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This is the inner barrier around the "Green Zone", an area where Labour Party delegates, lobbyists and politicians can roam free in their own self-contained environment, safe from meeting the public.
The screen is perforated. I tried peering through it (see previous image to see that this didn't work, and agitated the guards)
The Stop The War images are a little of out of order in my photostream, so they are best viewed in the Set here.
This photo is from my mother's collection. I think it was taken somewhere in Mississipi. The back is stamped "Jiminez Studios - Sept 10, 1936" (update: Jiminez Studios was in Ashland KY). I think my father was working in Mississippi on highway construction. Don't know who the lady is on the left, but my mother (Katherine Waggoner Slone) is in the middle and my father (Odes Slone) is on the right. Also not sure about the baby, but it might have been my oldest sister, Maude Ruth Slone Fraley, who was born in March 1936. Dad was 29 and Mom was 26 at the time.
The building appears to be a country store or possibly a cafe, and notice that the Texaco gas, sold from the "visible" style pump, was 21 cents per gallon.
This is a photograph from the 9th annual Braveheart 5KM Trail Run which is part of the 2018 KIA race series which was held in the wonderful historic grounds of Trim Castle, Trim, Co. Meath, Ireland at 20:00 on Friday 15th June 2018. This unique event is staged along the banks of the Boyne and takes in many of the medieval sites of the town through the Porchfields. The heritage trails of Trim are an excellent leisure resource, and always prove popular with runners. Trim Castle, the largest Anglo-Norman castle in Ireland, was constructed over a thirty-year period by Hugh de Lacy and his son Walter. Hugh de Lacy was granted the Liberty of Meath by King Henry II in 1172. This race is the envy of many in Ireland as it is an opportunity for runners to run in the grounds of one the world's most historic castles. This year over 700 runners took part. The race setting presents itself as one of the most unique in Ireland. While the evening was cool by summer weather terms it was perfect for racing. Congratulations to everyone in Trim AC for staging an incredible night of racing. The bright summer evening made the event one which was raced in the most perfect of settings. From humble beginnings this race is now one of the best attended and popular 5KM races in the region.
Luis Eladio Pérez is an ex-Senator of Colombia, who was taken hostage by the FARC on the 10th June 2001 and set free on the 28th of February 2008. He spent four of those years in the same camp as Ingrid Betancourt, in the Colombian jungle, and they became very close friends. He last saw Ingrid on the 4th February 2008, and is thus the person who brings us the latest eye-witness account of her conditions of hostage and state of health.
This set of photos was taken in Paris on Wednesday the 19th March 2008. He came to Paris in order to meet with French President Sarkozy and present a humanitarian accord plan which we all hope shall lead to the setting free of Ingrid Betancourt and the other hostages held by the FARC.
While in Paris, Senator Pérez met with the members of the Support Committee for Ingrid Betancourt & the Other Hostages Held in Colombia – these are images of that meeting. He confirmed Ingrid’s very bad health, her demoralisation, and the dreadful conditions in which she is being held. He came across as a very humane and humble man, who is trying his best to help Ingrid and the other hostages find their freedom, and to try and settle the situation in Colombia. There were moments of great sadness (for example when the conditions of detention, such as being tied by the neck to posts using chains), and thankfully others when smiles were also possible (such as when he sang the first verses of the French national anthem ‘La Marseillaise’, which Ingrid had taught him). There was a real exchange between human beings, not all speaking the same language but finding means to communicate. Naturally, he did not disclose any information concerning the confidential discussions taking place.
In this dire situation, his plan is a very thin life-line for those being held and for their families.
The international community and especially the FARC and the governments of Colombia, Venezuela, France, the United States of America & the European Union need to make a real effort to get results at this fragile moment.
We as citizens of these countries have our role to play by showing our governments that we will not accept the cynicism of a Real-politik which will ultimately cost the lives of innocent men and women – by demonstrating our support for those held hostage, by showing those in power that they must listen to those who voted them into that power; we can make a difference.
On Sunday the 6th April, marches are being organised across France in support of Ingrid and the other hostages. Everyone attending is asked to wear white, as a symbol of hope. There isn’t much time left and these marches are important as a final civic and popular message to the FARC and governments that the current situation must be resolved and fast.
In Paris, the march sets off at 14h30 (2:30pm) in front of the Opera House of Paris (Opera Garnier) and shall end in front of the Elysée Palace, where the voice of ordinary people, that is to say our voice; shall be physically and symbolically presented in the form of the petition which close to 600,000 people have signed in France alone. If you are in Paris that day, please come join us and make your voice heard.
Links:
www.agirpouringrid.com (official site, in French - soon in English & Spanish)
www.betancourt.info (multi-lingual)
www.saveingrid.blogspot.com (my blog in support of Ingrid - in English)
Jayden finally get's a whiff of his poop and can understand how we feel....just kidding, we didn't even know he made this face until after we reviewed the pics. I tried not to take it personally because he never makes that face when he takes pics with Agnes!
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency. www.emergencyrooms.org
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
Gastown is the original settlement that became the core of the creation of Vancouver, British Columbia, Canada. Currently, it is a national historic site and a neighbourhood in the northwest end of Downtown Eastside, adjacent to Downtown Vancouver.
Its historical boundaries were the waterfront (now Water Street and the CPR tracks), Columbia Street, Hastings Street, and Cambie Street, which were the borders of the 1870 townsite survey, the proper name and postal address of which was Granville, B.I. ("Burrard Inlet"). The official boundary does not include most of Hastings Street except for the Woodward's and Dominion Buildings, and stretches east past Columbia St., to the laneway running parallel to the west side of Main Street.
