahlia you brought to our isle
Your praises for ever shall speak;
Mid gardens as sweet as your smile,
And in colour as bright as your cheek."
In 1805, German naturalist Alexander von Humboldt sent more seeds from Mexico to Aiton in England, Thouin in Paris, and Christoph Friedrich Otto, director of the Berlin Botanical Garden. More significantly, he sent seeds to botanist Carl Ludwig Willdenow in Germany. Willdenow now reclassified the rapidly growing number of species, changing the genus from Dahlia to Georgina; after naturalist Johann Gottlieb Georgi. He combined the Cavanilles species D. pinnata and D. rosea under the name of Georgina variabilis; D. coccinea was still held to be a separate species, which he renamed Georgina coccinea.
CLASSIFICATION
Since 1789 when Cavanilles first flowered the dahlia in Europe, there has been an ongoing effort by many growers, botanists and taxonomists, to determine the development of the dahlia to modern times. At least 85 species have been reported: approximately 25 of these were first reported from the wild, the remainder appeared in gardens in Europe. They were considered hybrids, the results of crossing between previously reported species, or developed from the seeds sent by Humboldt from Mexico in 1805, or perhaps from some other undocumented seeds that had found their way to Europe. Several of these were soon discovered to be identical with earlier reported species, but the greatest number are new varieties. Morphological variation is highly pronounced in the dahlia. William John Cooper Lawrence, who hybridized hundreds of families of dahlias in the 1920s, stated: "I have not yet seen any two plants in the families I have raised which were not to be distinguished one from the other. Constant reclassification of the 85 reported species has resulted in a considerably smaller number of distinct species, as there is a great deal of disagreement today between systematists over classification.
In 1829, all species growing in Europe were reclassified under an all-encompassing name of D. variabilis, Desf., though this is not an accepted name. Through the interspecies cross of the Humboldt seeds and the Cavanilles species, 22 new species were reported by that year, all of which had been classified in different ways by several different taxonomists, creating considerable confusion as to which species was which.
In 1830 William Smith suggested that all dahlia species could be divided into two groups for color, red-tinged and purple-tinged. In investigating this idea Lawrence determined that with the exception of D. variabilis, all dahlia species may be assigned to one of two groups for flower-colour: Group I (ivory-magenta) or Group II (yellow-orange-scarlet).
CIRCUMSCRIPTION
The genus Dahlia is situated in the Asteroideae subfamily of the Asteraceae, in the Coreopsideae tribe. Within that tribe it is the second largest genus, after Coreopsis, and appears as a well defined clade within the Coreopsideae.
SUBDIVISION
INFRAGENERIC SUBDIVISION
Sherff (1955), in the first modern taxonomy described three sections for the 18 species he recognised, Pseudodendron, Epiphytum and Dahlia. By 1969 Sørensen recognised 29 species and four sections by splitting off Entemophyllon from section Dahlia. By contrast Giannasi (1975) using a phytochemical analysis based on flavonoids, reduced the genus to just two sections, Entemophyllon and Dahlia, the latter having three subsections, Pseudodendron, Dahlia, and Merckii. Sørensen then issued a further revision in 1980, incorporating subsection Merckii in his original section Dahlia. When he described two new species in the 1980s (Dahlia tubulata and D. congestifolia), he placed them within his existing sections. A further species, Dahlia sorensenii was added by Hansen and Hjerting in (1996). At the same time they demonstrated that Dahlia pinnata should more properly be designated D. x pinnata. D. x pinnata was shown to actually be a variant of D. sorensenii that had acquired hybrid qualities before it was introduced to Europe in the sixteenth century and formally named by Cavanilles. The original wild D. pinnata is presumed extinct. Further species continue to be described, Saar (2003) describing 35 species. However separation of the sections on morphological, cytologal and biocemical criteria has not been entirely satisfactory.
