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Color Tales
3/17
The project should deal with colors and their effect on well-being, feelings, expression and thus on human psychology. When I realized that there was so much more to tell through this project, I began to develop it into an overarching concept. The language of images should not only shed light on the linear theories of the psychological effects of colors. The pictures with the help of the language of colors should tell a story, describe a situation, let thoughts wander into the future or the past, inspire our fantasies.
I used milk, acrylic paint, liquid soap and oil to create this amazing arts.
Every picture tells a story, but I desided not to explane the story behinde each one, but invite you to give your own meaning and your own feelings when you look at the picture. I belive that makes more fun:)
Enjoi it and I hope you’ll like it.
PS: have a good time and take care!
Considering the Atlas Mining Corporation (or Atlas Corporation) is the largest and wealthiest human commercial mining corporation in the observable universe, it's no wonder they take substantial consideration into ensuring that their assets are secure. In fact, the size of the Atlas Corporation's private security force rivals that of many localised policing authorities. As well as close to 135,000 security personnel, the Atlas Corporation takes pride in its elite force of Surveyors. These men, often war veterans or acclaimed Bounty Hunters, adopt a Lone Wolf mindset and lifestyle. Their official job as a Surveyor is to make planetfall on a prospective mining location and provide reconnaissance or even stake a claim on it. However, there are abundant rumours that Surveyors are also used to undertake any job too 'dirty' for standard Atlas personnel. Some entities have gone as far as attempting to persecute the Atlas Corporation for:
-A team of Surveyors rumoured to have engineered a coup on Zenith Alpha.
-A Surveyor assassinating a Government Official and his entourage on Thessia.
-A suspected bombing of rival mining corporation equipment over land disputes (the land in question was annexed by the Atlas Corporation)
-Multiple other alleged crimes.
Other, unofficial rumours suggest that the Atlas Corporation uses Surveyors to perform crackdowns on uncooperative personnel and executions without trial. - The Extranet Encyclopedia, 2145
Building up character to my overarching space storyline with ITO and general creepiness. I may do a backstory for the Atlas Corporation itself at some point. Don't hold your breath though.
Torso and legs of figure are a commission from Richard Goff.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Art all over Oak Bay , Beginning at the municipal hall on Oak Bay Avenue, you’ll discover the “sleeping giants,” a witty response to the oak trees that overarch the lawn. The giants are two huge acorns cast of concrete by Fred Dobbs and Nathan Scott.
Bronica S2A, Zenzanon MC 40mm 1:4, Rollei Infrared 400, Hoya R72 filter, dev'd in Rodinal 1+100, stand developed for ~1 hour
The Franks Casket is a small Anglo-Saxon whale's bone (not "whalebone" in the sense of baleen) chest from the early 8th century, now in the British Museum. The casket is densely decorated with knife-cut narrative scenes in flat two-dimensional low-relief and with inscriptions mostly in Anglo-Saxon runes. Generally thought to be of Northumbrian origin, it is of unique importance for the insight it gives into early Anglo-Saxon art and culture. Both identifying the images and interpreting the runic inscriptions has generated a considerable amount of scholarship.
The imagery is very diverse in its subject matter and derivations, and includes a single Christian image, the Adoration of the Magi, along with images derived from Roman history (Emperor Titus) and Roman mythology (Romulus and Remus), as well as a depiction of at least one legend indigenous to the Germanic peoples: that of Weyland the Smith. It has also been suggested that there may be an episode from the Sigurd legend, an otherwise lost episode from the life of Weyland's brother Egil, a Homeric legend involving Achilles, and perhaps even an allusion to the legendary founding of England by Hengist and Horsa.
The inscriptions "display a deliberate linguistic and alphabetic virtuosity; though they are mostly written in Old English and in runes, they shift into Latin and the Roman alphabet; then back into runes while still writing Latin". Some are written upside down or back to front. It is named after a former owner, Sir Augustus Wollaston Franks, who gave it to the British Museum.