Gastown was Vancouver's first downtown core and is named for "Gassy" Jack Deighton, a Yorkshire seaman, steamboat captain and barkeep who arrived in 1867 to open the area's first saloon. The town soon prospered as the site of Hastings Mill sawmill, seaport, and quickly became a general centre of trade and commerce on Burrard Inlet as well as a rough-and-rowdy resort for off-work loggers and fishermen as well as the crews and captains of the many sailing ships which came to Gastown or Moodyville, on the north side of the inlet (which was a dry town) to load logs and timber. The Canadian Pacific Railway terminated on piles on the shore parallel to Water Street in 1886. From this the area became a hive of warehouses. Carrall Street was particularly swampy owing to it being low ground between False Creek and Burrard Inlet. Bridges overcame this obstacle, and the low ground and beach was slowly filled in with refuse.
Gastown is a mix of "hip" contemporary fashion and interior furnishing boutiques, tourist-oriented businesses (generally restricted to Water Street), restaurants, nightclubs, poverty and newly upscale housing. In addition, there are law firms, architects and other professional offices, as well as computer and internet businesses, art galleries, music and art studios, and acting and film schools.
Popular annual events that take place on the cobblestone streets of Gastown include the Vancouver International Jazz Festival and the Global Relay Gastown Grand Prix international bicycle race.
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Wyoming big sagebrush steppe in the Taos region includes an understory that is commonly dominated by Agropyron cristatum, crested wheatgrass. Like in much of the sagebrush steppe to the north, crested wheatgrass was likely intentionally sown. Cheatgrass is absent from such sagebrush steppe yet abundant roadside.
This is a combination of the Avenger Super Clamp and the Zacuto Zicromount. The Zacuto Zaffer allows users to attach 15mm rods or Zamerican arms to mount monitors, lights, hard drives, etc. It’s able to clamp onto a variety of gear including tripod legs and handles, with Zacuto quick-release.
Avenger Super Clamp Specifications:
-High performance aluminum
-Clamping system achieved via a metal knob ensuring extra solidity
-Clamp Range: .51"-2.1" (round tube): 2.1"
-Load Capacity: 33 lbs
-Material: Aluminum
-Weight: 0.99 lbs
Zicromount Specifications:
-Includes a 1/4 20" screw
-Has a 15mm hole to mount an articulating arm or 15mm rod end to give you quick release action
This is part of a school project and my product is VitaminWater.
Inspired by Sharpie ICast billboard and Coca-Cola's Velcro Poster, this advertisement is an interactive advertisement.
I want to market VitaminWater as a drink for everyone(psychographic) and not just for a specific age group or profession.
The original advertisement will look like those on the left and when it's doodled on it will look like something on the right.
Body copy writes "Vitamin water knows that on some days, you feel like crap, and on others you wished you were a rockstar.
Go ahead, express yourself on the bottle.
Doodle your personality"
Thus it invites people to doodle or express their personality on the bottle. Whatever character is drawn on the bottle is revealed in the tagline "For the ______in you"
There is a slight colour difference in those on the left and right as those on right are printed and then scanned in.
ivanka trump
ivanka trump, politics, powerful, world-http://picsolf.com/2017/06/ivanka-trump-powerful-woman-world/
The Motherland Calls (Russian: Родина-мать зовёт!, romanized: Rodina-mat' zovyot!) is a colossal neoclassicist and socialist realist war memorial sculpture on Mamayev Kurgan in Volgograd, Russia. Designed primarily by sculptor Yevgeny Vuchetich with assistance from architect Yakov Belopolsky, the concrete sculpture commemorates the casualties of the Battle of Stalingrad, and is the predominant component of a larger monument complex, which includes several plazas and other sculptural works. Standing 85 metres (279 ft) tall from the base of its pedestal to its peak, the statue was the tallest in the world upon its completion in 1967, and is the tallest statue in Europe if excluding the pedestal. The statue, along with the rest of the complex, was dedicated on 15 October 1967, and has been listed as a tentative candidate for UNESCO's list of World Heritage Sites since 2014.
The sculpture depicts a female personification of Russia, commonly referred to as Mother Russia. She wears a windswept shawl resembling wings, and holds a sword aloft in her right hand. Her left hand is extended outward, as she calls upon the Soviet people to battle. The statue was originally planned to be made of granite and to stand only 30 metres (98 ft) tall, with a design consisting of a Red Army soldier genuflecting and placing a sword before Mother Russia holding a folded banner, but was changed in 1961 to be a large concrete structure at nearly double the height, a decision that was subject to criticism from Soviet military officials and writers. It was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike.
The construction of The Motherland Calls began in 1963, and was led by structural engineer Nikolai Nikitin. The project faced numerous challenges, including the assembly of the statue's framework and its intricate features, which were compounded by the statue's size. Delays were caused by cold weather and unforeseen geological issues, necessitating extensive foundation reinforcement and relocation of water systems. Additional complications arose with the statue's sword, which was required to be redesigned due to problems with wind resistance. Despite these obstacles, the memorial was completed in 1967 for the 50th anniversary of the October Revolution.
After its dedication, the sculpture underwent numerous alterations and restoration attempts. In 1972, the statue's sword was replaced with a higher-grade steel alloy version to reduce wind resistance, and by 1986, it had tilted significantly from its original axis. Concerns about the statue's structural integrity arose by the early 21st century, with the statue in disrepair and at risk of collapsing. Comprehensive restoration efforts began later in the century, and by 2020, the monument had undergone extensive restoration, although post-renovation critiques and new structural issues have since arisen.
The Battle of Stalingrad was a major conflict between the Soviet Union and Nazi Germany on the Eastern Front of World War II, fought over six months from July 1942 to February 1943. The battle resulted in a decisive Soviet victory but came at a tremendous cost, with over a million estimated Soviet deaths. The battle was quickly mythologised in Soviet culture, and was widely referred to as the turning point in the war in Soviet history textbooks.
