View allAll Photos Tagged Is
TWI is at the forefront of solid phase friction welding and processing technology. Active and innovative in welding research and development since the 1960s, we are responsive to industry needs and provide consultancy services to all industry sectors.
Support for industry includes advice on component design, process selection and quality issues, troubleshooting, feasibility and pre-production trials, application, and prototype equipment development.
TWI has been responsible for many key innovations and developments in solid phase joining: friction stir welding was invented at TWI and was rapidly applied by industry; linear friction welding was developed into a mature joining process for turbine blades.
For more information www.twi-global.com/capabilities/joining-technologies/fric...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
This photograph is from the archives of Professor Cyril Renwick (1920-2010), Professor of Economics and Director of the Hunter Valley Research Foundation. His obituary is on the Sydney Morning Herald website. The archives are held by Cultural Collections at the University of Newcastle, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you have any information about this photograph, please contact us or leave a comment in the box below.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
This is meant to be used as anatomy reference or use in art. Please see my profile for usage rules!
Name: Charulata
Species: Eastern Coyote/Coywolf
Sex: Female
Location from: Upper US (possibly Canada)
Other: Eastern coyotes (AKA Northeastern coyote) are descendants from coywolves. Due to the wolf genes in their system, they tend to be bigger in size with more robust features- not quite as burly and square as their wolf grandparents, but not as slender and dainty as the rest of their coyote family.
These hybrids and hybrid descendants are most prevalent in Ontario, Quebec, New Brunswick, Nova Scotia, Newfoundland and Labrador, Maryland, New York, New England, New Jersey, Pennsylvania, Virginia, and West Virginia. These hybrids were caused by low wolf population numbers in Canada (Canadian Gray Wolf numbers have since become healthy again), where wolves became desperate and started mating with coyotes. Normally, wolves are not tolerant of coyotes in the least and will usually harass or kill them outright.
The Bayon (Khmer: ប្រាសាទបាយ័ន, Prasat Bayon) is a well-known and richly decorated Khmer temple at Angkor in Cambodia. Built in the late 12th or early 13th century as the official state temple of the Mahayana Buddhist King Jayavarman VII, the Bayon stands at the centre of Jayavarman's capital, Angkor Thom. Following Jayavarman's death, it was modified and augmented by later Hindu and Theravada Buddhist kings in accordance with their own religious preferences.
The Bayon's most distinctive feature is the multitude of serene and massive stone faces on the many towers which jut out from the upper terrace and cluster around its central peak. The temple is known also for two impressive sets of bas-reliefs, which present an unusual combination of mythological, historical, and mundane scenes. The current main conservatory body, the Japanese Government Team for the Safeguarding of Angkor (the JSA) has described the temple as "the most striking expression of the baroque style" of Khmer architecture, as contrasted with the classical style of Angkor Wat.
BUDDHIST SYMBOLISM
The Bayon was the last state temple to be built at Angkor, and the only Angkorian state temple to be built primarily as a Mahayana Buddhist shrine dedicated to the Buddha, though a great number of minor and local deities were also encompassed as representatives of the various districts and cities of the realm. It was the centrepiece of Jayavarman VII's massive program of monumental construction and public works, which was also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah Khan, Ta Prohm and Banteay Kdei.
The similarity of the 216 gigantic faces on the temple's towers to other statues of the king has led many scholars to the conclusion that the faces are representations of Jayavarman VII himself. Others have said that the faces belong to the bodhisattva of compassion called Avalokitesvara or Lokesvara. The two hypotheses need not be regarded as mutually exclusive. Angkor scholar George Coedès has theorized that Jayavarman stood squarely in the tradition of the Khmer monarchs in thinking of himself as a "devaraja" (god-king), the salient difference being that while his predecessors were Hindus and regarded themselves as consubstantial with Shiva and his symbol the lingam, Jayavarman as a Buddhist identified himself with the Buddha and the bodhisattva.
ALTERATIONS FOLLOWING THE DEATH OF JAYAVARMAN VII
Since the time of Jayavarman VII, the Bayon has suffered numerous additions and alterations at the hands of subsequent monarchs. During the reign of Jayavarman VIII in the mid-13th century, the Khmer empire reverted to Hinduism and its state temple was altered accordingly. In later centuries, Theravada Buddhism became the dominant religion, leading to still further changes, before the temple was eventually abandoned to the jungle. Current features which were not part of the original plan include the terrace to the east of the temple, the libraries, the square corners of the inner gallery, and parts of the upper terrace.
MODERN RESTAURATION
In the first part of the 20th century, the École Française d'Extrême Orient took the lead in the conservation of the temple, restoring it in accordance with the technique of anastylosis. Since 1995 the Japanese Government team for the Safeguarding of Angkor (the JSA) has been the main conservatory body, and has held annual symposia.
THE SITE
The temple is oriented towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²). Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). All of these elements are crowded against each other with little space between. Unlike Angkor Wat, which impresses with the grand scale of its architecture and open spaces, the Bayon gives the impression of being compressed within a frame which is too tight for it.
THE OUTER GALLERY, HISTORICAL EVENTS & EVERYDAY LIFE
The outer wall of the outer gallery features a series of bas-reliefs depicting historical events and scenes from the everyday life of the Angkorian Khmer. Though highly detailed and informative in themselves, the bas-reliefs are not accompanied by any sort of epigraphic text, and for that reason considerable uncertainty remains as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are:
- in the southern part of the eastern gallery a marching Khmer army (including some Chinese soldiers), with musicians, horsemen, and officers mounted on elephants, followed by wagons of provisions;
- still in the eastern gallery, on the other side of the doorway leading into the courtyard, another procession followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants;
- in the southeast corner pavilion, an unfinished temple scene with towers, apsaras, and a lingam;
- in the eastern part of the southern gallery, a naval battle on the Tonle Sap between Khmer and Cham forces, underneath which are more scenes from civilian life depicting a market, open-air cooking, hunters, and women tending to children and an invalid;
- still in the southern gallery, past the doorway leading to the courtyard, a scene with boats and fisherman, including a Chinese junk, below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat, followed by a scene in which the Khmer king celebrates a victory feast with his subjects;
- in the western part of the southern gallery, a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult;
- in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers;
- in the western gallery, past the doorway to the courtyard, a scene depicting a melee between Khmer warriors, then a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame;
- in the western part of the northern gallery, again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;
- in the northern gallery, past the doorway to the courtyard, a scene in which the Khmer flee from Cham soldiers advancing in tight ranks;
- in the northeast corner pavilion, another marching Khmer army;
- in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.
The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). Originally the courtyard contained 16 chapels, but these were subsequently demolished by the Hindu restorationist Jayavarman VIII.
THE INNER GALLERY
The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. Some of the figures depicted are Siva, Vishnu, and Brahma, the members of the trimurti or threefold godhead of Hinduism, Apsaras or celestial dancers, Ravana and Garuda. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain, or as an act of iconoclasm by Cham invaders. Another series of panels shows a king fighting a gigantic serpent with his bare hands, then having his hands examined by women, and finally lying ill in bed; these images have been connected with the legend of the Leper King, who contracted leprosy from the venom of a serpent with whom he had done battle. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).
THE UPPER TERRACE: & THE 200 FACES OF LOKESVARA
The inner gallery is nearly filled by the upper terrace, raised one level higher again. The lack of space between the inner gallery and the upper terrace has led scholars to conclude that the upper terrace did not figure in the original plan for the temple, but that it was added shortly thereafter following a change in design. Originally, it is believed, the Bayon had been designed as a single-level structure, similar in that respect to the roughly contemporaneous foundations at Ta Prohm and Banteay Kdei.
The upper terrace is home to the famous "face towers" of the Bayon, each of which supports two, three or (most commonly) four gigantic smiling faces. In addition to the mass of the central tower, smaller towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. "Wherever one wanders," writes Maurice Glaize, the faces of Lokesvara follow and dominate with their multiple presence."
Efforts to read some significance into the numbers of towers and faces have run up against the circumstance that these numbers have not remained constant over time, as towers have been added through construction and lost to attrition. At one point, the temple was host to 49 such towers; now only 37 remain. The number of faces is approximately 200, but since some are only partially preserved there can be no definitive count.
THE CENTRAL TOWER & SANCTUARY
Like the inner gallery, the central tower was originally cruciform but was later filled out and made circular. It rises 43 metres above the ground. At the time of the temple's foundation, the principal religious image was a statue of the Buddha, 3.6 m tall, located in the sanctuary at the heart of the central tower. The statue depicted the Buddha seated in meditation, shielded from the elements by the flared hood of the serpent king Mucalinda. During the reign of Hindu restorationist monarch Jayavarman VIII, the figure was removed from the sanctuary and smashed to pieces. After being recovered in 1933 from the bottom of a well, it was pieced back together, and is now on display in a small pavilion at Angkor.
WIKIPEDIA
Art is a weapon of Mass Seduction.
We are Anonymous.
We are a Mutant Living Consciousness.