A monastic origin is generally accepted for the casket, which was perhaps made for presentation to an important secular figure, and Wilfrid's foundation at Ripon has been specifically suggested. The post-medieval history of the casket before the mid-19th century was unknown until relatively recently, when investigations by W. H. J. Weale revealed that the casket had belonged to the church of Saint-Julien, Brioude in Haute Loire (upper Loire region), France; it is possible that it was looted during the French Revolution. It was then in the possession of a family in Auzon, a village in Haute Loire. It served as a sewing box until the silver hinges and fittings joining the panels were traded for a silver ring. Without the support of these the casket fell apart. The parts were shown to a Professor Mathieu from nearby Clermont-Ferrand, who sold them to an antique shop in Paris, where they were bought in 1857 by Sir Augustus Wollaston Franks, who subsequently donated the panels in 1867 to the British Museum, where he was Keeper of the British and Medieval collections. The missing right end panel was later found in a drawer by the family in Auzon and sold to the Bargello Museum, Florence, where it was identified as part of the casket in 1890. The British Museum display includes a cast of it.
The casket is 22.9 cm long, 19 cm wide and 10.9 cm high – 9 × 7+1⁄2 by 5+1⁄8 inches, and can be dated from the language of its inscriptions and other features to the first half of the 8th century AD. There are other inscriptions, "tituli" identifying some figures that are not detailed below and appear within the image field. The mounts in precious metal that were undoubtedly originally present are missing, and it is "likely" that it was originally painted in colour.
The chest is clearly modelled on Late Antique ivory caskets such as the Brescia Casket;[10] the Veroli Casket in the V&A Museum is a Byzantine interpretation of the style, in revived classical style, from about 1000.
Leslie Webster regards the casket as probably originating in a monastic context, where the maker "clearly possessed great learning and ingenuity, to construct an object which is so visually and intellectually complex. ... it is generally accepted that the scenes, drawn from contrasting traditions, were carefully chosen to counterpoint one another in the creation of an overarching set of Christian messages. What used to be seen as an eccentric, almost random, assemblage of pagan Germanic and Christian stories is now understood as a sophisticated programme perfectly in accord with the Church's concept of universal history". It may have been intended to hold a book, perhaps a psalter, and intended to be presented to a "secular, probably royal, recipient".
The front panel, which originally had a lock fitted, depicts elements from the Germanic legend of Wayland the Smith in the left-hand scene, and the Adoration of the Magi on the right. Wayland (also spelled Weyland, Welund or Vølund) stands at the extreme left in the forge where he is held as a slave by King Niðhad, who has had Wayland's hamstrings cut to hobble him. Below the forge is the headless body of Niðhad's son, whom Wayland has killed, making a goblet from his skull; his head is probably the object held in the tongs in Wayland's hand. With his other hand Wayland offers the goblet, containing drugged beer, to Beaduhild, Niðhad's daughter, whom he then rapes when she is unconscious. Another female figure is shown in the centre; perhaps Wayland's helper, or Beaduhild again. To the right of the scene Wayland (or his brother) catches birds; he then makes wings from their feathers, with which he is able to escape.
In a sharp contrast, the right-hand scene shows one of the most common Christian subjects depicted in the art of the period; however here "the birth of a hero also makes good sin and suffering". The Three Magi, identified by an inscription (ᛗᚫᚷᛁ, "magi"), led by the large star, approach the enthroned Madonna and Child bearing the traditional gifts. A goose-like bird by the feet of the leading magus may represent the Holy Spirit, usually shown as a dove, or an angel. The human figures, at least, form a composition very comparable to those in other depictions of the period. Richard Fletcher considered this contrast of scenes, from left to right, as intended to indicate the positive and benign effects of conversion to Christianity.
Color Tales
8/17
The project should deal with colors and their effect on well-being, feelings, expression and thus on human psychology. When I realized that there was so much more to tell through this project, I began to develop it into an overarching concept. The language of images should not only shed light on the linear theories of the psychological effects of colors. The pictures with the help of the language of colors should tell a story, describe a situation, let thoughts wander into the future or the past, inspire our fantasies.
I used milk, acrylic paint, liquid soap and oil to create this amazing arts.
Every picture tells a story, but I desided not to explane the story behinde each one, but invite you to give your own meaning and your own feelings when you look at the picture. I belive that makes more fun:)
Enjoi it and I hope you’ll like it.
PS: have a good time and take care!