The idea of commemorating the Soviet victory in the Battle of Stalingrad originated in the final years of the war. Soviet politicians and artists had considered designs for monuments to the battle prior to the war's end, and the first museum honoring the Great Patriotic War was established as early as March 1943. In 1944, the publication Arkhitektura SSSR issued a number of articles detailing possible designs for memorials. Following the end of the war in 1945, several small-scale obelisks and commemorative plaques were erected across the Soviet Union; however, larger plans for monuments were curtailed by leader Joseph Stalin, who sought to refocus attention on emerging Cold War conflicts, virtually prohibiting all public observation of the war by 1948.
In 1948, sculptor Yevgeny Vuchetich, a member of the Academy of Arts of the Soviet Union, began discussing plans for a monument for the Battle of Stalingrad with architect Yakov Belopolsky, whom he had previously collaborated with on the development of the Soviet War Memorial in Berlin's Treptower Park.[6] The project was intended to be built atop Mamayev Kurgan, a burial mound that was the site of intense conflict during the battle. Vuchetich started petitioning high-ranking Soviet officials for permission to design the monument in the early 1950s, including Politburo member Georgy Malenkov.[8] In a letter to Malenkov dated December 1951, Vuchetich claimed that he had received multiple inquiries from veterans and family members of those who died in the war about the absence of a memorial on Mamayev Kurgan.
After Stalin's death in March 1953, plans for a memorial on Mamayev Kurgan were revitalised. In March 1954, the Council of Ministers announced a competition for the design of a "State Museum of the Defense of Tsaritsyn-Stalingrad", which would include a large panoramic painting depicting the battle; by this time, Vuchetich and Belopolsky had already finalised drafts for the project's structural designs. On 23 January 1958, the Council of Ministers declared that the construction of "a memorial-monument in the city of Stalingrad commemorating victory over the German fascist force" would be overseen by a committee led by Vuchetich and comprising Belopolsky and Anatoly Garpenko, an artist and Red Army veteran.
Vuchetich and Belopolsky's initial designs for the project were ambitious and took much of their inspiration from the memorial at Treptower Park. The entrance to the monument was planned to feature a triumphal arch that led into a granite staircase, followed by a brick staircase in an avenue of Lombardy poplar trees. A second granite staircase would lead to a circular plaza, with a large granite statue of a Russian man titled Stand To the Death!. Behind the statue, a final granite staircase would lead to a plaza with an entrance to an underground complex called the "Panorama". A cupola-shaped hall would include an eternal flame to memorialise the heroes of Stalingrad, a sculpture of a man shaping a sword into a ploughshare, and walls engraved with the names of those who died in the battle. An exit at the end of the hall led to a second observation platform with a panoramic painting depicting a prosperous post-war Stalingrad.
The principal component of the project was to be a colossal statue at the top of Mamayev Kurgan; at the statue's base, a foyer would be built in order to allow visitors to honor the dead with commemorative gifts. The statue was designed according to the principles of neoclassicism and socialist realism, both artistic styles that Vuchetich specialised in. The original plan for the sculpture was to have it constructed entirely of granite, with a design featuring a Red Army soldier genuflecting and placing a sword before a female personification of Russia, commonly referred to as Mother Russia, holding a folded banner; this was later changed to be a concrete statue of a lone Mother Russia wearing a windblown shawl resembling wings and holding a sword aloft in her right hand, with her left hand extended outward as she calls upon the Soviet people to fight against the enemy. The design was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike. Committee members initially suggested that the sculpture should be dressed in traditional Russian clothing. Vuchetich objected to the proposition, arguing that a traditional costume would diminish the idea of the battle as an "international event" and defy the neoclassical style he had envisioned for the statue. The sculpture was initially planned to be 30 metres (98 ft) tall from its pedestal to its peak; however, Soviet leader Nikita Khrushchev ordered it to be taller than the 46 metres (151 ft) tall Statue of Liberty in a display of dominance over the United States, their geopolitical rival during the Cold War. The height of the statue alone was increased to 52 metres (171 ft), nearly double the originally planned height, a decision that further increased the project's cost, which had already substantially overrun its budget. Valentina Izotova, a 26-year-old waitress at a local restaurant, was chosen by Vuchetich to be the model for the sculpture, while the face of the statue is believed to have been based on that of Vuchetich's wife.
The choice to make The Motherland Calls the primary feature of the monument complex was met with derision from Soviet military officials, including generals Andrey Yeryomenko and Mikhail Shumilov, who believed the statue's design would detract from the importance of the Panorama, which they thought to be the only structure that could faithfully represent the extent of the soldiers' experiences. Vuchetich rationalised the decision by asserting that the monument should reflect the widespread recognition of the Battle of Stalingrad as the turning point of the war, and marketed the project as one part of a sculptural triptych that would encompass the memorial at Treptower Park and a planned monument in Moscow. The planned sculpture also attracted criticism from Soviet writers, including author Viktor Nekrasov, who claimed that the monument would defile the historic site.
While construction on the rest of the monument complex began in 1961, work on The Motherland Calls did not start until late 1962. Vuchetich's final design for the sculpture was approved by the artist committee in December of 1962, and on 23 January 1963 the Council of Ministers ordered the development of blueprints for the statue. The process of building of the monument would prove to be more complicated than anticipated by its developers, primarily due to its size and the complexity of its details. After the Sculptural Group of the Artistic Fund requested to be relieved of their construction duties and the construction firm Volgogradgidrostroi expressed reservations about taking over the project, structural engineer Nikolai Nikitin was appointed to lead the construction efforts.