Upload your Art to OperationPaperStorm Flickr's Group:
"OperationPaperStorm - Worldwide. All Languages. Upload your Art"
www.flickr.com/groups/operationpaperstorm/
IT'S TIME TO HIT THEM IN THEIR OWN WORLD.
SPREAD THE INFORMATION TO EVERYONE IN ALL PLACES.
THEY CAN NO LONGER STAND OR LIE TO US.
AND TOGETHER, WE SHALL GIVE THEM A CHRISTMAS
THAT SHALL NEVER, EVER BE FORGOT.
STEP1: PRINT A LOGO,
MANIFEST OR WHATEVER YOU WANT
TO BE VISBLE AND STRIKING.
STEP2: USE THE DARKNESS, YOU ARE INVISBLE.
STEP3: RACE THROUGH THE STREETS
AND DISTRIBUTES YOUR MESSAGE.
STEP4: FORGET PREVIOUS STEPS
(JUST IDEAS)
STEP5: IMPROV!
CHANNEL: #OPERATIONPAPERSTORM
WE ARE LEGION.
WE DO NOT FORGIVE.
WE DO NOT FORGET.
EXPECT US
Join us to be permanently informed of our next actions:
www.flickr.com/groups/operationpaperstorm
Expect Us.
The River Test is a river in Hampshire, England. It has a total length of 40 miles (64 km) and it flows through downland from its source near Ashe to the sea at the head of Southampton Water. In its upper reaches it is a chalk stream, and is used for fly fishing for trout.
The river is managed by the Environment Agency, whilst the Port of Southampton is the navigation authority for the tidal section below Redbridge.
The River Test has given its name to the Test Valley District, a local government district , and to Southampton Test, a UK Parliament constituency.
The river plays a significant part in Richard Adams' novel Watership Down.
The river rises near the village of Ashe, 10 km to the west of Basingstoke (at grid reference SU 532,498), and flows west through the villages of Overton, Laverstoke, and the town of Whitchurch, before joining with the Bourne Rivulet at Testbourne and turning in a more southerly direction. It then proceeds through the villages of Longparish and Middleton to Wherwell and Chilbolton, where the Rivers Dever and Anton join.[3]
From Chilbolton the river goes through the villages of Leckford, Longstock, Stockbridge and Houghton to Mottisfont and Kimbridge, where the River Dun joins the flow. From here the village of Timsbury is passed, then through the grounds of Roke Manor before reaching the town of Romsey. On the western edge of Romsey, Sadler's Mill, an 18th Century watermill, sits astride the River Test.[4]
South of Romsey, the river passes the country house of Broadlands, and then Nursling that was once the site of a Roman bridge. Finally the river is joined by the River Blackwater and soon becomes tidal, widening out into a considerable estuary that is lined on its northern bank by the container terminals and quays of the Port of Southampton. The Test estuary then meets that of the River Itchen and the two continue to the sea as Southampton Water.[5]
Between Chilbolton and Redbridge, the river was once paralleled by the Andover Canal, which was itself converted to a railway in 1865, and then in turn abandoned. Most traces of the canal have disappeared, although the remains of a stretch can still be seen between Timsbury and Romsey
The river plays a significant part in Richard Adams' novel Watership Down.
After Bigwig leads the break-out from Efrafa, the Watership rabbits are pursued by an Efrafan force led by their Chief, General Woundwort. Hazel carries out a plan devised by Blackberry which leads to their successful escape down the Test on a punt. In the text we are told that this plan would not have been possible on most rivers, but the Test's smooth-flowing, weed-free nature makes it an exception. Shortly afterwards, the punt becomes lodged on a low bridge, and the surviving rabbits are forced to swim under it to get out.
The Dugong is not a fish, it is a mammal. Today its numbers in the Philippines is sadly much decreased from what it was in 1933. Go here for information on the Dugong in the Philippines: www.hans-rothauscher.de/dugong/phil_e.htm
Photographer: Robert Larimore Pendleton, 1890-1957
This image is from the original negative held in the collections at the American Geographical Society Library (AGSL), University of Wisconsin-Milwaukee USA.
Copyright: Board of Regents of the University of Wisconsin System.
For reproductions please contact the AGSL: collections.lib.uwm.edu/cdm/#AGSL
Link to Philippine Island images in the AGSL collections: collections.lib.uwm.edu/cdm/search/collection/agsphoto/se...
Illustrated is the new Arnold Clark concept for Skoda Edinburgh completed this week –13th January 2011. From a standing start Space Projects designed, detailed, contract managed and implemented this completely bespoke centre in twelve weeks including the stripping out of the existing structure.
From the bespoke rugs, chair materials, customer consultation areas, lighting specification, mechanical and electrical layouts, removing of the rear of the building to dealing with a seemingly impossible height issue towards the front of the property, all problems required quick practical head on thinking in order to deliver a trading unit to the client on time.
Splitting the unit on the diagonal coupled with the ramped entranceway deep into the retail space the customer is immediately greeted by an unusual, almost birds eye perspective of displayed vehicles upon arrival, making the transition into the space much more impactful than would normally be the case within a car showroom. The drama is further enhanced by an amphitheatre type staircase at the top of which cars are displayed in a fanned shaped pattern, feature car rotating in the background before then being bounced onto the reception desk, customer consultation areas and lounge area beyond. With hints and flashes of corporate green throughout the environment has been designed to be fresh, bright, modern, efficient, and customer friendly, and if a wait of any kind is required the rear of the unit has been opened up to offer an unrivalled 180° view of the firth of forth which we challenge any dealership to beat on any kind of day.
Space Projects Ltd - 2011
St Mary, Woodbridge, Suffolk
Externally, this is one of the great English churches. Its setting is superb, wholly urban, and yet conscious of its presence in an ancient space. The narrow churchyard climbs away from it, surrounded on two sides by the church house and other 18th and 19th century houses. To the north is the Market Square, and a stairway leads down from it to the great porch. The whole thing is just about perfect, the relationship between town and church expressed exactly.
The tower is one of Suffolk's biggest, bold and dramatic in the landscape, particularly when seen from the quayside. Close up, it is even more so, because it rises from below the level of the graveyard, sheer up for more than a hundred feet, a stark, clinical job of the late 15th Century. St Mary has much in common with Southwold St Edmund, being only slightly smaller, and built all in one go over a similar period and timescale. However, the tower of St Edmund is a riot of flushwork, and here the flint is sparer, cleaner, more precise. This only serves to accentuate the splendour of the great north porch through which you enter the church, past the dole cupboard of John Sayer, 1638. This bequest provided bread for the poor of the Parish, and was still in operation up to the middle years of the 20th Century.
Through the great doors is a fine, grand Victorian interior, the work of Richard Phipson. It is reminiscent of his rebuilding of Ipswich St Mary le Tower, although the nave here is not encumbered by that church's unfortunate heavy glass. Here, you find yourself in a wide, light space, a seemly setting for a number of fascinating medieval survivals. The greatest of these is St Mary's Seven Sacrament font, one of thirteen survivals in Suffolk.
The panels show the sacraments of the Catholic Church, and are a reminder that our Medieval churches were not built for congregational Anglican worship. The panels are a bit battered, but are all recognisable. Despite Cautley's doubts about the rayed backgrounds, it seems likely that it was a product of the same workshop as the fonts at Denston and Great Glemham. The butterfly head dresses of the women date it to the 1480s, making it contemporary with the other two.
The panels are, in clockwise order from the north, Ordination, Matrimony (the two sacraments of service), Baptism, Confirmation (the two sacraments of commission), Reconciliation, Mass, Last Rites (along with Reconciliation, one of the two sacraments of healing) and, in the final eighth panel, the Crucifixion. This last panel, anathema to the protestants of the 1540s, has been paid particular attention by them.
The survival of so much Catholic imagery, when we know that the 17th century puritans were particularly active in this area, may seem surprising. But, ironically enough, it is a result of the destruction of a century earlier. During the early Reformation of the 1540s, Woodbridge was wholeheartedly Anglican, and the wrecking crew went to work with a vengeance. The destruction here probably took place in the Autumn of 1547, during the first months of Edward VI's reign, when there was a free-for-all in places like Suffolk. The easiest way to deal with the font was to knock off the more prominent relief, and plaster the whole thing over. When Dowsing and his Biblical fundamentalists arrived at this church almost a century later on the 27th January 1644, they found very little to do. The Anglicans had also destroyed the roodscreen, for in 1631, 13 years before the visit of William Dowsing, the antiquarian Weever lamented the fact that how glorious it was when it was all standing can be discerned by what remaineth, showing that its destruction had occured before the Puritans were ever on the scene, despite decrees of the time that this should not happen. What survives are two ranges of ten panels, about a third of the original number, which have been placed in recent years on the west and south walls by the font. They are splendid, although their protective glass makes photographing them rather awkward. Part of the donor's description survives, but nothing above the dado rail.