Excerpt from Wikipedia:
The Zytglogge is a landmark medieval tower in Bern, Switzerland. Built in the early 13th century, it has served the city as guard tower, prison, clock tower, centre of urban life and civic memorial.
Despite the many redecorations and renovations it has undergone in its 800 years of existence, the Zytglogge is one of Bern's most recognisable symbols and the oldest monument of the city, and with its 15th-century astronomical clock, a major tourist attraction. It is a heritage site of national significance, and part of the Old City of Bern, a UNESCO World Cultural Heritage site.
When it was built around 1218–20, the Zytglogge served as the gate tower of Bern's western fortifications. At that time, the Zytglogge was a squat building of only 16 metres (52 ft) in height. When the rapid growth of the city and the further expansion of the fortifications (up to the Käfigturm) relegated the tower to second-line status at around 1270–75, it was heightened by 7 metres (23 ft) to overlook the surrounding houses.
Only after the city's western defences were extended again in 1344–46 up to the now-destroyed Christoffelturm, the Zytglogge was converted to a women's prison, notably housing Pfaffendirnen – "priests' whores", women convicted of sexual relations with clerics. At this time, the Zytglogge also received its first slanted roof.
In the great fire of 1405, the tower burnt out completely. It suffered severe structural damage that required thorough repairs. The prison cells were abandoned and a clock was first installed above the gate in the early 15th century, probably including a simple astronomical clock and musical mechanism. This clock, together with the great bell cast in 1405, gave the Zytglogge its name, which in Bernese German means "time bell".
In the late 15th century, the Zytglogge and the other Bernese gate towers were extended and decorated after the Burgundian Romantic fashion. The Zytglogge received a new lantern (including the metal bellman visible today), four decorative corner towerlets, heraldic decorations and probably its stair tower. The astronomical clock was extended to its current state. In 1527–30, the clockwork was completely rebuilt by Kaspar Brunner, and the gateway was overarched to provide a secure foundation for the heavy machinery.
The Zytglogge's exterior was repainted by Gotthard Ringgli and Kaspar Haldenstein in 1607–10, who introduced the large clock faces that now dominate the east and west façades of the tower. The corner towerlets were removed again some time before 1603. In 1770–71, the Zytglogge was renovated by Niklaus Hebler and Ludwig Emanuel Zehnder, who refurbished the structure in order to suit the tastes of the late Baroque, giving the tower its contemporary outline.
Both façades were again repainted in the Rococo style by Rudolf von Steiger in 1890. A 1929 competition produced the façade designs visible today: on the west façade, Victor Surbek's fresco "Beginning of Time" and on the east façade, a reconstruction of the 1770 design by Kurt Indermühle. In 1981–83, the Zytglogge was thoroughly renovated again and generally restored to its 1770 appearance.
The name of Zytglogge was first recorded in 1413. Previously the tower was referred to as the kebie ("cage", i.e., prison) and after its post-1405 reconstruction, the nüwer turm ("new tower").
The Zytglogge has an overall height of 54.5 metres (179 ft), and a height of 24 metres (79 ft) up to the roof-edge. Its rectangular floor plan measures 11.2 by 10.75 metres (36.7 by 35.3 ft). The wall strengths vary widely, ranging from 260 centimetres (100 in) in the west, where the tower formed part of the city walls, to 65 centimetres (26 in) in the east.
The main body of the tower is divided into the two-storey plinth, whose exterior is made of alpine limestone, and the three-storey tower shaft sheathed in sandstone. The shaft's seemingly massive corner blocks are decorative fixtures held in place by visible iron hooks. Below the roof, the cornice spans around the still-visible bases of the former corner towerlets. The two-story attic is covered by the sweeping, red-tiled, late Gothic spire, in which two spire lights are set to the West and East. They are crowned by ornamental urns with pinecone knobs reconstructed in 1983 from 18th-century drawings.
From atop the spire, the wooden pinnacle, copper-sheathed since 1930, rises an additional 15 metres (49 ft) into the skies, crowned with a gilded knob and a weather vane displaying a cut-out coat of arms of Bern.