To date these sectional divisions have not been fully supported phylogenetically, which demonstrate only section Entemophyllon as a distinct sectional clade. The other major grouping is the Core Dahlia Clade (CDC), which includes most of section Dahlia. The remainder of the species occupy what has been described as the Variable Root Clade (VRC) which includes the small section Pseudodendron but also the monotypic section Epiphytum and a number of species from within section Dahlia. Outside of these three clades lie D. tubulata and D. merckii as a polytomy.
Horticulturally the sections retain some usage, section Pseudodendron being referred to as 'Tree Dahlias', Epiphytum as the 'Vine Dahlia'. The remaining two herbaceous sections being distinguished by their pinnules, opposing (Dahlia) or alternating (Entemophyllon).
SECTIONS
Sections (including chromosome numbers), with geographical distribution;
- Epiphytum Sherff (2n = 32)
10 m tall climber with aerial roots 5 cm thick and up to more than 20 m long; pinnules opposite
1 species, D. macdougallii Sherff
Mexico: Oaxaca
- Entemophyllon P. D. Sorensen (2n = 34)
6 species
Mexico: Hidalgo, Nuevo León, Tamaulipas, Querétaro, Durango, San Luis Potosí
- Pseudodendron P. D. Sorensen (2n = 32)
3 species + D. excelsa of uncertain identity
Mexico: Chiapas, Guerrero, Jalisco, Michoacan, Oaxaca, and
Costa Rica, El Salvador, Guatemala & Colombia
- Dahlia (2n = 32, 36 or 64)
24 species
Mexico: Distrito Federal, Guerrero, Hidalgo, Morelos, Nuevo León, Puebla, San Luis Potosí, Tamaulipas, Veracruz, Oaxaca, Puebla, Chiapas, México, Huehuetenango, Chihuahua, Durango, Michoacan & Guatemala
Only Pseudodendron (D. imperialis) and Dahlia (D. australis, D. coccinea) occur outside Mexico.
SPECIES
There are currently 42 accepted species in the Dahlia genus, but new species continue to be described.
ETYMOLOGY
The naming of the plant itself has long been a subject of some confusion. Many sources state that the name "Dahlia" was bestowed by the pioneering Swedish botanist and taxonomist Carl Linnaeus to honor his late student, Anders Dahl, author of Observationes Botanicae. However, Linnaeus died in 1778, more than eleven years before the plant was introduced into Europe in 1789, so while it is generally agreed that the plant was named in 1791 in honor of Dahl, who had died two years before, Linnaeus could not have been the one who did so. It was probably Abbe Antonio Jose Cavanilles, Director of the Royal Gardens of Madrid, who should be credited with the attempt to scientifically define the genus, since he not only received the first specimens from Mexico in 1789, but named the first three species that flowered from the cuttings.
Regardless of who bestowed it, the name was not so easily established. In 1805, German botanist Carl Ludwig Willdenow, asserting that the genus Dahlia Thunb. (published a year after Cavanilles's genus and now considered a synonym of Trichocladus) was more widely accepted, changed the plants' genus from Dahlia to Georgina; after the German-born naturalist Johann Gottlieb Georgi, a professor at the Imperial Academy of Sciences of St. Petersburg, Russia. He also reclassified and renamed the first three species grown, and identified, by Cavanilles. It was not until 1810, in a published article, that he officially adopted the Cavanilles' original designation of Dahlia. However, the name Georgina still persisted in Germany for the next few decades.
"Dahl" is a homophone of the Swedish word "dal", or "valley"; although it is not a true translation, the plant is sometimes referred to as the "valley flower".
DISTRIBUTION AND HABITAT
Predominantly Mexico, but some species are found ranging as far south as northern South America. D. australis occurs at least as far south as southwestern Guatemala, while D. coccinea and D. imperialis also occur in parts of Central America and northern South America. Dahlia is a genus of the uplands and mountains, being found at elevations between 1,500 and 3,700 meters, in what has been described as a "pine-oak woodland" vegetative zone. Most species have limited ranges scattered throughout many mountain ranges in Mexico.
ECOLOGY
The commonest pollinators are bees and small beetles.