The modern screen has been recently curtailed, and the surviving panels placed behind the organ. They are actually pretty good, including attempted replicas of some of the medieval panels, the figures a bit like the same artist's work in the sanctuary at St Mary le Tower. Otherwise, there's a grand memorial of the 1620s to Geoffrey Pitman in the south aisle, climbing to heaven in tiers that seem rather extravagant for a town weaver and tanner, but a weaver in Suffolk might be the equivalent of a factory owner elsewhere. Two hundred years previously, another Woodbridge weaver had donated the screen.
There is a single surviving brass attached to the chancel arch, a decent pulpit and some hatchments, all you'd expect from a town church. But one of the glories of this place is even more modern. This is the gorgeous memorial glass in the east window by Martin Travers. It shows the adoration of the Magi, and was installed shortly after World War II. There is a similar window by Travers at the remote Broads church of Thurne in Norfolk.
The overwhelming impression is of Phipson's excellent work in a perfect 15th century coating, one of Suffolk's best fonts, and a sense of duty being fulfilled by those who care for it all. This church always seems to be open and welcoming, and reflects Woodbridge's pride in itself as a proper town, despite its size. A proud church in a proud little town. And this is a church so visitor-friendly that it even has cycle parking in its fascinating graveyard. This is a national treasure - the graveyard, not the cycle rack - a gorgeous verdant cushion for its large jewel. To the north-west of the church is a table tomb with skull, bones and last trump carved in relief on its side.
I walked up to the top of the bank, bringing me level with the statues in the porch alcoves. I looked across at the stunningly pretty houses that open out into the graveyard. Quite what you have to do to deserve to live in one, I'm not sure. But I resolved immediately to start doing the National Lottery, just in case.
This is a great bicycle picture! I'm surprised my cousin didn't follow his true calling and become an artist. This picture is so expressive: I have a red bicyle and I'm going places. Get out of my way!
I might have the year wrong...Kari must have been at least seven, so maybe it's a couple of years later.
The picture suffered a lot of damage when it was removed from the surface it had been glued to, but auntie Aino did a great job when she put it back together. It's dedicated to Kaisa and Mauno, our aunt and her husband, may they rest in peace!
Lake Louise is a hamlet in Banff National Park in the Canadian Rockies, known for its turquoise, glacier-fed lake ringed by high peaks and overlooked by a stately chateau. Hiking trails wind up to the Lake Agnes Tea House for bird's-eye views. There's a canoe dock in summer, and a skating rink on the frozen lake in winter. The Lake Louise Ski Resort features a wildlife interpretive center at the top of a gondola.
Lake Louise (named Lake of the Little Fishes by the Stoney Nakota First Nations people)[1] is a glacial lake within Banff National Park in Alberta, Canada. It is located 5 km (3.1 mi) west of the Hamlet of Lake Louise and the Trans-Canada Highway (Highway 1).
Lake Louise is named after the Princess Louise Caroline Alberta (1848–1939),[2] the fourth daughter of Queen Victoria and the wife of the Marquess of Lorne, who was the Governor General of Canada from 1878 to 1883.
The turquoise colour of the water comes from rock flour carried into the lake by melt-water from the glaciers that overlook the lake. The lake has a surface of 0.8 km2 (0.31 sq mi) and is drained through the 3 km long Louise Creek into the Bow River.
Fairmont's Chateau Lake Louise, one of Canada's grand railway hotels, is located on Lake Louise's eastern shore. It is a luxury resort hotel built in the early decades of the 20th century by the Canadian Pacific Railway.
Check of What is Price of hey do you want to know price of this mobile? then below is the link in description special discount for you amzn.to/2YGeJng - QI Receiver Type C Compatible with Google Pixel 2-2XL- XL - LG V20 - LG G5 - LG Stylo - HTC 10 - Nexus 6P - OnePlus 3-5 - Qi Wireless Receiver - QI Receiver - Type C Wireless Charging Receiver Adapter QI WIRELESS RECEIVER for Google Pixel 2 - XL- 2XL- LG G5- LG V20- Huawei MATE 10 - Nexus 6P - OnePlus 3 4 6 7 - OPPO FIND X - HTC Desire - HTC U11 - Xiaomi Redmi 8- and other models with type C connector . Working well with any Qi wireless charger FAST CHARGE WIRELESS RECEIVER - 5V/1000 mA provide wireless charge which is much the fastest you can get from Qi wireless charging on the market. (use the fast charging wall charger up to 2A with your Qi charger) Android Type-C wireless receiver adapter. QI compatible wireless charging pad is required. Just place device on the pad and you are free to enjoy your wireless and limitless charging experience now! 0.04 IN ultra slim design, compact and lightweight. Easy installation it into a case. It does charge through a slim case. Steel connector makes it durable and smooth to plug-in and out Make sure that your mobile supports the Type-C and it is located at the center of the mobile. you still looking for price right ? well we have a link in description for you special discount there and Reivews & Specification
Here is our entry for the PCAGOE November Monthly Challenge. The theme this month being, Autumn leaves.
Vote for your favorite at www.pcagoe.com from Nov 1 to Nov 3
All voters are entered to win free prizes!
Polymer clay sculpture by Carrie Lago & Kathy Jones of Ametista.
Dussehra is the 10th day that follows immediately after the Navaratri festival. It is a celebration of Durga Devi’s ultimate victory, and it reminds us all of the Mother’s Love and Her power to vanquish all that stands between us and our goal. We celebrated Dussehra with puja, abhishekam, yagna, and bhajans.
paramahamsavishwananda.com
bhaktimarga.org
Italien / Toskana - Siena
Piazza del Campo
seen from Palazzo Comunale
gesehen vom Palazzo Comunale
Piazza del Campo is the main public space of the historic center of Siena, Tuscany, Italy and is regarded as one of Europe's greatest medieval squares. It is renowned worldwide for its beauty and architectural integrity. The Palazzo Pubblico and its Torre del Mangia, as well as various palazzi signorili surround the shell-shaped piazza. At the northwest edge is the Fonte Gaia.
The twice-a-year horse-race, Palio di Siena, is held around the edges of the piazza. The piazza is also the finish of the annual road cycling race Strade Bianche.
History
The open site was a marketplace established before the thirteenth century on a sloping site near the meeting point of the three hillside communities that coalesced to form Siena: the Castellare, the San Martino and the Camollia. Siena may have had earlier Etruscan settlements, but it was not a considerable Roman settlement, and the campo does not lie on the site of a Roman forum, as is sometimes suggested. It was paved in 1349 in fishbone-patterned red brick with 8 lines of travertine, which divide the piazza into 9 sections, radiating from the mouth of the gavinone (the central water drain) in front of the Palazzo Pubblico. The number of divisions is held to be symbolic of the rule of The Nine (Noveschi) who laid out the campo and governed Siena at the height of its mediaeval splendour between 1292-1355. The Campo was and remains the focal point of public life in the City. From the piazza, eleven narrow shaded streets radiate into the city.
The palazzi signorili that line the square, housing the families of the Sansedoni, the Piccolomini and the Saracini etc., have unified rooflines, in contrast to earlier tower houses — emblems of communal strife — such as may still be seen not far from Siena at San Gimignano. In the statutes of Siena, civic and architectural decorum was ordered :"...it responds to the beauty of the city of Siena and to the satisfaction of almost all people of the same city that any edifices that are to be made anew anywhere along the public thoroughfares...proceed in line with the existent buildings and one building not stand out beyond another, but they shall be disposed and arranged equally so as to be of the greatest beauty for the city."
The unity of these Late Gothic houses is affected in part by the uniformity of the bricks of which their walls are built: brick-making was a monopoly of the commune, which saw to it that standards were maintained.
At the foot of the Palazzo Pubblico's wall is the late Gothic Chapel of the Virgin built as an ex voto by the Sienese, after the terrible Black Death of 1348 had ended.
Fonte Gaia
The Fonte Gaia ("Joyous Fountain") was built in 1419 as an endpoint of the system of conduits bringing water to the city's centre, replacing an earlier fountain completed about 1342 when the water conduits were completed. Under the direction of the Committee of Nine, many miles of tunnels were constructed to bring water in aqueducts to fountains and thence to drain to the surrounding fields. The present fountain, a center of attraction for the many tourists, is in the shape of a rectangular basin that is adorned on three sides with many bas-reliefs with the Madonna surrounded by the Classical and the Christian Virtues, emblematic of Good Government under the patronage of the Madonna. The white marble Fonte Gaia was originally designed and built by Jacopo della Quercia, whose bas-reliefs from the basin's sides are conserved in the Ospedale di St. Maria della Scala in Piazza Duomo. The former sculptures were replaced in 1866 by free copies by Tito Sarrocchi, who omitted Jacopo della Quercia's two nude statues of Rhea Silvia and Acca Larentia, which the nineteenth-century city fathers found too pagan or too nude. When they were set up in 1419, Jacopo della Quercia's nude figures were the first two female nudes, who were neither Eve nor a repentant saint, to stand in a public place since Antiquity.
(Wikipedia)
Die Piazza del Campo ist der bedeutendste Platz der toskanischen Stadt Siena, deren Zentrum er bildet.