The great hour bell, cast by Johann Reber, has remained unchanged since the tower's reconstruction in 1405. It has a diameter of 127 centimetres (50 in), a weight of 1,400 kilograms (3,100 lb) and rings with a nominal tone of e'. The inscription on the bell reads, in Latin: "In the October month of the year 1405 I was cast by Master John called Reber of Aarau. I am vessel and wax, and to all I tell the hours of the day."
When the great bell rings out every full hour, struck by a large clockwork-operated hammer, passers-by see a gilded figure in full harness moving its arm to strike it. The larger-than-life figure of bearded Chronos, the Greek personification of time, is traditionally nicknamed Hans von Thann by the Bernese. The wooden bell-striker, which has been replaced several times, has been a fixture of the Zytglogge since the renewal of the astronomical clock in 1530, whose clockwork also controls the figure's motions. The original wooden Chronos might have been created by master craftsman Albrecht von Nürnberg, while the current and most recent Hans is a 1930 reconstruction of a Baroque original. The bell-striker has been gilded, just like the bells, since 1770.
Below the hour bell hangs the smaller quarter-hour bell, also rung by a clockwork hammer. It was cast in 1887 to replace the cracked 1486 original.
Both principal façades, East and West, are dominated by large clock faces. The Zytglogge's first clock face was likely located on the plinth, but was moved up to the center of the shaft during the tower's 15th-century reconfiguration.
The eastern clock face features an outer ring of large golden Roman numerals, on which the larger hand indicates the hour, and an inner ring on which the smaller hand indicates the minutes. The golden sun on the hour hand is pivot-mounted so that it always faces up. Below the clock face one sees an idealised profile of city founder Duke Berchtold V of Zähringen. While the exact decoration of the clockface has varied from renovation to renovation, the current (post-1983) layout is generally that of 1770.
The western clock face has similar hands, but is an integral part of Victor Surbek's 1929 fresco "Beginning of Time". The painting depicts Chronos swooping down with cape fluttering, and, below the clockface, Adam and Eve's eviction from Paradise by an angel.
The dial of the Zytglogge's astronomical clock is built in the form of an astrolabe. It is backed by a stereographically projected planisphere divided into three zones: the black night sky, the deep blue zone of dawn and the light blue day sky. The skies are crisscrossed with the golden lines of the horizon, dawn, the tropics and the temporal hours, which divide the time of daylight into twelve hours whose length varies with the time of year.
Around the planisphere moves the rete, a web-like metal cut-out representing the zodiac, which also features a Julian calendar dial. Above the rete, a display indicates the day of the week. Because leap days are not supported by the clockwork, the calendar hand has to be reset manually each leap year on 29 February. A moon dial circles the inner ring of the zodiac, displaying the moon phase. The principal hand of the clock indicates the time of day on the outer ring of 24 golden Roman numerals, which run twice from I to XII. It features two suns, the smaller one indicating the date on the rete's calendar dial. The larger one circles the zodiac at one revolution per year and also rotates across the planisphere once per day. Its crossing of the horizon and dawn lines twice per day allows the timing of sunrise, dawn, dusk and sunset.
The painted frieze above the astronomical clock shows five deities from classical antiquity, each representing both a day of the week and a planet in their order according to Ptolemaic cosmology. From left to right, they are: Saturn with sickle and club for Saturday, Jupiter with thunderbolts for Thursday, Mars with sword and shield for Tuesday, Venus with Cupid for Friday and Mercury with staff and bag for Wednesday. The painting of the entire clock area was refurbished in 1983. Only the matte areas on the clock face are from the earlier coat of paint.
The clock dial has been dated to either the building phases of 1405 or 1467-83, or to the installation of the Brunner clockwork in 1527-30. Ueli Bellwald notes that the planisphere uses a southern projection, as was characteristic for 15th-century astronomical clocks; all later such clocks use a northern projection. This would seem to confirm the dating of the clock to the 1405 or 1467/83 renovations.
A clock is documented in this tower since 1405, when a new bell was installed.
She is the goddess Nut, daughter of breath, of water. She is clad in the heavens, and a shield against the dark.
I talked in yesterday's post about my lapis goddess -- this combination of Fallen God's Pure Abyss skin, their Damned tattoo, and the Kintsugi tattoo from kosmii. The outfit and jewelry followed, but those things, invoking the spirit of ancient Egypt? Yes, yes, I know Kintsugi is Japanese, but lapis is often shot through with gold pyrite, and it just looked right to me.