In 1963, Nikitin's design team began planning the construction process for the monument, finalizing their designs by August. Nikitin began his role as head of the team by emphasizing unresolved issues, specifically the lack of geological and hydrological studies that had been recommended earlier in the year. In a report to the Ministry of Culture made in September, he insisted that these studies were crucial due to the extensive construction already completed and the need to ensure the foundation's durability and stability, particularly given the presence of mellite clays on Mamayev Kurgan; the hill could only support the structure if the moisture of its soil remained low. Nikitin noted that the foundation, initially designed for a statue half the height, required thorough investigation to confirm its suitability. Almost immediately following his report, the Ministry sent a team to Volgograd to thoroughly investigate the issues.
Construction on The Motherland Calls commenced in November 1963. The statue, made entirely of reinforced concrete, used a special hydrostatic cement mixture that had been developed for the construction of the Ostankino Tower in Moscow. The statue's structure featured an internal framework of vertical and horizontal diaphragms forming cells that were 3 metres (9.8 ft) wide, 3 metres deep, and 4 metres (13 ft) tall, extending from its 2-metre (6.6 ft) pedestal to its neck. The external surface was a reinforced concrete membrane varying in thickness from 25 to 60 centimetres (9.8 to 23.6 in). Construction involved pouring concrete in 50-centimetre (20 in) increments into the forms shaping the vertical diaphragms, allowing each layer to harden before proceeding. Workers used small vibrators to settle the concrete, eliminate air pockets, and ensure even pours, working manually due to the tight spaces. Each 4-metre-high section was capped with a horizontal diaphragm, serving as the foundation for the next section. The statue's head, arms, and scarf were cast separately and attached using cantilevered junctions and large steel bolts, with the metal sword anchored in the right hand. Its stability was ensured by a complex system of steel tension cables to counteract wind forces, monitored by seismographic and meteorological instruments inside the structure. A radio transmitter was installed in the statue's head in order to transmit data on ground vibrations, surface temperatures, and humidity. Passageways within the statue were built to allow for interior inspections, while the exterior would be visually examined.
Initially, crews focused on assembling the metal framework designed to support the internal diaphragms, followed by welding the rebar for the external membrane and creating the plaster molds for the statue's surface. The concrete pedestal was poured, and by the end of 1963, the shawl pieces and the empty hand had been made and attached to the framework. However, the arrival of subfreezing temperatures halted further concrete pouring, which could not resume until the spring; plans were set to complete this phase of the construction by 1 July 1965. The statue's head and sword hand were then mounted, with the metal sword set to be installed later. During this period, the construction of other components of the memorial, such as the "Wall Ruins" and parts of the "Square of Heroes", progressed significantly.
Despite initial forecasts for a November 1965 opening, the construction timeline was extended into the late summer of 1966. This delay was partly due to emerging issues with the sculpture's foundation and the stability of the surrounding soil, prompting geological investigations that uncovered several critical deficiencies in the initial surveys. For instance, examinations of Mamayev Kurgan's substrata were only carried out to a depth of 9 metres (30 ft), rather than the necessary depth of at least 46 metres (151 ft). Additionally, there had been no measurement of the soil's compression under the statue's weight, nor was there any consideration of how the expansion of waterlogged clay could impact the foundation. No comprehensive assessment was made of potential groundwater sources, and no tests to evaluate the stability of the mound's slope were conducted. Addressing these issues required significant effort and expense; in early 1966, officials concluded that the only solution involved relocating all water supply pipes and reservoirs buried within the mound to a distance of at least 273 metres (896 ft) from the statue's base in order to improve drainage around the structure. The statue's foundation was reinforced, and several thousand cubic metres of extra earth were backfilled to create a levee around the pedestal. However, these adjustments necessitated the removal of several graves previously located at the hill's summit and a reduction in the size of the plaza where the Grief of the Motherland statue and the Pantheon, which had replaced the Panorama due to issues with the latter's foundation, were situated. These remedial efforts continued into 1967.
In May 1966, crews hoisted and secured the 14-ton, 28-metre-long (92 ft) sword into the statue's right hand. The sword was constructed from stainless steel and bolstered by plates made from titanium. However, by late August, strong winds revealed that the sword and its anchoring structure were subjected to lateral forces that had not been accurately accounted for. The sword's tip was observed wavering by nearly 1 foot (0.30 m) in either direction, posing a risk to the integrity of the joint connecting the arm to the metal framework. This movement resulted in visible cracks in the concrete surface around the area. A committee was formed to investigate further, who concluded that the existing sword needed replacement; temporary measures were applied, included cutting holes in the current sword and reinforcing the joint until a permanent fix could be implemented.
In February 1967, the Council of Ministers mandated that all remaining work on the memorial complex be completed by 15 October for the 50th anniversary of the October Revolution. Laborers worked throughout the spring and summer to meet this deadline, completing the earthen levee surrounding the main monument's pedestal, relocating the remaining leaking irrigation pipes and reservoirs, reinforcing the sword, installing sound and lighting systems across the complex, and setting in place the final sculptural and landscaping elements. The last major obstacle arose from complications with the Pantheon; as crews applied the mosaics to the Pantheon's interior walls in early 1967, they discovered inconsistencies in the glass tiles. With only four months until the scheduled opening, Vuchetich urgently sought intervention from officials to expedite a solution. Supplementary glass was quickly produced and delivered, and several hundred soldiers from a local garrison were enlisted to aid in construction. The crews worked diligently, completing the Pantheon's mosaic walls in under a month for the complex's opening. Once finished, the full sculpture stood 85 metres (279 ft) tall from the base of the pedestal to the top of the sword, and was the tallest statue in the world upon its completion; it remains the tallest statue in Europe.