Der Platz ist bekannt durch seine beeindruckende Architektur und seine halbrunde Form sowie durch das hier normalerweise jährlich zweimal ausgetragene Pferderennen Palio di Siena.
Geschichte
Das Zentrum der bereits in der Etruskerzeit bedeutenden Stadt lag ursprünglich im Gebiet des heutigen Castelvecchio, während „der Campo“ lediglich ein Stück Land war, das dem Abfluss des Regenwassers diente. Da aber auch die an Siena vorbeiführende Fernstraße über dieses Feld verlief und sich hier mit einer anderen Straße kreuzte, entwickelte sich bald ein Marktplatz.
Der Name „Campo“ wird zum ersten Mal schriftlich 1169 erwähnt in einer Quelle, die sich mit der gesamten Talebene befasst, zu der auch die heutige Piazza del Mercato, heute auf der anderen Seite des Palazzo Comunale, gehörte. Damals erwarb die Stadt Siena das Gelände, das von der Piazza del Mercato bis zur heutigen Logge della Mercanzia reicht. Eine Unterteilung des Geländes in die heutigen zwei Plätze wird 1193 erwähnt, sodass man davon ausgehen kann, dass in der Zwischenzeit zumindest eine Mauer erbaut wurde, die den Platz in zwei Hälften teilte; möglicherweise geschah dies, um das Wasser besser ableiten zu können.
Bis ins Jahr 1270, als die Herrschaft der Vierundzwanzig (1236–1270) zu Ende ging, wurde dann der Platz für Messen und Märkte genutzt. Zwar hatte der Platz noch nicht das heutige Aussehen, er entwickelte sich aber allmählich zum zweiten Mittelpunkt der Stadt neben dem Dom; während dort religiöse Feste im Mittelpunkt standen, dominierten auf der Piazza del Campo der Handel und weltliche Feste. Da sich auch die städtische Obrigkeit immer unabhängiger vom Bischof (und später Erzbischof) machte, kam in der Zeit der Herrschaft der Neun (1289–1355) der Bedarf nach einem eigenen Rathaus auf.
Die Piazza del Campo ist einer der eindrucksvollsten kommunalen Plätze Italiens – im Gegensatz zum Markusplatz Venedigs und zur Piazza dei Miracoli Pisas ist dies ein Platz ohne Kirche, also ein rein politisches Zentrum – und das zeigt sich auch in der Kunst in den Innenräumen des Rathauses. Das Gelände ist leicht abschüssig und der Palazzo Pubblico, der öffentliche Palast, also das Rathaus steht an der tiefsten Stelle. Diese auffallend tief liegende Position im Gegensatz zu den Gepflogenheiten anderer Städte erklärt sich aus dem Bedürfnis, eine neutrale Lage zwischen den Hügeln von Siena zu wählen. Auch hier hat also das Konkurrenzdenken innerhalb der Stadt Konsequenzen gehabt. Das hatte zur Folge, dass der Turm sehr hoch werden musste, damit er trotz seiner niedrigen Lage die Stadt überragen konnte.
Mit dem Bau des Palazzo Comunale wurden dann auch die Impulse für eine architektonische Gestaltung des Platzes gegeben. In den Jahren 1327–1349 erhielt der Platz eine Pflasterung, wobei auch heute noch die Einteilung in neun Segmente an die damalige Herrschaft der Neun erinnert. Die „Skyline“ des Platzes ist allerdings nicht spontan in einem Stück entstanden. Erst mit den Jahren sorgte die Stadtverwaltung durch entsprechende Gesetze dafür, dass die Fassadengestaltung einheitlich gehandhabt wurde. So wurde etwa eine Peter- und Paul-Kirche abgerissen; heute erinnern die Gassen Vicoli di San Pietro e di San Paolo daran.
Nach 1861 wurden, wie auch an anderen Gebäuden in der Altstadt von Siena, Gebäude an der Piazza von ihren barocken Fassaden „befreit“, um dem ursprünglichen, d. h. mittelalterlichen Erscheinungsbild wieder zur Geltung zu verhelfen.
Seit ca. 2017 gehören 15 der 20 Gebäude, die den Platz begrenzen, Igor Bidilo, einem Investor aus Kasachstan.
Fonte Gaia
Auf der höheren Seite des Campo steht der Fonte Gaia, den Jacopo della Quercia von 1409 bis 1419 geschaffen hat. ‚Brunnen der Freude’ heißt er, weil es 1342 zum ersten Mal gelungen war, mithilfe einer 25 km langen Leitung Wasser in die Stadt fließen zu lassen. Der ewige Wassermangel war in der Bergstadt Siena ein großes Problem – besonders in den Sommermonaten. Stilistisch hat della Quercia in den Figuren dieses Brunnens etwas Ähnliches erreicht wie die Sieneser Malerei, nämlich einen Ausgleich zwischen der klassischen Tradition und gotischem Schwung.
Die Figuren des Brunnens sind zwar seit 1858 durch Nachbildungen von Tito Sarrocchi ersetzt, aber trotzdem haben wir hier ein wichtiges Dokument für die Entwicklung der frühen Renaissance-Plastik vor uns. Zur damaligen Zeit, 1409, hatte man angefangen, sich zunehmend für die antike Vergangenheit zu interessieren und dabei natürlich besonders für die Geschichte Roms. Jacopo della Quercia war von der Stadt Siena deshalb beauftragt worden, in diesem Brunnen die angebliche römische Abstammung der Stadt als Gründung der Söhne des Remus und ihre darauf beruhenden Tugenden zu dokumentieren. Die Originalteile des Brunnens sind heute im Museum von Santa Maria della Scala im Raum Fienile zu betrachten.
Gebäude
Palazzo Comunale
Mit dem Bau des Gebäudes der Stadtverwaltung wurde 1297 begonnen. Ursprünglich hatte der Palazzo lediglich drei Stockwerke; später erfolgten weitere Anbauten. Vor allem aber kam im Laufe des 14. Jahrhunderts mit dem Torre del Mangia der 102 Meter hohe Turm hinzu, der das Stadtbild von Siena prägt. Der Name leitet sich von dem Spitznamen Mangiaguadagni (Gewinnfresser) des ersten Glöckners ab.
Cappella di Piazza
Vor dem Eingang zum Palazzo Pubblico wurde als Dank für die überstandene Pest 1352 – also noch in der Gotik – eine kleine Kapelle, die Cappella di Piazza, die Platzkapelle errichtet, die über 100 Jahre später (1463) mit einer Renaissance-Dekoration ihre heutige Gestalt erhielt. Beides passt aber so gut zusammen, als sei es gleichzeitig geschaffen worden. Die Dachkonstruktion stammt von Antonio Federighi und entstand in den 1460er Jahren. Die nordeuropäische Gotik wurde in Italien im 13. und besonders im 14. Jh. in stark veränderter und der italienischen Tradition angepassten Form übernommen. Und später konnte im 15. Jh. die Renaissance auf jahrhundertelange vorbereitende Phasen aufbauen. Beides widersprach sich hier in Italien nicht so wie in Frankreich oder Deutschland. Hier an dieser Kapelle ist in der Gotik also locker der alte Rundbogen verwandt worden und nicht der eigentlich typische gotische Spitzbogen. Und als in der Renaissance der Rundbogen wieder zur Norm wurde, musste hier auch gar nichts geändert werden.
Das Pferderennen
Auf dem Platz wird zweimal im Jahr, am 2. Juli und am 16. August, ein Pferderennen („Palio di Siena“) ausgetragen.
(Wikipedia)
This is a photograph from the finish of the SSE Airtricity Dublin City Marathon 2018 which was held in Dublin Ireland on Sunday 28th of October 2018 at 09:00 (and several subsequent wave starts). This year is the third year since the organisers decided to move the marathon from its traditional Bank Holiday Monday slot to Sunday. This proved to be an incredible success with yet again one of the largest fields ever for the marathon in Dublin and an entry of 20,000 people. The weather was absolutely perfect with ideal running conditions for the marathon with a perfect crisp and sunny autumn morning in the captial.
This set of photographs are from the finish starting from the overall winner until around the finishers at 3 hours 10 minutes. The photographs are taken at just before the 26 mile mark opposite the schoolhouse on Haddington Road. The full set of photographs are available on our Flickr photostream at www.flickr.com/photos/peterm7/albums/72157697059627090
These are COMPLETELY UNOFFICIAL PHOTOGRAPHS and are in no way affiliated with the Dublin City Marathon 2018 in an official capacity - you should check the links below for official media and other materials about the race.
sseairtricitydublinmarathon.ie/
www.facebook.com/dublinmarathon/
The Excellent Running in Cork Blog will keep a list of places where photographs and other multimedia are available: corkrunning.blogspot.ie/
Animals in general. Kruger Park, South Africa. Dec/2015. Kruger National Park is one of the largest game reserves in Africa. It covers an area of 19,485 square kilometres (7,523 sq mi) in the provinces of Limpopo and Mpumalanga in northeastern South Africa, and extends 360 kilometres (220 mi) from north to south and 65 kilometres (40 mi) from east to west. The administrative headquarters are in Skukuza. Areas of the park were first protected by the government of the South African Republic in 1898, and it became South Africa's first national park in 1926.