I'll admit I was a bit taken aback last Friday when I saw the exclusive skins for Alia Baroque's Fantasy Faire Jail-and-Bail -- two skins with the Damned tattoo built-in, one of which was a dark blue. HEY! That was my idea!
But I got Nut: Dynasty Night anyway. Nut (pronounced similar to 'newt') is the sky goddess, shielding the Earth from the perpetual Dark.
And you know? I'm rather glad I did. It's a much darker blue than the Pure Abyss skin, and is overlayed not just with the Damned hieroglyphs, but also the stars from FG's earlier Sidara skin. It's its own look.. and I love it, too.
Yeeeesss I still used the kintsugi golden fractures. Because I *still* think they're awesome.
I also added in the lovely Circe Aurora dress from [QE] Designs that I found. It's perfect, I saw it and new that it was just what I needed: Nut is clad in the very heavens. Circe is fitted for Maitreya, Legacy, Hourglass, Kupra, and Freya. No Lara Petite, but it fits well enough that I've got no complaints -- the style of the top means there's none of that embarrassing mid-boob 'pooch' that sometimes shows up on Lara clothing on small chests. Of course, if you've got a larger chest, that's no worry for you anyway! Circe also comes with a texture HUD with four primary variations and five different accent variations.
Oh, yeah, one other lovely goodie -- I was walking through ___ and saw this wonderful Glass Halo from Rainnn. The Radiant crown is a common feature in ancient Egypt, featured in art and statues, symbolising the warmth, the light, the power of the Sun. Nut in some images is shown with a Moon crown, and the Glass Halo, together with the wonderful Leight Anubis horns from A Fantastical Notion definitely evoke that Moon crown imagery.
What's the moral of the story? Dunno. How about "I never have gone wrong with a new exotic skin"? I don't know how often I wear a skin with hieroglyphs.... but I have another option, another look, and I love it. Maybe that's the moral of the story -- you never know until you experiment.
The Mists will return to the Faire, and this year will be another memory -- or many memories. I love every moment of Faire, and I love sharing the treasures that I find with you. I hope you get the chance to enjoy every last moment of Fantasy Faire, I know I will be.
Aloha! A hui hou kākou!
Aeon's pose is Isis 2M from Astalianda (Marketplace link) Faire store at Opet
Pictures were taken at Opet at Fantasy Faire 2022
The sim windlight was used
I am wearing:
•Fallen Gods -- Nut Dynasty Night event exclusive skin Faire store at Opet
•[QE] Designs -- Circe (Aurora) gown (Maitreya/Legacy/Hourglass/Kupra/Freya) (Marketplace link) Faire store at Sylvuselah
•Rainnn -- Glass halo (Gold & Frosted) Faire store at Sylvuselah
•A Fantastical Notion -- Leight (Anubis) horns Faire store at Gaalthyr
•aii & ego -- Starfire Angel Wings
•kosmii -- Kintsugi Cracks tattoo (BOM) tattoo Faire store at Bassett Towwn
•Spyralle - Scarab Beetle Deluxe Wearable
•RealEvil Industries --Dreamcatcher Bracelet & Rings
•Rama.Salon --Riri hair
•Mayfly -- Luminous Persian Blue eyes
•[GA.EG] -- Barbara mesh face
•[GA.EG] -- Glamour Lashes
•Maitreya -- Lara Petite mesh body, hands and feet
Color Tales
10/17
The project should deal with colors and their effect on well-being, feelings, expression and thus on human psychology. When I realized that there was so much more to tell through this project, I began to develop it into an overarching concept. The language of images should not only shed light on the linear theories of the psychological effects of colors. The pictures with the help of the language of colors should tell a story, describe a situation, let thoughts wander into the future or the past, inspire our fantasies.
I used milk, acrylic paint, liquid soap and oil to create this amazing arts.
Every picture tells a story, but I desided not to explane the story behinde each one, but invite you to give your own meaning and your own feelings when you look at the picture. I belive that makes more fun:)
Enjoi it and I hope you’ll like it.
PS: have a good time and take care!
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Reflect upon your present blessings -- of which every man has many, not on your past misfortunes, of which all men have some.