PESTS AND DISEASES
Slugs and snails are serious pests in some parts of the world, particularly in spring when new growth is emerging through the soil. Earwigs can also disfigure the blooms. The other main pests likely to be encountered are aphids (usually on young stems and immature flower buds), red spider mite (causing foliage mottling and discolouration, worse in hot and dry conditions) and capsid bugs (resulting in contortion and holes at growing tips). Diseases affecting dahlias include powdery mildew, grey mould (Botrytis cinerea), verticillium wilt, dahlia smut (Entyloma calendulae f. dahliae), phytophthora and some plant viruses. Dahlias are a source of food for the larvae of some Lepidoptera species including Angle Shades, Common Swift, Ghost Moth and Large Yellow Underwing.
CULTIVATION
Dahlias grow naturally in climates which do not experience frost (the tubers are hardy to USDA Zone 8), consequently they are not adapted to withstand sub-zero temperatures. However, their tuberous nature enables them to survive periods of dormancy, and this characteristic means that gardeners in temperate climates with frosts can grow dahlias successfully, provided the tubers are lifted from the ground and stored in cool yet frost-free conditions during the winter. Planting the tubers quite deep (10 – 15 cm) also provides some protection. When in active growth, modern dahlia hybrids perform most successfully in well-watered yet free-draining soils, in situations receiving plenty of sunlight. Taller cultivars usually require some form of staking as they grow, and all garden dahlias need deadheading regularly, once flowering commences.
HORTICURAL CLASSIFICATION
HISTORY
The inappropriate term D. variabilis is often used to describe the cultivars of Dahlia since the correct parentage remains obscure, but probably involves Dahlia coccinea. In 1846 the Caledonia Horticultural Society of Edinburgh offered a prize of 2,000 pounds to the first person succeeding in producing a blue dahlia. This has to date not been accomplished. While dahlias produce anthocyanin, an element necessary for the production of the blue, to achieve a true blue color in a plant, the anthocyanin delphinidin needs six hydroxyl groups. To date dahlias have only developed five, so the closest that breeders have come to achieving a "blue" specimen are variations of mauve, purples and lilac hues.
By the beginning of the twentieth century a number of different types were recognised. These terms were based on shape or colour, and the National Dahlia Society included cactus, pompon, single, show and fancy in its 1904 guide. Many national societies developed their own classification systems until 1962 when the International Horticultural Congress agreed to develop an internationally recognised system at it Brussels meeting that year, and subsequently in Maryland in 1966. This culminated in the 1969 publication of The International Register of Dahlia Names by the Royal Horticultural Society which became the central registering authority.
This system depended primarily on the visibility of the central disc, whether it was open centred or whether only ray florets were apparent centrally (double bloom). The double bloom cultivars were then subdivided according to the way in which they were folded along their longitudinal axis, flat, involute (curled inwards) or revolute (curling backwards). If the end of the ray floret was split, they were considered fimbriated. Based on these characteristics, nine groups were defined plua a tenth miscellaneous group for any cultivars not fitting the above characteristics. Fimbriated dahlias were added in 2004, and two further groups (Single and Double orchid) in 2007. The last group to be added, Peony, first appeared in 2012.
In many cases the bloom diametre was then used to further label certain groups from miniature through to giant. This practice was abandoned in 2012.
MODERN SYSTEM (RHS)
There are now more than 57,000 registered cultivars, which are officially registered through the Royal Horticultural Society (RHS). The official register is The International Register of Dahlia Names 1969 (1995 reprint) which is updated by annual supplements. The original 1969 registry published about 14,000 cultivars adding a further 1700 by 1986 and in 2003 there were 18,000. Since then about a hundred new cultivars are added annually.
FLOWER TYPE
The official RHS classification lists fourteen groups, grouped by flower type, together with the abbreviations used by the RHS;
Group 1 – Single-flowered dahlias (Sin) — Flower has a central disc with a single outer ring of florets (which may overlap) encircling it, and which may be rounded or pointed.