O Parque Nacional Kruger é a maior área de conservação de fauna bravia da África do Sul, cobrindo cerca de 20 000 km2. Está localizado no nordeste do país, nas províncias de Mpumalanga e Limpopo e fazendo fronteira com os distritos moçambicanos de Moamba e Magude, na província de Maputo e Massingir e Chicualacuala na de Gaza. Tem uma extensão de cerca de 350 km de norte a sul e 60 km de leste a oeste.
The Ural-375 is a General Purpose 4.5 ton 6x6 Truck, which has been produced at the Ural Automotive Plant in the Russian SFSR since 1961. The Ural-375 replaced the ZIL-157 as the standard Soviet Army truck in 1979. It was itself replaced by the Ural-4320. The Ural-375 was used, for example, as a platform for the BM-21 Grad Rocket Launcher, Troop Carrier, and as a Supply Carrier. The Ural-375 comes in a variety of models, the list is very exhaustive:
▪︎Ural-375 - Base model, it has a canvas roof, and no steel cabin.
▪︎Ural-375A - The same but has a slightly longer chassis.
▪︎Ural-375D - The most produced 375, which has a proper all-steel cabin.
▪︎Ural-375E KET-L - Recovery Vehicle equipped with a front-mounted and a rear-mounted winch along with a jib crane.
▪︎Ural-375S - 6x6 Tractor Unit.
▪︎Ural-377 - A 6x4 civilian truck.
▪︎Ural-377S - 6x4 Tractor Unit
▪︎Ural-375DM - Modernized version of the Ural-375D, built at least until 1991.
General characteristics:
▪︎Manufacturer: Ural Automobile Plant, Miass
▪︎Production: 1961 to 1964 (Ural-375) / 1964 to 1983 (Ural-375D) / 1982 to -1991 (Ural-375DM)
▪︎Production End: 1993
▪︎Powerplant: ZIL-375Ya 7.0 litre V8 petrol (carburetor) pushrod engine, 174hp
▪︎Transmission: 5-speed manual + 2-speed transfer case
▪︎Length: 24ft 1in) / Width: 9ft 8.5in / Height: 9ft 9in (with tarpaulin)
▪︎Curb Weight: 8.3 tons
▪︎Predecessor: Ural-355M
▪︎Successor: Ural-4320
▪︎Crew: 3 or more
▪︎Payload: 4.7 tons
▪︎Maximum Permissible Mass: 13 tons
▪︎Suspension: Live beam axles, leaf springs
▪︎Gearbox: 5x2 speed gearbox
▪︎Maximum Speed: 47 mph
▪︎Brakes: Pneumatic drum brakes
▪︎Fording depth: 4ft 11in
▪︎Ground Clearance: 1ft 3in
▪︎Fuel Capacity: tank: 65 gallons + 13 gallons
▪︎Fuel Economy: 4.7 to 5.2 mpg.
Tropospheric Scatter, also known as ''Troposcatter'' is a method of communicating with microwave radio signals over considerable distances, 310 miles and further depending on frequency of operation, equipment type, terrain, and climate factors. This method of propagation uses the tropospheric scatter phenomenon, where radio waves at UHF and SHF frequencies are randomly scattered as they pass through the upper layers of the troposphere. Radio signals are transmitted in a narrow beam aimed just above the horizon in the direction of the receiver station. As the signals pass through the troposphere, some of the energy is scattered back toward the Earth, allowing the receiver station to pick up the signal.
Normally, signals in the microwave frequency range travel in straight lines, and so are limited to line-of-sight applications, in which the receiver can be 'seen' by the transmitter. Communication distances are limited by the visual horizon to around 30 to 40 miles. Troposcatter allows microwave communication beyond the horizon. It was developed in the 1950's and used for military communications until communications satellites largely replaced it in the 1970's. Because the troposphere is turbulent and has a high proportion of moisture, the tropospheric scatter radio signals are refracted and consequently only a tiny proportion of the transmitted radio energy is collected by the receiving antennas. Frequencies of transmission around 2 GHz are best suited for tropospheric scatter systems as at this frequency the wavelength of the signal interacts well with the moist, turbulent areas of the troposphere, improving signal-to-noise ratios.
Sourced from:
en.m.wikipedia.org/wiki/Tropospheric_scatter
Sourced from en.m.wikipedia.org/wiki/Ural-375
Church of St. Stephan
Tower of the parish church
The parish church of St. Stephen's is a Roman Catholic church and is on the eastern edge of the old city core (parish court) of Baden in Lower Austria. The tower with the characteristic Baroque onion dome is visible from far away and still dominates the cityscape.
History
The Church of Baden belonged to the diocese of Passau for centuries. This long ties recalled that the parish church of the Holy Baden Is dedicated to Stephen, the patron saint of Passau. Bathing was originally a branch of the mother parish churches of Traiskirchen.
In 1220 a priest in Baden was first documented. What position he had - he might have been chaplain to the castle Baden - was not mentioned. As Traiskirchen with all its branches to the Melk Abbey, it was assumed it was in 1312 for separation of Baden. It has now an independent parish under the patronage of Melk. After prolonged disputes between the bishops of Passau and Melk the Abbey Melk in 1693 handed over the right of patronage to Passau. When the dwarf Diocese of Vienna was founded in 1469 was elevated to archbishopric in 1729 , it came to assign the previously belonging to Passau area south of Vienna, including Baden. 1784 Baden is finally sovereign's parish.
From the original parish area of Baden several new parishes were created: Sooß (from 1783 parish ), St. Christopher (St. Helena in 1783 raised as to the parish) and St. Joseph (1990 applicable to the parish). The parish is about 6,000 Catholics today with one of the largest parishes of the Deanery Baden. Besides the parish church, also belong to other churches and chapels of the parish pastoral area .
Appearance
The architectural history of the church in front of the building at the end of the 15th Century can only being guessed based on the remaining components. Mentioned in documents is only the existence of a charnel house (charnel house) in 1258. But have worked in Baden before that time priests and Baden castle certainly had a church or chapel, one can assume that towards the end of the 12th Century a church was located on the present site .
The immediate predecessor dates back to the Romanesque period. This church was probably a three-nave building with two low towers between which the chancel and apse were. Around 1400 began the construction of a Gothic chancel, including the lower church, which was built in the Romanesque apse and this eventually replaced. The nave of the church was in the second half of the 15th century erected, thereby including the Romanesque exterior walls. This period also saw the establishment of the main tower over the existing two Romanesque towers fall. This work - probably made necessary by a partial destruction of the church during the Hungarian invasion - had to be interrupted again and again in these troubled times. The main tower was not completed and finally covered with a gable roof. Only in 1697, after the tower was damaged in the wars against the Turks, put it on the appearance typical baroque onion dome. The most northern Vorturm (ante-tower) still existing remains of a "murder Gallery" reminiscent of the involvement of the Church in the defenses of the city. Around the year 1480, the Gotisierung (gothification) to have been completed. Puzzles are on the tower located in the west over the main entrance. The so-called "shot- tower" once towered far beyond the roof and, like the main tower was heavily damaged in the wars against the Turks. In 1827 it received its present appearance. It is believed that this tower was built in the Gothic period.
The 67 meter high tower, incidentally, is the so-called parament chamber and the watchman's apartment, on which until the 20th Century the sacristan lived. The belfry holds five bells. Of them survived the two world wars: the "Great Bell" (2000 kg tone: H) from 1832 and the " litany bell " (950 kg Sound: s) from in 1764. The other three bells were cast in 1949 : "Marie Bell" (sound : fis ) , the " Joseph Bell" (sound : gis) and the " Urbaniglocke " (sound : h).
Interior Design
View from the gallery
View of the nave
Paul Troger: Stoning of St. Stephen
Furnishings from the Romanesque and Gothic periods are scarce. From the Romanesque still can be found animal heads that are immured in the vaults of the central nave. The Gothic remember especially the baptismal font and several angels on the church walls and at the south gate. The period after 1480 to 1683 is marked by the Ottoman wars and the Reformation, where the Baden ministers eagerly have been engaged. Therefore receive only grave monuments from the Renaissance period, some of which are attached to the pillars of the Church. Noteworthy is a grave slab in the chapel for the Baden minister Joseph Vincent Bauernfeind († 1517).