The dedication of the memorial occurred on 15 October 1967. The event drew tens of thousands of people to Mamayev Kurgan, along with reporters from official press outlets, including Izvestia and Pravda, who wrote extensively on the memorial's scale and significance, describing the statue as a tribute to the heroism of Stalingrad's defenders. Vuchetich, along with the engineers and construction workers, were lauded for their contributions to the project, with reporters drawing parallels between their efforts and those of the soldiers who defended the city.
The opening ceremony featured speeches from party leaders and military representatives, who highlighted various themes such as the valor of those who fought in the battle, the importance of remembering past sacrifices, and the role of the Red Army in defeating fascism. Premier Leonid Brezhnev's keynote address framed the monument as a testament to Soviet unity and postwar recovery, while also emphasizing the USSR's commitment to peace and culture in contrast to American actions during the Vietnam War. The speeches collectively stressed the significance of the memorial in preserving the memory of the war and its heroes, and praised the Soviet people's enduring loyalty to the Communist Party and its Central Committee.
The years after the statue's dedication were primarily marked by alterations and several attempts at restoration. A year after the monument's opening, cracks had already started to form on the statue's surface. In order to preserve the monument, the head and hands of the sculpture were treated with a waterproofing agent once a year. In 1972, the statue's sword was replaced with a higher-grade steel alloy version featuring jalousie-like slits to reduce wind resistance. The sculpture's surface received a maintenance inspection in 1986; by this time, it had tilted 60 millimetres (2.4 in) from its original vertical axis since its initial assessment in 1966.
Between 2008 and 2009, a comprehensive safety and reliability program for the statue was developed and approved by the Russian Ministry of Culture. However, by 2009, concerns had been raised about the structural integrity of the structure; the statue's foundation was not anchored but held in place by its own weight, and was subsiding as a result of rising water levels. By this time, pieces of concrete had already begun to fall off the statue, nearly injuring passersby, and it had tilted approximately 20 centimetres (7.9 in), with further tilting risking collapse. Estimated costs to repair the structural issues were over 7 million USD (equivalent to $9,664,521 in 2023); however, efforts to secure funding for restoration were complicated by the Great Recession, and previous attempts to allocate government funds for restoration had been undermined by misappropriation. Large-scale restoration work on the sculpture funded by the federal budget began in 2010. Initial steps included replacing the piezometric network (a system for measuring pressure) to allow for hydrogeological monitoring, studying the reinforced concrete's condition, and analyzing cracks and other defects.
In 2014, the sculpture, along with the surrounding complex, was listed as a tentative candidate for UNESCO's list of World Heritage Sites. Following the 70th anniversary of the Soviet victory in the Great Patriotic War in 2015, the statue was set to undergo further renovation, with 99 of its 117 steel cables requiring replacement. By 2017, the cables had not yet been replaced, though plans were made to address the replacement along with other maintenance needs, with additional restoration efforts set to be conducted after the end of the 2018 FIFA World Cup, which was held in Russia. In late 2018, the construction company Glavzarubezhstroy completed preparations for the external restoration of the sculpture, which included creating access for special equipment, fencing off the area for material storage and worker camps, installing a two-metre fence around the sculpture, removing the lawn, setting up external lighting for the duration of the work, and digging trenches around the statue's base. In early 2019, the observation deck at the foot of the statue was closed off to visitors until March of the following year in order to allow for additional restoration work to its pedestal, surface, and framework. In May, the sculpture had begun to be covered in scaffolding, and the granite slabs at the pedestal were removed. Restoration on the external features of the monument continued from July to November, including cracks being filled in and the surface being painted with white lead. In November, the scaffolding and the pedestal's slabs were removed, with internal renovations to be finished before Victory Day on 9 May 2020, the 75th anniversary of the end of the battle. The restoration of the monument was completed in March 2020; however, due to the COVID-19 pandemic, the reopening ceremony that had originally been planned for Victory Day was postponed. A virtual tour of the structure and the surrounding complex was made available online in lieu of public visitations.
The monument complex was reopened on 24 June 2020, with a ceremony hosted by Volgograd governor Andrey Bocharov and Russian Minister of Culture Olga Lyubimova. In total, the cost of renovating the sculpture alone cost approximately 750 million rubles (equivalent to $11,296,607 USD in 2023). In August, Russian designer Artemy Lebedev criticised the statue's post-renovation appearance, arguing that the statue was in a worse condition than it had been before its restoration; his comments received criticism from residents of Volgograd, who insisted that he be punished for insulting the memory of those who died in the Battle of Stalingrad. By early 2021, dark spots and more cracks were noticed on the surface of the statue, prompting the filing of an application with a Moscow arbitration court requesting for Glavzarubezhstroy, which had not fulfilled its warranty obligations, to declare bankruptcy. Glavzarubezhstroy later filed for bankruptcy, was sued by the Battle of Stalingrad Museum-Reserve, and listed on a national registry of "unscrupulous suppliers". In a poll conducted by Bloknot Volgograd in March, a majority of Volgograd residents surveyed responded negatively to the question of whether the sculpture looked better after its restoration, with some calling on those who worked on the project to "restore it themselves, with their own money". An assessment of the reliability and safety of the structure was planned to be conducted in 2023. As of 2024, the dark spots on the statue were still noticeable.
The Motherland Calls is featured on the coat of arms and flag of Volgograd Oblast. Postage stamps and postcards depicting the sculpture were issued in the Soviet Union for the 20th anniversary of the founding of the International Federation of Resistance Fighters in 1971 and the 30th anniversary of the Battle of Stalingrad in 1973; a postcard with the statue was issued in Russia to commemorate the 60th anniversary of the battle in 2002. The sculpture also appears on a commemorative 100-ruble coin issued by the Central Bank of Russia in 2013, and a 3-ruble coin issued in 2015. There is a replica of the statue in the city of Manzhouli in Inner Mongolia, China, near the border between Russia and China.