Group 2 – Anemone-flowered dahlias (Anem) — The centre of the flower consists of dense elongated tubular florets, longer than the disc florets of Single dahlias, while the outer parts have one or more rings of flatter ray florets. Disc absent.
Group 3 – Collerette dahlias (Col) — Large flat florets forming a single outer ring around a central disc and which may overlap a smaller circle of florets closer to the centre, which have the appearance of a collar.
Group 4 – Waterlily dahlias (WL) — Double blooms, broad sparse curved, slightly curved or flat florets and very shallow in depth compared with other dahlias. Depth less than half the diameter of the bloom. Group 5 – Decorative dahlias (D) — Double blooms, ray florets broad, flat, involute no more than seventy five per cent of the longitudinal axis, slightly twisted and usually bluntly pointed. No visible central disc.
Group 6 – Ball dahlias (Ba)— Double blooms that are ball shaped or slightly flattened. Ray florets blunt or rounded at the tips, margins arranged spirally, involute for at least seventy five percent of the length of the florets. Larger than Pompons.
Group 7 – Pompon dahlias (Pom) — Double spherical miniature flowers made up entirely from florets that are curved inwards (involute) for their entire length (longitudinal axis), resembling a pompon.
Group 8 – Cactus dahlias (C) — Double blooms, ray florets pointed, with majority revolute (rolled) over more than fifty percent of their longitudinal axis, and straight or incurved. Narrower than Semi cactus.
Group 9 – Semi cactus dahlias (S–c)— Double blooms, very pointed ray florets, revolute for greater than twenty five percent and less than fifty percent of their longitudinal axis. Broad at the base and straight or incurved, almost spiky in appearance.
Group 10 – Miscellaneous dahlias (Misc) — not described in any other group.
Group 11 – Fimbriated dahlias (Fim) — ray florets evenly split or notched into two or more divisions, uniformly throughout the bloom, creating a fimbriated (fringed) effect. The petals may be flat, involute, revolute, straight, incurving or twisted.
Group 12 – Single Orchid (Star) dahlias (SinO) — single outer ring of florets surround a central disc. The ray florets are either involute or revolute.
Group 13 – Double Orchid dahlias (DblO) — Double blooms with triangular centres. The ray florets are narrowly lanceolate and are either involute or revolute. The central disc is absent.
Group 14 – Peony-flowered dahlias (P) — Large flowers with three or four rows of rays that are flattened and expanded and arranged irregularly. The rays surround a golden disc similar to that of Single dahlias.
FLOWER SIZE
Earlier versions of the registry subdivided some groups by flower size. Groups 4, 5, 8 and 9 were divided into five subgroups (A to E) from Giant to Miniature, and Group 6 into two subgroups, Small and Miniature. Dahlias were then described by Group and Subgroup, e.g. 5(d) ‘Ace Summer Sunset’. Some Dahlia Societies have continued this practice, but this is neither official nor standardised. As of 2013 The RHS uses two size descriptors
Dwarf Bedder (Dw.B.) — not usually exceeding 600 mm in height, e.g. 'Preston Park' (Sin/DwB)
Lilliput dahlias (Lil) — not usually exceeding 300 mm in height, with single, semi-double or double florets up to 26 mm in diameter. ("baby" or "top-mix" dahlias), e.g. 'Harvest Tiny Tot' (Misc/Lil)
Sizes can range from tiny micro dahlias with flowers less than 50mm to giants that are over 250mm in diameter. The groupings listed here are from the New Zealand Society.
Giant flowered cultivars have blooms with a diameter of over 250mm.
Large flowered cultivars have blooms with a diameter between 200mm-250mm.
Medium flowered cultivars have blooms with a diameter between 155mm-200mm.
Small flowered cultivars have blooms with a diameter between 115mm-155mm.
Miniature flowered cultivars have blooms with a diameter between 50mm-115mm.
Pompom flowered cultivars have blooms with a diameter less than 50mm.
In addition to the official classification and the terminology used by various dahlia societies, individual horticulturalists use a wide range of other descriptions, such as 'Incurved' and abbreviations in their catalogues, such as CO for Collarette.