The Turkish wars of 1529 and 1683 brought with it severe damage. So had to be replaced in addition to the placement of the tower bulb especially the interior of the church in the Baroque style. During the 18th Century was the formation of several side altars in the nave of the church at the beginning of each side of the ship, the Lady altar to the pulpit, the altar and the Sebastian Anthony altar. Joseph's Chapel was also the Baroque style. Where today stands the main altar, were erected an altar in honor of the Holy Cross, but in 1758 in the former sacristy below the North Tower (Chapel of the Cross) was added. At the same time was finished the construction of the present sacristy. Also worthnoting is that the Sebastian altar was donated to the plague year of 1713 the Baden citizenship as a reminder. This is attested to by a votive tablet, which now hangs above the output in the sacristy. In the chancel, the windows were bricked up almost entirely and set a Baroque high altar. The altarpiece depicting the stoning of St. Stephen painted the famous Baroque artist Paul Troger. In the sacristy the Baroque has left its mark: the altar in honor of St. Francis Xavier and the valuable baroque sacristy cabinet from 1743.
In 1880 began extensive Regotisierungsarbeiten (re-gothification work). 1893, the Baroque high altar was replaced by the current. Only the high altarpiece remained in the church and got its present location on the output with the vestry. The walled-up windows in the chancel were re-opened. Similarly, the neo-Gothic paneling and the choir was built. Even the altars in the aisles and the St. Joseph's Chapel and the Chapel of the Cross were again re-gothicised. Is painful that in this course the original Gothic console statues on the walls have been replaced be new-gothic ones. Only one has been preserved and is on display in Baden Schiestl-Hof. With the transformation of the side entrances ended 1913 gothicised parish church.
In the 70 years the great interior and exterior renovation of the church took place. There were several rooms grown during the installation of a district heating at the north gate. The interior renovation of the main altar and today's session was established. The neo-Gothic altars in the aisles were removed, and only the remaining altar statues. Also, the defective Baroque pews were replaced by new ones. In 1989, the altar of the Chapel of the Cross was eventually transferred to the parsonage, and there set up a chapel.
Organ
The Hencke-Organ
The organ of the parish church was originally built for the Dorotheerkirche in Vienna in 1787 and brought here. It is a work of the famous organ builder Johann Hencke from the year 1744.
During the renovation in 1987 (organ building Gerhard Hradetzky Oberbergen in Lower Austria) the original keys have been re-installed, on which have probably already played Mozart and Beethoven. The organ has 28 stops on two manuals and pedal.
Mozart, who had assisted in the performance of several of his shows in Baden St. Stephen was a friend of the former choir director Anton Stoll in 1791 and dedicated to him his famous Ave Verum K. 618, probably in June 23rd of 1791 was premiered in the parish church .
It is scheduled as follows:
I. Main
1 Principal 8 '
2 Octav 4 '
3 Quint 3 '
4 Super Octave 2 '
5 Mixture V 2 '
6 Cymbals III 1 '
7 Bordon 16 '
8 Forest T Fleten 8 '
9 Quintadena 8 '
10th Pointed Fleten 4 '
II positive
11th Gamba 8 '
12th Principal 4 '
13th Octav 2 '
14th Quinta 11/2 '
15th Mixture IV 11/2 '
16th Copel 8 '
17th Fleten covered 4 '
18th Sesquialtera II
19th Krum Horn ( B / D ) 8 '
pedal
20th Contrabass 16 '
21, Principal Bass 8 '
22, Octave 4 '
23, Mixture III 3 '
24th Octav Bass 8 '
25th Quinta 6 '
26th Great Posaun 16 '
27th Posaun Octav 8 '
Measurements [ Edit]
Length 55 m
Width 20 m
67 m tower
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
Raqchi is an Inca archaeological site in the Cusco region in Peru also known as the Temple of Wiracocha, one of its constituents. A town nearby has the same name. Both lie along the Vilcanota (Urubamba) River.
The most prominent structure is the Temple of Wiracocha, an enormous rectangular two-story roofed structure that measures 92 metres (302 ft) by 25.5 metres (84 ft). This structure consists of a central adobe wall some 18 to 20 meters in height with an andesite base. Windows and doors allow passage. It is flanked on each side by a row of eleven columns. The foundations measure 4 metres (13 ft) for both the wall and the columns are classic high Inca stonework with the remaining height built of adobe.
source: wikipedia
Hum is considered the smallest town in the world. It is within the town of Buzet, in central Istria, Croatia. The elevation is 349 m. On its western side, the town is enclosed by walls and on the remaining sides houses are built into the defensive walls. The town's church is the Assumption of Mary, built in 1802 on the site of an earlier church which was built by the local master Juraj Gržinić.
It is pretty cold here, the rain is pouring down
It's a miserable place, this old Sydney town
People running left and people running right
The skies so dark you'd think it was not day but night
ODC: Stopped Motion
This is number 16 in the "Try 100 new recipes" set. Another recipe from Spices of Life: Simple and Delicious Recipes for Great Health this time from the East-West Barbecue section. The chicken was marinated in Tandoori yogurt sauce then grilled and served with lettuce and mint-yogurt dressing. Overall the recipe turned out just so-so and I won't make it again. Instead I'll stick with the Tandoori Naan Chicken Sandwiches from Sunset Magazine.
This is a photograph from the 4.5KM mark of the annual Na Fianna AC "Bob Heffernan and Mary Hanley" 5KM Road Race and Fun Run which was held in Johnstownbridge, Co. Kildare, Ireland on Tuesday 16th May 2023 at 20:00.
This race needs no introductions as it is now firmly established on the Leinster road racing calendar with athletes travelling from all over the region to take part. The race has gained a glowing reputation as being one of the fastest 5KM road races in Ireland. It is one of the rare occasions around road racing circles these days where a very small club can organise a very successful large participation race. The attendance at this year's race exceeded all expectations. Today's race again recorded an attendance of over 700 participants following on from approximately the same numbers in 2022.
The full set of photographs are available at our Flickr photoset here :
www.flickr.com/photos/peterm7/albums/72177720308322444
This race has great historical and emotional significance for the hosting club Na Fianna. Since the race's inception over 26 years ago it has commemorated the years of work and volunteering that local man Bob Heffernan gave to Meath, Leinster, and Irish athletics from grass roots upwards and his work with the host club Na Fianna AC. Last year the dearly departed Mary Hanley joined Bob Heffernan in receiving the honour of race co-dedication. Mary Hanley was a stalwart athlete, coach and volunteer for Na Fianna AC for her entire life right up to her untimely passing during the summer 2021. Mary and Bob gave a lifetime of dedication to the promotion of their club. Na Fianna AC are typical of many rural sporting clubs who have a large catchment area which combines rural North Kildare and South Meath taking in Enfield, Rathmoylan, Johnstownbridge and Baconstown. The race, known affectionately by club-members as simply "Bob's race" (and now Mary's) is a fitting tribute to commemorate their contributions to this sport. Indeed, not many road races are held in the same affection as this race with runners returning back every year to sample the course and the wonderful atmosphere again.
In addition to the fast course and competitive field, the weather was perfect for road racing. There was warm evening sunshine with hardly any wind.
The race is part of the Popup Races KIA Race Series. The race is a fixture on the Meath AAI Road Race calendar despite the fact that the race is run completely in County Kildare. The current route for the race has stayed the same over the past few years. However previous to that the race was held in Enfield and also Rathmoylan in County Meath. The race starts on the busy Enfield to Edenderry road and this requires a big effort from stewards and marshalls. However, as always, the event was a resounding success with personal bests and great runs from many of the participants. The course is very fast and flat - it is a one loop course which is left-handed in terms of turns.
Photographs from 2022: www.flickr.com/photos/peterm7/albums/72177720299045746
Photographs from 2019: www.flickr.com/photos/peterm7/albums/72157708548820525
This is a photograph from the SSE AIRTRICITY Dublin Marathon which was held in Dublin, Ireland on Bank Holiday Monday 26th October 2015 at 09:00.The Dublin Marathon has been held annually since 1980. The marathon course starts at Fitzwilliam Square in the city center and finishes at Merrion Square. For the past number of years there have been some changes to the configuration of the route at the start and finish due to traffic and transportation infrastructure work around the city center. However the majority of the race proceeds in an anti-clockwise direction around the city passing through the Phoenix Park, Chapelizod, Inchicore, South Circular Road, Walkinstown, Terenure, Clonskeagh, UCD, Stillorgan Dual Carriage Way, Ballsbridge and finishing up Northumberland Road and Mount Street. As always the organisation is first class and this seen just under 13,000 people complete the marathon course.
The weather conditions were not very good for marathon running with runners facing race and windy conditions around much of the course.
Overall the poor weather conditions did not make for very good photographic conditions particularly around the start and finish area where it was a little darker around the tall buildings and streets.
The full set of photographs from the start and the finish are available at our Flickr set for Dublin Marathon 2015 https://www.flickr.com/photos/peterm7/albums/72157658064057124
These pictures are completely unofficial photographs. We, or this Flickr account, are in no way professionally linked or related to the official photography from the Dublin Marathon 2015. We advise that you consult the official DCM 2015 photography services for other photographs while observing their terms of usage
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to 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.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
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 when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. 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 are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I 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 or in other circumstances 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.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
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 http://www.flickr.com/peterm7/sets
This is the bus (an MCI ¿MC12?) that Amtrak shipped us from Chicago, IL to Cleveland, OH to catch the Capitol Limited, due to "Track work", seen stopped at a rest stop in Indiana. Taken by a Nikon D610 at ISO 400 with a Nikkor 35-105mm ƒ 3.5-4.5 AF lens. (at 74) Exposure is 1/5 second @ ƒ 4.2 (wide open for the focal length)
--- RANT ---
Amtrak should check out the bus in motion BEFORE hiring it for this type of work! This bus had an awful shimmy in one of the rear axles - and Amtrak should also remember that it's passengers are paying for a rail journey, and keep the bus bridge as short as possible! (were all the tracks between Chi & Cle torn up? I doubt it...) The bus driver should be fired - this shimmy is a safety defect that should red-tag the bus! (Commercial drivers are supposed to pre-check their vehicle before driving...)