South Houston Texas Southside Skate Park This guy is freestyle riding his unicycle 2009 Amateur Street Box Jumping Riding tricks unicyclist
This is the latest Malibu from Chevrolet, proof that some people are still buying cars. In fact, sales have exceeded expectations. The current Malibu sold more than 50% more units last year than in 2007, and increased GM's midsize market share to 8.4% from 5.7%. Meanwhile, the Camry and Accord percentages remained flat at about 21% and 17.5%, respectively.
Despite those impressive statistics, Chevrolet still has a way to go to catch up with the Japanese juggernauts, and GM's current state of impotence is no help.
Developed with more of a driver's car in mind - does the name Opel ring a bell? - the Malibu features a choice between a 2.4-liter inline four and a 3.6-liter V6. A hybrid version of the inline four is also available.
This is the birthday cake I did for a co-worker celebrating her 50th birthday. They wanted an over-the-hill cake, but I really didn't want a black and gray doom and gloom cake. It struck me that she was more of a person who would realize that the best is yet to come! The back of the cake was rather flat with a ladder made of pretzels, then over the hill is a water fall into a little lake, pine trees, flowers, butterflies, a turtle on a candy bar log, and candy rocks. Missing from the photos was the writing on the cake drum I added closer to the party that said on the back "Over the hill...", and on the front "Is where the fun is!"
This event is brought to the world by BonJamTV, One BIG Dancehall Reggae Love - www.BonJam.TV
Event: Courtney John's Listening Party
Location: 3Ten Lounge, New York, NY
Date: August 6, 2009
People all over the world are talking about Courtney John's new album entitled 'Made in Jamaica'. They are also talking about his new music video for track number 2 from his album, entitled 'Lucky Man'. On Thursday August 6, 2009, TSO Productions and the Coalition to Preserve Reggae (CPR) hosted an intimate private media and industry listening party for Courtney John. It was great from beginning to end. Courtney John is truly such a very talented and sensational artiste. The world has been waiting for him.
Buy three copies of 'Made in Jamaica'; One for your home, One for your car, and keep one in your safe.
For more information on Courtney John visit:
Contact TSO Productions here:
Sharon Gordon, President
TSO Productions, LLC
1199 Ocean Avenue, Suite 407
Brooklyn, New York 11230
718-421-6927/718-421-0522(fax)
Revenge Entertainment
Celebrate life with revenge.
Team Revenge
Revenge Media, Inc.
Bare entertainment™
Prambanan is a ninth century Hindu temple compound in Central Java, Indonesia, dedicated to the Trimurti, the expression of God as the Creator (Brahma), the Sustainer (Vishnu) and the Destroyer (Shiva). The temple compound is located approximately 18 km east of Yogyakarta city on the boundary between Yogyakarta and Central Java province; according to wiki. I believe it's a UNESCO World Heritage site too, but I'm not sure.
Java is the world's most densely populated regions (population: 136 million). It is home to 60% of Indonesia's population. Much of Indonesian history took place on Java; it was the centre of powerful Hindu-Buddhist empires, Islamic sultanates, the core of the colonial Dutch East Indies, and was at the centre of Indonesia's campaign for independence. The island dominates Indonesian social, political and economic life. More information on wikipedia.
This track is so small at 1/3 mile that they do not let fans in the infield. I wish they did then it would be the best track I have ever been to. I would gladly pay the extra money to get the shots from inside the turn.
I saw my first dirt track race here. Meme Desantis won and I learned later was not a fan favorite but it was a good race that night. I think at the time he was winning too much.
1. what is your first name? Stefan
2. what is your favorite food? Pasta
3. what high school did you go to? Fredrika Bremer
4. what is your favorite color? Blue
5. Who is your celebrity crush? Jennifer Aniston
6. favorite drink? Guinness -
7. dream vacation? Australia
8. favorite dessert? Strawberries with cream
9. what you want to be when you grow up? Forever Young
10. what do you love most in life? Waking Up
11. one Word to describe you. Creative
12. look up your flickr name and look for a dedication
a. Type your answer to each of the questions below into Flickr Search.
b. Using only the first page, pick an image.
c. Copy and paste the html into your blog or Flickr stream (the easiest way is to copy the URLs and then head over to the fd's flickr toys link above and use the mosaic maker)
1. Travel Gear Set 4: Frankfurt PaperWorld 2007, 2. 'stick' together, 3. Stockholm - Humlegården, Fredrika Bremer, 4. When I'm sleeping, I slow down my breathing...Living in dreams, dreams that come true...thinking of the color blue... ZZZzzzzzz..., 5. so i had this dream..., 6. Danny, 7. Quick overview, 8. Strawberry with Cream ~ Frutillas con crema, 9. Jump, 10. Ducks in the Mail: At the Post Office, 11. Latest Family Portrait, 12. Trouble Shaving
Created with fd's Flickr Toys.
Weston Super Mare is a seaside resort in North Somerset. It is located on the Bristol Channel, 18 miles south west of Bristol
The SeaQuarium aquarium located on the beach at Weston
Burano is an island in the Northern Venetian Lagoon, 11 Km northeastern far from Murano and Venice, to which it is connected by the Canale Bisatto - Canale Carbonera - Scomenzera San Giacomo's trail: this route from Venice to Burano takes 45 minutes by boat. This island is easily reachable also from Treporti (10 minutes) and Punta Sabbioni (30 minutes), two Cavallino-Treporti's resorts which overlook on the lagoon. Today in Burano there are around 3000 inhabitants, while the total number of people living in Venice and its islands is about 60000.
Epic Light The Highlands Landmannalaugar Iceland Fuji GFX100s Medium Format Fine Art Landscape Photography IS ! Elliot McGucken Master Fine Art Nature Photographer Fujifilm GFX 100s & FUJIFILM GF Lens !