BRANDING
Some plant growers include their brand name in the cultivar name. Thus Fides (part of the Dümmen Orange Group) in the Netherlands developed a series of cultivars which they named the Dahlinova Series, for example Dahlinova 'Carolina Burgundy'. These are Group 10 Miscellaneous in the RHS classification scheme.
DOUBLE DAHLIAS
In 1805, several new species were reported with red, purple, lilac, and pale yellow coloring, and the first true double flower was produced in Belgium. One of the more popular concepts of dahlia history, and the basis for many different interpretations and confusion, is that all the original discoveries were single flowered types, which, through hybridization and selective breeding, produced double forms. Many of the species of dahlias then, and now, have single flowered blooms. coccinea, the third dahlia to bloom in Europe, was a single. But two of the three drawings of dahlias by Dominguez, made in Mexico between 1570–77, showed definite characteristics of doubling. In the early days of the dahlia in Europe, the word "double" simply designated flowers with more than one row of petals. The greatest effort was now directed to developing improved types of double dahlias.
During the years 1805 to 1810 several people claimed to have produced a double dahlia. In 1805 Henry C. Andrews made a drawing of such a plant in the collection of Lady Holland, grown from seedlings sent that year from Madrid. Like other doubles of the time it did not resemble the doubles of today. The first modern double, or full double, appeared in Belgium; M. Donckelaar, Director of the Botanic Garden at Louvain, selected plants for that characteristic, and within a few years secured three fully double forms. By 1826 double varieties were being grown almost exclusively, and there was very little interest in the single forms. Up to this time all the so-called double dahlias had been purple, or tinged with purple, and it was doubted if a variety untinged with that color was obtainable.
In 1843, scented single forms of dahlias were first reported in Neu Verbass, Austria. D. crocea, a fragrant variety grown from one of the Humboldt seeds, was probably interbred with the single D. coccinea. A new scented species would not be introduced until the next century when the D. coronata was brought from Mexico to Germany in 1907.
The exact date the dahlia was introduced in the United States is uncertain. One of the first Dahlias in the USA may be the D. coccinea speciosissima grown by Mr William Leathe, of Cambridgeport, near Boston, around 1929. According to Edward Sayers "it attracted much admiration, and at that time was considered a very elegant flower, it was however soon eclipsed by that splendid scarlet, the Countess of Liverpool". However 9 cultivars were already listed in the catalog from Thornburn, 1825. And even earlier reference can be found in a catalogue from the Linnaean Botanical Garden, New York, 1820, that includes one scarlet, one purple, and two double orange Dahlias for sale.
Sayers stated that "No person has done more for the introduction and advancement of the culture of the Dahlia than George C. Thorburn, of New York, who yearly flowers many thousand plants at his place at Hallet's Cove, near Harlaem. The show there in the flowering season is a rich treat for the lovers of floriculture : for almost every variety can be seen growing in two large blocks or masses which lead from the road to the dwelling-house, and form a complete field of the Dahlia as a foreground to the house. Mr T. Hogg, Mr William Read, and many other well known florists, have also contributed much in the vicinity of New York, to the introduction of the Dahlia. Indeed so general has become the taste that almost every garden has its show of the Dahlia in the season." In Boston too there were many collections, a collection from the Messrs Hovey of Cambridgeport was also mentioned.
In 1835 Thomas Bridgeman, published a list of 160 double dahlias in his Florist's Guide. 60 of the choicest were supplied by Mr. G. C. Thornburn of Astoria, N.Y. who got most of them from contacts in the UK. Not a few of them had taken prices "at the English and American exhibitions".
"STARS OF DEVIL"
In 1872 J.T. van der Berg of Utrecht in the Netherlands, received a shipment of seeds and plants from a friend in Mexico. The entire shipment was badly rotted and appeared to be ruined, but van der Berg examined it carefully and found a small piece of root that seemed alive. He planted and carefully tended it; it grew into a plant that he identified as a dahlia. He made cuttings from the plant during the winter of 1872-1873. This was an entirely different type of flower, with a rich, red color and a high degree of doubling. In 1874 van der Berg catalogued it for sale, calling it Dahlia juarezii to honor Mexican President Benito Pablo Juarez, who had died the year before, and described it as "...equal to the beautiful color of the red poppy. Its form is very outstanding and different in every respect of all known dahlia flowers.".