Amtrak should also provide a better meal in Chicago, particularly for sleeper passengers: (than a box "lunch", which is what we got...) we paid for a full dinner in the dining car, after all!
--- end RANT ---
Oriental magpie-robin
The oriental magpie-robin (Copsychus saularis) is a small passerine bird that was formerly classed as a member of the thrush family Turdidae, but now considered an Old World flycatcher. They are distinctive black and white birds with a long tail that is held upright as they forage on the ground or perch conspicuously. Occurring across most of the Indian subcontinent and parts of Southeast Asia, they are common birds in urban gardens as well as forests. They are particularly well known for their songs and were once popular as cagebirds. The oriental magpie-robin is the national bird of Bangladesh.
This species is 19 centimetres (7.5 in) long, including the long tail, which is usually held cocked upright. It is similar in shape to the smaller European robin, but is longer-tailed. The male has black upperparts, head and throat apart from a white shoulder patch. The underparts and the sides of the long tail are white. Females are greyish black above and greyish white. Young birds have scaly brown upperparts and head. It is the national bird of Bangladesh.
The nominate race is found on the Indian subcontinent and the females of this race are the palest. The females of the Andamans race andamanensis are darker, heavier-billed and shorter-tailed. The Sri Lankan race ceylonensis (formerly included the Peninsular Indian populations south of the Kaveri River) and southern nominate individuals have the females nearly identical to the males in shade. The eastern populations (Bhutan and Bangladesh) have more black on the tail and were formerly named erimelas. The populations in Burma and further south are named as race musicus. A number of other races have been named across the range including prosthopellus (Hong Kong), nesiotes, zacnecus, nesiarchus, masculus, pagiensis, javensis, problematicus, amoenus, adamsi, pluto, deuteronymus and mindanensis. However many of these are not well marked and the status of some are disputed. Some like mindanensis have been now been recognized usually as full species (Philippine magpie-robin). There is more geographic variation in the plumage of females than in that of the males.
It is mostly seen close to the ground, hopping along branches or foraging in leaf-litter on the ground with a cocked tail. Males sing loudly from the top of trees or other high perches during the breeding season.
This magpie-robin is a resident breeder in tropical southern Asia from Bangladesh, interior India, Sri Lanka and eastern Pakistan east to Indonesia, Thailand, south China, Malaysia, and Singapore. They have been introduced to Australia.
The oriental magpie-robin is found in open woodland and cultivated areas often close to human habitations.
Magpie robins breed mainly from March to July in India and January to June in south-east Asia. Males sing from high perches during courtship. The display of the male involves puffing up the feathers, raising the bill, fanning the tail and strutting. They nest in tree hollows or niches in walls or building, often adopting nest boxes. They line the cavity with grass. The female is involved in most of the nest building, which happens about a week before the eggs are laid. Four or five eggs are laid at intervals of 24 hours and these are oval and usually pale blue green with brownish speckles that match the color of hay. The eggs are incubated by the female alone for 8 to 14 days. The nests are said to have a characteristic odour.
Females spend more effort on feeding the young than males. Males are quite aggressive in the breeding season and will defend their territory and respond to the singing of intruders and even their reflections. Males spend more time on nest defense. Studies of the bird song show dialects with neighbours varying in their songs. The calls of many other species may be imitated as part of their song. This may indicate that birds disperse and are not philopatric. Females may sing briefly in the presence of a male. Apart from their song, they use a range of calls including territorial calls, emergence and roosting calls, threat calls, submissive calls, begging calls and distress calls. The typical mobbing calls is a harsh hissing krshhh.
The diet of magpie robins includes mainly insects and other invertebrates. Although mainly insectivorous, they are known to occasionally take flower nectar, geckos, leeches, centipedes and even fish.
They are often active late at dusk. They sometimes bathe in rainwater collected on the leaves of a tree.
This species is considered as one of "little concern" globally but in some areas the species is on the decline.
In Singapore and Hong Kong (Malay names Murai Kampung/cacing) they were common in the 1920s, but declined in the 1970s, presumably due to competition from introduced common mynas, Poaching for the pet bird trade and habitat changes have also affected them and they are locally protected by law.
This species has few avian predators. Several pathogens and parasites have been reported. Avian malaria parasites have been isolated from the species while H4N3 and H5N1 infection has been noted in a few cases. Parasitic nematodes of the eye have been described.
There is a fire about ten miles from where I live, the local Fairgrounds in the headquarters for the fire operation. It is amazing how much equipment and supplies they have moved into the fairgrounds. There are firetrucks from countries all over the state as well as CDF and US Forest Service. It is a very impressive thing to watch
www.capradio.org/articles/2014/07/25/crews-battling-wildl...
State Street is a wide 17-mile (27km) street in Salt Lake County, Utah leading almost straight south from the steps of the Utah State Capitol Building, through Salt Lake City (including Downtown Salt Lake City), South Salt Lake, western Millcreek Township, Murray (including the Murray Downtown Historic District), eastern Midvale, Sandy (including the Sandy Historic District and Downtown Sandy), and northwestern Draper. Because it follows the most direct route from downtown Salt Lake City to the Point of the Mountain pass to Utah County, it was the undisputed main road south from Salt Lake City until Interstate 15 was built to the west (but closely paralleling it). It retains the US Highway 89 designation for all but the northernmost seven blocks (which are part of State Route 186 instead) despite I-15's proximity. Due to its history as a route for long-distance travel, travel within the Wasatch Front region, and travel between the cities along the east side of the Jordan River, it has attracted a wide variety of retail and service businesses along its entire length, creating a nearly continuous commercial axis for the Salt Lake Valley.
en.wikipedia.org/wiki/State_Street_(Salt_Lake_County)
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
This is a photograph from the Castlepollard 5KM Road Race and Fun Run 2019, which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 14th August 2019 at 20:00. The race is hosted by North Westmeath Athletic Club. This race is the penultimate race in the Kia Race Series 2019. The weather was very changeable this evening and was not very suitable for racing. The participants had a very stiff breeze in their faces on the outward stretch and all the way to the 2KM mark within Tullynally. This then became a helpful tailwail for the final KM of the race. There was a heavy shower of rain just before the start of the race.
Starting off many years ago the race was very much a local affair drawing runners from the sounding areas of Mullingar, North East Meath, Cavan, and Longford. However, the race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands and sees participants from all over Ireland. The race offers prizes in all categories. The Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games. As summer moves into autumn the Castlepollard 5KM can be considered as the 'unofficial ending' of summer evening road racing in the midlands as with the fading light of the late summer evenings there are less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the show pieces of the race landscape is Tullynally Castle which provides almost 2.5KM of the race route. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks the mythical Lough Derravaragh. Irish folklore legend names the lake as where the Children of Lir, who were turned into swans, were destined to live for 300 years. Tullynally Castle is still a family home to this day. It provides a dramatic and historic setting for the race.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. Underfoot conditions are good on well maintained tarmacadam roads. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb (passing the Castle) before the race rejoins its outgoing path for the final 1.5KM of the race. The final 1100M from the archway gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
This year almost 350 took part in the race. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here. There is a great community atmosphere about the race. A very find spread of refreshments are provided afterwards in the Hotel Castlepollard where prize-giving and chatting goes on late into the evening.
Electronic Timing and Event Management are provided by Popup Races and their website is www.popupraces.ie
One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
Photographs
We have a full set of photographs from tonight's race which is available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157710303936276
We have photographs from seven of the previous Castlepollard 5KM road races - 2012 was missed. They are available here on Flickr:
Our Flickr Photographs from Castlepollard 5KM 2018: www.flickr.com/photos/peterm7/albums/72157700238076885
Our Flickr Photographs from Castlepollard 5KM 2017: www.flickr.com/photos/peterm7/albums/72157684179507162
Our Flickr Photographs from Castlepollard 5KM 2016: www.flickr.com/photos/peterm7/albums/72157672157788196
Our Flickr Photographs from Castlepollard 5KM 2015: www.flickr.com/photos/peterm7/sets/72157656750245820
Our Flickr Photographs from Castlepollard 5KM 2014: www.flickr.com/photos/peterm7/sets/72157646408272725
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157635070120285
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006
This is a photograph from the second running of the Athlone Flatline Half Marathon ("The Flatline") was held at Athlone, Co. Westmeath, Ireland on Saturday 14th September 2013 at 11:00. There was beautiful weather for the event which started and finished at St. Aloysius College near the Canal Banks area of the town just slightly west of the River Shannon. This event was professionally organised and the very flat course meant that many runners both seasoned and new to the scene achieved season or personal bests. Almost 1,000 participants successfully completed the event in the beautiful September sunshine. Everyone involved must be congratulated for the flawless running of the event. This event is sure to go from strength to strength over the coming years. The "Flatline" also included an option for a full marathon which was fully supported by the Marathon Club of Ireland and the East of Ireland Marathon Series. This allowed participants to run the Flatline twice for the qualifying marathon distance. About 80 people took part.