"Beauty will save the world." --Dostoevsky
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Cáceres is in the autonomous community of Extremadura, Spain. In 2013 its population was around 96,000. The walled city has been declared a UNESCO World Heritage Site.
The old town (Ciudad Monumental) still has its ancient walls; this part of town is also well known for its multitude of storks' nests. The walls contain a medieval town setting with no outward signs of modernity, which is why many films have been shot there. The Universidad de Extremadura, and two astronomical observatories are situated in Cáceres. The city is also a seat of the Roman Catholic Diocese of Coria-Cáceres.
Cáceres was declared a World Heritage City by UNESCO in 1986 because of the city's blend of Roman, Moorish, Northern Gothic and Italian Renaissance architecture. Thirty towers from the Islamic period still stand in Cáceres, of which the Torre del Bujaco is the most famous. The old town is a beautiful place to stroll around and we were fortunate enough to be there on Good Friday night for Semana Santa processions, a real treat. Camping Casares is on the outskirts next to the football stadium and is excellent with a good bus service to the centre.
Mr. Tony Lake, is the Executive Director of the United Nations Children's Fund, author, academic, and former American diplomat, Foreign Service Officer, and political advisor of, paying an official visit to Ethiopia, at Afar Regional State, Semera March 17,2016.having field visit on Health, Nutrition and WASH projects in the region. ©UNICEF Ethiopia/2016/Nahom Tesfaye.
Mark Occhilupo is dejected as he walks back to the pavilion after his heat in the "Round of 64" at Surfest 2010. He was knocked out of the competition by Dane Bird.
As I did not get a great focus lock in this quick grab, you might prefer the high-pass-sharpen version here:
This is a photograph from the finish of the Tullamore Harriers AC "Quinlan Cup" Half Marathon which was held on Saturday 27th August 2016 in Tullamore, Co. Offaly, Ireland at 11:00. This is the fourth year of the event. The race is organised and promoted by Tullamore Harriers AC. The race starts on the Charleville Road just outside the entrance to Tullamore Harriers. The race proceeds south along the R421 and onto the N52 before taking a route onto local back roads. The race then completes a large rural road route before it joins to the R421 again and the final 1.5 miles are the same as the first mile of the race. The runners enter Tullamore stadium and complete one lap of the tartan track before the finish line. The course is challenging in places with some undulations along the route. But overall it is fair course. 2013 seen the first year of the event as the club commemorated the 60th Anniversary of the formation of Tullamore Harriers AC which today is one of Ireland's best known athletics clubs.
We have a large set of photographs from the start and the finish of today's race on our Flickr Photostream: www.flickr.com/photos/peterm7/albums/72157669860212434
The race was perfectly organised. The weather was good for racing but there was warm summer weather for the entire race which made for warmer than usual running conditions There were stewarts all along the route, 3 drink stations with bottled water, superb facilities, and great after-race refreshments. The stewards along the route provided great encouragement to all of the runners. Tullamore Harriers and the local community really worked together to make this is a wonderful event. There was also a relay option where teams of two can run approximately 10.5km each.
As mentioned above this race half marathon started in 2013 and celebrated the 60th Anniversary (a Diamond Anniversary) of the foundation of Tullamore Harriers AC. The club was formed in the town in November 1953. However, it was almost 1979 before facilities close to what we see today open in the present day site. Over 50 provincial and national athletics meetings are held at Tullamore Harriers every year. The facilities available combined with it's central geographical location joining routes from North, South, East, and West make it a very attractive venue. The half marathon today firmly brings competitive national road racing back to "The Harriers". The Quinlan Cup which will be awarded to the winning club team. For more than 40 years the Harriers Quinlan Cup was the most prestigious event on the road racing calendar. Having started as a cross-country race back in 1957, it became a road race in 1967 and remained so until 2000 when the race was last held. During its reign as a blue-ribband event the Quinlan Cup was won by the likes of John Treacy and Eamonn Coughlan.
Today, the facilities at Tullamore Harriers are the envy of many athletics clubs in Ireland. The facilities provided by Tullamore make it one of the premier venues for local and national level athletics in Ireland. There is an Olympic standard tartan track, a fully equipped gym, changing facilities, press and media facilities, meeting room spaces, etc. The club also provides a social center and niteclub which makes "The Harriers" a very well known on the local social scene. Esssentially, the town of Tullamore would be a different place if it weren't for the presence of Tullamore Harriers AC.
Our photographs from the 2015 Half Marathon on Flickr. www.flickr.com/photos/peterm7/albums/72157655560294853
Our photographs from the 2014 Half Marathon on Flickr. www.flickr.com/photos/peterm7/sets/72157646587496250/
Our photographs from the 2013 Half Marathon on Flickr: www.flickr.com/photos/peterm7/sets/72157635307620452/
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
"Being happy is easier than you think. Go slowly."
Marché aux puces Saint-Michel
7707 avenue Shelley, quartier Saint-Michel, Montréal.
August 20, 2017.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
This is a broken off tip of the female plant of the marine red alga Ceramium echionotum - Banded Pincer Weed - showing the tetrasporangia (egg producing areas) on the surface. When fertilised the sporophytes (zygotes) are released in to the water and float away to grow in to new plants, you can see three zygotes in the photo.
It is Ceramium echionotum because it has non-septate spines and the main axes are up to 300 μm in diameter, incompletely or completely corticated; periaxial cells 8–9; branching pseudodichotomous every 8–14 node. The tetrasporangia are formed on adaxial side, 1 per node.