This plant has perhaps had a greater influence on the popularity of the modern dahlia than any other. Called "Les Etoiles de Diable" (Stars of the Devil) in France and "Cactus dahlia" elsewhere, the edges of its petals rolled backwards, rather than forward, and this new form revolutionized the dahlia world. It was thought to be a distinct mutation since no other plant that resembled it could be found in the wild. Today it is assumed that D. juarezii had, at one time, existed in Mexico and subsequently disappeared. Nurserymen in Europe crossbred this plant with dahlias discovered earlier; the results became the progenitors of all modern dahlia hybrids today.
AWARD OF GARDEN MERIT (RHS)
As of 2015, 124 dahlia cultivars have gained the Royal Horticultural Society's Award of Garden Merit:
"Bednall beauty"
"Bishop of Llandaff"
"Clair de lune"
"David Howard"
"Ellen Huston"
"Fascination"
"Gallery art deco"
"Gallery Art Nouveau"
"Glorie van Heemstede"
"Honka"
"Moonfire"
"Twyning's After Eight"
USES
FLORICULTURE
The asterid eudicots contain two economically important geophyte genera, Dahlia and Liatris. Horticulturally the garden dahlia is usually treated as the cultigen D. variabilis Hort., which while being responsible for thousands of cultivars has an obscure taxonomic status.
OTHER
Today the dahlia is still considered one of the native ingredients in Oaxacan cuisine; several cultivars are still grown especially for their large, sweet potato-like tubers. Dacopa, an intense mocha-tasting extract from the roasted tubers, is used to flavor beverages throughout Central America.
In Europe and America, prior to the discovery of insulin in 1923, diabetics - as well as consumptives - were often given a substance called Atlantic starch or diabetic sugar, derived from inulin, a naturally occurring form of fruit sugar, extracted from dahlia tubers. Inulin is still used in clinical tests for kidney functionality.
WIKIPEDIA
Taken for this week's challenge of Home. It's no surprise that Houseboat Verda is home to an artist - Hamish McKenzie. The boat includes a pair of old coaches in its structure.
5 bracketed images combined in Photomatix
Lent by Onjium
Hanbok includes a jeogori (jacket) with lightly curved sleeves and goreum (tie-sashes), which men wear over a pair of baji (wide trousers) and women over a voluminous chima (floor-length wrapped skirt), as shown here. The roomy garment allows its wearer to move elegantly and sit on the floor comfortably. Worn since the Three Kingdoms period (57BC-668), hanbok's present-day silhouette takes inspiration from the late Joseon dynasty (1392-1910).
[V&A]
Taken in the Exhibition
Hallyu! The Korean Wave
(September 2022 until June 2023)
Hallyu! The Korean Wave showcases the colourful and dynamic popular culture of South Korea, exploring the makings of the Korean Wave and its global impact on the creative industries of cinema, drama, music, fandom, beauty and fashion.
From K-Pop costumes to K-drama props and posters, alongside photography, sculpture, fashion, video and pop culture ephemera, the exhibition invites visitors to delve into the phenomenon known as 'hallyu' – meaning 'Korean Wave'. Hallyu rose to prominence in the late 1990s, rippling across Asia before reaching all corners of the world and challenging the currents of global pop culture today.
Hallyu! The Korean Wave explores the makings of the Korean Wave through cinema, drama, music and fandoms, and underlines its cultural impact on the beauty and fashion industries. The exhibition features around 200 objects alongside pop culture ephemera and digital displays across four thematic sections.