This is a photograph which is part of a larger set of photographs taken at the start and finish of "The Flatline" 2013. The URL of the main set is www.flickr.com/photos/peterm7/sets/72157635495089498/. There are some photographs of the finishers of the marathon.
For reference the satellite navigation Coordinates to the event HQ are (Longitude: -7.948153, Latitude: 53.420575)
Event management and timing was provided by PRECISION TIMING. See their website at [www.precisiontiming.net/]
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: Such is the popularity of the race this year that registration closed for the race in mid-August 2013. There were well over 1,000 participants who took to the start line.
Weather: The weather on the day was almost perfect for running. The runners were bathed in warm September sunshine for the duration of the race and into the early afternoon. In the sections of the race out towards Clonown and around the Bord na Mona areas there was a stiff breeze but nothing major.
Course: "The Flatline" ceratinly lived up to its name. It is as flat a course as one is likely to find. A garmin connect gps trace of the route is provided here [connect.garmin.com/activity/199678412] Geographically the course spends much of the race in County Roscommon with only the first and last kilometers actually in County Westmeath. This gives geographically inclined runners the novel opportunity to race in two Irish provinces in one race. The course had distance markers at every kilometre and mile along the way. There were official pacers provided by the race organisers.
Location Map: Start/finish area and registration etc on Google StreetView [goo.gl/maps/8qCes] - Ample parking was supplied with some over-flow car-parking options also available.
Refreshments: An Alkohol Frei bottle of Erdinger was provided to every finisher as they crossed the line. Light refreshments were served.
Some Useful Links
Precision Timing Results Page: www.precisiontiming.net/result/racetimer
Facebook Event Page for the 2013 www.facebook.com/events/495900447163378/ (Facebook logon required)
Boards.ie Athletics Discussion Thread about the 2013 race: www.boards.ie/vbulletin/showthread.php?t=2056984967
Boards.ie Athletics Discussion Thread about the 2012 race: www.boards.ie/vbulletin/showthread.php?p=80049447
GARMIN GPS Trace of the Route for 2013: connect.garmin.com/activity/199678412
Race HQ Venue in 2013: St.Aloysius College Athlone : staloysiuscollege.ie/
Race Sponsors Vision Express Athlone: www.visionexpress.ie/opticians/opticians-in-republic-of-i...
Action Physio Athlone: www.actionphysio.ie/
Race photographs from 2012's Flatline - supplied by PIXELS PROMOTIONS: pixelspromotions.zenfolio.com/p126168889 (on route) and at the Finish line pixelspromotions.zenfolio.com/p31872670 - please note these are not our photographs (see www.pixelspromotions.com/).
How can I get full resolution copies 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 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 must 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 when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these 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
South Stack is famous as the location of one of Wales' most spectacular lighthouses, South Stack Lighthouse. It has a height of 41 metres (135 feet). It has a maximum area of 7 acres.
Until 1828 when an iron suspension bridge was built, the only means of crossing the deep water channel on to the island was in a basket which was suspended on a hemp cable. The suspension bridge was replaced in 1964, but by 1983 the bridge had to be closed to the public, due to safety reasons. A new aluminium bridge was built and the lighthouse was reopened for public visits in 1997. Thousands of people flock to the lighthouse every year, thanks to the continued public transport service from Holyhead's town centre.
There are over 400 stone steps down to the footbridge (and not, as local legend suggests, 365), and the descent and ascent provide an opportunity to see some of the 4,000 nesting birds that line the cliffs during the breeding season. The cliffs are part of the RSPB South Stack Cliffs bird reserve, based at Elin's Tower.
The Anglesey Coastal Path passes South Stack, as does the Cybi Circular Walk. The latter has long and short variants; the short walk is 4 miles long and takes around two hours to complete. Travelling from the Breakwater Country Park, other sites along the way are the North Stack Fog Signal station, Caer y Tŵr, Holyhead Mountain and Tŷ Mawr Hut Circles.
Tuberculosis is an infectious bacterial disease that most commonly affects the lungs. It is transmitted through close contact with someone who is currently affected. The rate of transmission increases in instances like this one where many people live in a densely populated living quaters.
La tuberculosis es una enfermedad infecciosa bacteriana que afecta más comúnmente a los pulmones. Se transmite a través del contacto cercano con una persona que se ve afectada actualmente. La tasa de transmisión aumenta en casos como éste, donde muchas personas viven en un quaters de vida densamente pobladas.
Smile
is the greatest possesson, try to change the world
with your Smile
but do not let the world change your Smile
#Good_Morning..💜..
Oslo is the capital and most populous city of Norway. It constitutes both a county and a municipality. The municipality of Oslo had a population of 709,037 in 2022, while the city's greater urban area had a population of 1,064,235 in 2022 with a metropolitan population estimated at 1,546,706 in 2021.
During the Viking Age, the area was part of Viken. Oslo was founded as a city at the end of the Viking Age in 1040 under the name Ánslo, and established as a kaupstad or trading place in 1048 by Harald Hardrada. The city was elevated to a bishopric in 1070 and a capital under Haakon V of Norway around the year 1300. Personal unions with Denmark from 1397 to 1523 and again from 1536 to 1814 reduced its influence. After being destroyed by a fire in 1624, during the reign of King Christian IV, a new city was built closer to Akershus Fortress and named Christiania in honor of the king. It became a municipality (formannskapsdistrikt) on January 1, 1838. The city functioned as the capital of Norway during the 1814-1905 union between Sweden and Norway. From 1877, the city's name was spelled Kristiania in government usage, a spelling that was adopted by the municipal authorities in 1897, although 'Christiania' was also used. In 1925, the city was renamed Oslo.
Oslo is the economic and governmental center of Norway. The city is also a hub of Norwegian trade, banking, industry and shipping. It is an important hub for maritime industries and maritime trade in Europe.
Information from: en.wikipedia.org/wiki/Oslo
This is a photograph from the second running of the newly situated Irish 3/4 Marathon (formerly the Athlone 3/4) which was held in Longwood, Enfield, Co. Meath, Ireland on Sunday 8th of October 2017 at 10:00. The event is positioned perfectly in the calendar as a key training race before the Dublin City Marathon at the end of the month. This year was the second year that the event was held in Longwood, Co. Meath which is now well known for its hosting of the Longwood 10KM/5KM annual races and a host venue for East of Ireland Marathon series marathons on a bi-annual basis. The race started and finished at Longwood GAA club just outside the village of Longwood. It followed an anti-clockwise course around the beautiful picturesque countryside of south Meath. The course went through the townlands of Longwood, Castlerickard, Killyon, Hill-of-Down, Anneville and Ashfield Clonard, Blackshare, Stoneyford and back to Longwood. The river Boyne and Blackwater were crossed as was the Royal Canal and the Dublin-Sligo Railway line at Hill-of-Down. Overall this was a very different course to the previous years in Athlone. The overall elevation of the course works out at 3/4 of the total elevation of the Dublin Marathon course. What most stood out about today's race was the course and how the countryside around it looked on a beautiful almost perfect Autumn morning. There was a large local effort with stewarding and many local people watched from their gardens as the race passed by. The organisation of the race was first class with every detail taken care of from the start until the finish. There was some rain showers from about 13:00 onwards but these soon passed.
There is a large set of photographs from today's race - taken at the start in Longwood village and the 25KM mark outside near our home.
They are available on our Flickr photostream at the following set. www.flickr.com/photos/peterm7/albums/72157687694983023
Photographs from 2016's race are available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157673672195732
NOTE: These are completely unofficial photographs are not connected commercially with the Irish 3/4 marathon event photography. Please check the Official Website www.irish3quartermarathon.ie/ for official photographs and other media.
USING OUR PHOTOGRAPHS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to 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.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
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 when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. 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 are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I 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 or in other circumstances 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.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
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 http://www.flickr.com/peterm7/sets
Ramelton is situated at the mouth of the River Lennon, 11 km north of Letterkenny and 4 km south of Milford, on the western shores of Lough Swilly. The town is named from Ráth Mealtain, (Irish for "the fort of Mealtan"), an early Gaelic chieftain. The fort is said to lie under the ruins of a medieval castle of the O'Donnells, the ruling family of West Donegal before their exile to mainland Europe in 1607.
Ramelton was settled by English and Scots planters during the Ulster Plantation of the 17th century and is the site of the oldest Presbyterian church in Ireland. [Wikipedia]