Palla is a 5 year old DSH black kitty. Palla was an abandoned housecat who is very stressed by the shelter environment. He came to us with his sisters, who are also shy. Palla is having a hard time adjusting to his new environment, so please move slowly with him. After what he's been through it's hard to blame him for being reluctant to form new relationships. Try talking to him, he seems to respond to the sound of a calm, quiet voice. He also seems very interested in playing, though he hasn't actually played yet. Palla will most likely be a wonderful house cat for the right person who has some time and patient to dedicate to this neglected boy.
The golden eagle (Aquila chrysaetos) is one of the best-known birds of prey in the Northern Hemisphere. It is the most widely distributed species of eagle. Like all eagles, it belongs to the family Accipitridae. These birds are dark brown, with lighter golden-brown plumage on their napes. Immature eagles of this species typically have white on the tail and often have white markings on the wings. Golden eagles use their agility and speed combined with powerful feet and massive, sharp talons to snatch up a variety of prey (mainly hares, rabbits, marmots and other ground squirrels).
Golden eagles maintain home ranges or territories that may be as large as 200 km2 (77 sq mi). They build large nests in high places (mainly cliffs) to which they may return for several breeding years. Most breeding activities take place in the spring; they are monogamous and may remain together for several years or possibly for life. Females lay up to four eggs, and then incubate them for six weeks. Typically, one or two young survive to fledge in about three months. These juvenile golden eagles usually attain full independence in the fall, after which they wander widely until establishing a territory for themselves in four to five years.
Once widespread across the Holarctic, it has disappeared from many areas which are now more heavily populated by humans. Despite being extirpated from or uncommon in some its former range, the species is still fairly ubiquitous, being present in sizeable stretches of Eurasia, North America, and parts of North Africa. It is the largest and least populous of the five species of true accipitrid to occur as a breeding species in both the Palearctic and the Nearctic.
For centuries, this species has been one of the most highly regarded birds used in falconry, with the Eurasian subspecies having been used to hunt and kill prey such as gray wolves (Canis lupus) in some native communities. Due to its hunting prowess, the golden eagle is regarded with great mystic reverence in some ancient, tribal cultures. The golden eagle is one of the most extensively studied species of raptor in the world in some parts of its range, such as the Western United States and the Western Palearctic.
This is a composition of 3 images enhanced by digital blending. This was my first try with this technique and I'm quite happy about the results.
More on the technical side: 3 images exposed for 0,6s, 5s, and ~ 20s (all in bulb mode holding a wireless remote). The water waves in front were additionally exposed with a handheld Nikon SB-26 strobe in burst mode (20 flashes in 2 seconds at 1/64 power) which was fired several times during the 20s exposure to lighten the waves and have some detailed drops in there (thanks to Franz for that hint). Additionally I flashed into the water to have a lighter foreground.
Trinuma is a loyal agent of the secretive Order of Mata Nui. In cannon he didn't do too much, bought some weapons with Botar, got ambushed by Makuta Icarax and survived to tell the tale, dumped Vezon on Destral, survived Makuta's attack on Destral. Trinuma is just another soldier for the Great Spirit.
I was playing around with a torso design I wanted to use for a Glatorian MOC when I discovered this torso and thought it would be perfect for Trinuma. Of course Trinuma is supposed to be 9 feet tall, and this one is about the size of a Toa so... he's a little short, but the torso fits him, I think at least. His arm movement is restricted because of the torso though, and ultimately the reason I scrapped the wings on his 'kinetic energy weapon'. I'm particularly proud of the way I was able to recreate the shape of the red foot piece the original uses on the upper arm.
Thoughts, comments, suggestions?
Dumfries House is a Palladian country house in Ayrshire, Scotland. It is located within a large estate, around 3 kilometres (1.9 mi) west of Cumnock. Noted for being one of the few such houses with much of its original 18th-century furniture still present, including specially commissioned Thomas Chippendale pieces, the house and estate is now owned in charitable trust by the The Great Steward of Scotland's Dumfries House Trust, which maintains it as a visitor attraction and hospitality and wedding venue. Both the house and the gardens are listed as significant aspects of Scottish heritage.
The estate and an earlier house was originally called Lochnorris, owned by Craufords of Loudoun. The present house was built in the 1750s for William Dalrymple, 5th Earl of Dumfries, by John Adam and Robert Adam. Having been inherited by the 2nd Marquess of Bute in 1814, it remained in his family until 7th Marquess decided to sell it due to the cost of upkeep.
Due to its significance and the risk of the furniture collection being distributed and auctioned, after three years of uncertainty, in 2007 the estate and its entire contents was purchased for £45m for the country by a consortium headed by Charles, Prince of Wales, including a £20m loan from the Prince's charitable trust. The intention was to renovate the estate to become self-sufficient, both to preserve it and regenerate the local economy. As well as donors and sponsorship, funding is also intended to come from constructing the nearby housing development of Knockroon, a planned community along the lines of the Prince's similar venture, Poundbury in Dorset
This is a photograph from the inaugural running of the North West Kildare Athletic Club 5KM Road Race and Fun Run which was held at Edenderry Rugby Club, Coolavacoose, Carbury, Co. Kildare, Ireland on Sunday 19th April 2015 at 11:00. The rugby club is situated about 3 miles east of Edenderry, Co. Offaly on the R402 which connects Edenderry with Johnstownbridge, Co. Kildare and Enfield, Co. Meath. North West Kildare Athletic Club are a recently formed club and this race was a fundraiser for it's juvenille programme. The race was an out-and-back course which took runners from the rugby club out onto the R402 for 2.5KM and turned around and returned to the rugby club. Refreshments were served in the club house. Results are available on www.totaltiming.ie This is the first race organised by the newly formed club and overall the organisation was very good. In particular the stewarding of the R402 was very good ensuring the safety of all participants.
The full set of photographs from today's race is available on our Flickr photoset at www.flickr.com/photos/peterm7/sets/72157651643689438/
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