[V&A]
This 112-sheet manuscript includes depictions of contestants equipped for various tournaments; a parade preceding a late form of tournament called a carrousel; participants in tournaments known as Gesellenstrechen, or bachelors' jousts, held in Nuremberg between 1446 and 1561; and depictions of pageant sleighs, some of which were used in a parade held in the winter of 1640–41. The illustrations are probably the work of a Briefmaler, or letter painter, who also would have written and embellished official documents and painted coats-of-arms.
In many instances, the names of the tournament participants are written above them. They are armed for the Gestech, the joust fought with blunt lances. A helmet and a four-pronged lance head similar to those in the album are also on display in gallery 373 (acc. nos. 29.156.67a, 42.50.40). Albums such as this provide an invaluable record of the jousters' colorful costumes, fanciful crests, and humorous, often satirical emblems that decorated the jouster's shields and horse trappings.
Questo manoscritto di 112 fogli include raffigurazioni di concorrenti attrezzati per vari tornei; una sfilata che precede una forma tardiva di torneo chiamata giostra ; partecipanti ai tornei conosciuti come Gesellenstrechen , o giostre degli scapoli, tenuti a Norimberga tra il 1446 e il 1561; e raffigurazioni di slitte da spettacolo, alcune delle quali furono utilizzate in una parata tenutasi nell'inverno del 1640-1641. Le illustrazioni sono probabilmente opera di un Briefmaler , o pittore di lettere, che avrebbe anche scritto e abbellito documenti ufficiali e dipinto stemmi.
In molti casi, i nomi dei partecipanti al torneo sono scritti sopra di essi. Sono armati per il Gestech, la giostra combattuta con lance contundenti. Nella galleria 373 sono esposti anche un elmo e una testa di lancia a quattro punte simili a quelli dell'album (acc. nn. 29.156.67a, 42.50.40). Album come questo forniscono una documentazione inestimabile dei costumi colorati dei giostratori, degli stemmi fantasiosi e degli emblemi umoristici, spesso satirici, che decoravano gli scudi dei giostratori e le bardature dei cavalli.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.
The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.
In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.
This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.
Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.
This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).
Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.
The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.
The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.
In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.
In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.
Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.
In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.
However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.
General characteristics:
Crew: Two (pilot, co-pilot/gunner)
Length: 58 ft 0 in (17.68 m) overall
45 ft 7 in (14 m) for fuselage only
Width: 10 ft 9 in (3.28 m) for stub wings only
Height: 13 ft 9 in (4.19 m)
13 ft 9 in (4.19 m) incl. Phase III sensor mast
Main rotor diameter: 42 ft 8 in (13.00 m)
Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4
Main rotor area: 1,428.9 sq ft (132.75 m2)
Empty weight: 12,189 lb (5,534 kg)
Max. take-off weight: 18,492 lb (8.391 kg)
Powerplant:
2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)
Performance:
Maximum speed: 190 kn (220 mph, 350 km/h)
Never exceed speed: 190 kn (220 mph, 350 km/h)
Range: 317 nmi (365 mi, 587 km)
Service ceiling: 12,200 ft (3,700 m)
Rate of climb: 1,620 ft/min (8.2 m/s)
Armament:
1× 20 mm (0.787 in) M197 3-barreled Gatling cannon
in the A/A49E-7 chin turret (750 rounds ammo capacity)
4× hardpoints under the stub wings for a wide range of weapons, including…
- 20 mm (0.787 in) autocannon pods
- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,
- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,
- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers
- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or
up to 8 HOT3
up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,
- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or
up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes
The kit and its assembly:
This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?
The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.
To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.
The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.
Painting and markings:
The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).
My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.
The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.
The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!
The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.
This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.
4/03/18 #1889. A handful of plastic - one of several collected during a Beach Clean today. A lot of the plastic film material was caught up in the beach vegetation - probably discarded by summer visitors and blown there by the wind. Also a fair amount of nylon twine from fishing activities.
This Video include 20 tracks of Various Artists. Every day a new compilation of Christmas songs! Subscribe for free to stay connected to our channel and easily access our video updates! goo.gl/CLdGjC Tip: click on the time and listen your favorite song Track list: Twelve Days of Christmas music [Nine Ladies Dancing] --------------------------------- 1 | 00:00 | Lionel Hampton - Gin for Christmas 2 | 02:29 | Lawrence Welk - Adeste Fideles 3 | 04:35 | Fran Allison - Christmas in My Heart 4 | 07:28 | Nelson Eddy - God Rest Ye Merry, Gentlemen 5 | 09:11 | Peggy Lee - Santa Claus Is Coming To Town 6 | 11:31 | The Mormon Tabernacle Choir - Break Forth, O Beauteous Heavenly Light 7 | 13:13 | Claus Reindex Team - Let It Snow, Let It Snow, Let It Snow 8 | 17:28 | Spirit Of Gospel - (what A) Wonderful World 9 | 19:31 | Dick Emery - (All I Want for Christmas Is) My Two Front Teeth 10 | 22:13 | Percy Faith - I Saw Three Ships 11 | 24:14 | The Temple Church Choir - Christ Was Born on Christmas Day 12 | 26:29 | The Mormon Tabernacle Choir - It Came Upon a Midnight Clear 13 | 28:36 | Lester Lanin - Here Comes Santa Claus - Frosty the Snowman 14 | 31:08 | Dalida - Noel Blanc 15 | 33:49 | Nat King Cole - Deck The Halls 16 | 34:58 | Marian Anderson - Ave Maria 17 | 42:21 | Augie Rios - Ol' Fatso 18 | 44:38 | The Mormon Tabernacle Choir - Hark! the Herald Angels Sing 19 | 46:13 | Jo Ann Campbell - Happy New Year Baby 20 | 48:53 | Patti Page - Jingle Bells --------------------------------- Playlist Santa's Countdown to Christmas: goo.gl/cxNuUf --------------------------------- Subscribe Channel We cant wait for Christmas, and so we have made this the biggest and best Christmas Music Advent calendar used to count the days of Advent in anticipation of Christmas Channel for the sharing of best Christmas songs in the world. Ride your playlist and get touched with these beautiful songs about the best and blessed time of year. Happy Christmas! Subscribe for free to stay connected to our channel and easily access our video updates! Facebook: goo.gl/4cTAQs Twitter: twitter.com/Santa_ClausXmas Instagram: goo.gl/MqnnxT Tumblr: goo.gl/BgVQhr Pinterest: goo.gl/9KzAgQ Flickr: goo.gl/V4QCMr Wordpress Blog: goo.gl/6Zvoxk Blogger: goo.gl/8Uh53Z --------------------------------- ® 2018 Santa Claus Xmas Songs youtu.be/sHLNvFrt1Qo
On the left is the Shield of Cromwell quartering Tateshale with an angel supporter above, on the right is a rose en soleil with rays. This rose is also seen at the top.
Other fragments include inscriptions, wings, a crown and architectural pieces.
Includes MSS Height Adjustable Spring Kit, Future Classic 5x120 Wheel Spacer Set, IND Painted Front Reflector Set, Acexxon Rear Reflector Insert Set
Daucus carota (common names include wild carrot, (UK) bird's nest, bishop's lace, and (US) Queen Anne's lace) is a flowering plant in the family Apiaceae, native to temperate regions of Europe, southwest Asia and naturalised to northeast North America and Australia; domesticated carrots are cultivars of a subspecies, Daucus carota subsp. sativus.
Daucus carota is a variable biennial plant, usually growing up to 1 m tall and flowering from June to August. The umbels are claret-coloured or pale pink before they open, then bright white and rounded when in full flower, measuring 3–7 cm wide with a festoon of bracts beneath; finally, as they turn to seed, they contract and become concave like a bird's nest. The dried umbels detach from the plant, becoming tumbleweeds.[1]
Very similar in appearance to the deadly poison hemlock, Daucus carota is distinguished by a mix of bi-pinnate and tri-pinnate leaves, fine hairs on its stems and leaves, a root that smells like carrots, and occasionally a single dark red flower in its centre....Wikipedia