- Charles Dickens
From my three weeks in Namibia—
The overarching experience of my time in The Land of Dry Water is the sensation of being seen through while being seen. There was a sense of peacefully, perfect balance that could turn into something just the opposite in an instant. But most of the time calmness.
I have been working on an image project for the past 21 years. The “Tuning the Last Page” Project. The object is to photograph the echos of the past that are present today. My most recent trip to Namibia has started a new chapter in the project “Turning the Last Page: In the Land of Dry Water.”
I have wanted to travel to Namibia for over 40 years. It all started with the second CD I ever purchased Sanford Ponder’s Etoshia” In the Land of Dry Water.
AND to answer the next question YES I will be organizing a workshop there.
Shot with the Nikon Z6III using the 100-400mm S lens, Post processed with NX Studio and Photoshop CC Beta.and DxO’s NiK collection plug-ins.
#Nikon100 #nikonlove #kelbyone #photography #onOne#mirrorless #Z6II #NIKKOR 100-400mm S lens #NikonNoFilter #nxstudio #niksoftware #nikonUSA #Epson #nikonusa @NIKONUSA #Africa #Etoshia
#wacom #calibrite #onone #sunbounce #fineartphotography #kolarivision @nikonusa #shotonnikon
#DxO #iamgenerationimage #iamnikon #B&H #PhotogenicbyBenQ
#nikonLOVE #hoodman #Namibia #Africa #nikonnofilter #nikonambassador
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
The fielding of the Bell Boeing V-22 Osprey in 2007 signaled the further evolution of the United States Marine Corps' rotatory air wing. Indeed, the tiltrotor design of the Osprey meant it could achieve airspeeds comparable to fixed wing aircraft whilst retaining the ability to hover and vertically land in tight spaces. These abilities have become quintessential assets to the Marines as they compete with the Songun People's Army in both urban and biological jungles in the Pacific, and train to deter terrorism across the globe writ large. Indeed, contrary to some circles in the defense community that insist on creating large, redundant fleets of light and ultra-light airlifters to deliver personnel and critical supplies, the Marines have demonstrated that the dynamism of rotorcraft has only just been tapped into and will likely produce more bountiful fruit than conventional airframes in the future.
Unfortunately, like during any paradigm shift, there are losers and capability gaps that must be filled lest future development be arrested. Two such capability gaps became apparent once the Osprey hit the battlefield: Armed escort and close-air support. Although the venerable AH-1 has traditionally performed these tasks, the aging design is practically on its last legs and will only be able to eke out marginal performance improvements to keep pace with the Osprey. More or less, the AH-1 is too old and too slow for the new blood invigorating the Marines' air wing, making the helicopter a loser in this situation. What's more, proposals to arm the V-22 itself have hit numerous snags as the design was intended for quick infil and exfil with air dominance assured by platforms like the F-35B. As to be expected, however, reality is often wont to contradict such optimistic outlooks, thus leaving the Osprey and its occupants vulnerable in many scenarios.
Cue the Future Marine Armed Rotorcraft (FUMAR) program intended to add another layer of airborne lethality to the Corps. Given the issues listed above, the FUMAR tender was a call for the defense industry to find a suitable replacement for the Zulu Cobra and begin low-rate production by the latter 2030s. Many considered this initial timeline to be unrealistic given the mechanical complexity of tiltrotors and lack of broad industry expertise in crafting them. Bell Helicopter--coincidentally the AH-1's manufacturer--disagreed. Utilizing data from its participation in the Osprey's design and production, Bell produced a contender for the FUMAR program practically overnight (by industry standards).
Bell's overarching objective was to recycle as much as they could from the AH-1 as to purportedly drive down production and training costs, theoretically matching the Corps' preferred timeframe for initial fielding. Again, reality nevertheless had its own designs. For starters, Bell's offer, the YAV-25 Adder, handled entirely differently from the Zulu Cobra and required significant control layout redesigning in order to match the platform's new subcomponents. This meant the projected savings on retooling pilots and maintenance crews would be negligible or entirely nonexistent. Secondly, the General Electric T700 engines from the the AH-1 were shoehorned into nacelles on the YAV-25. This translated to maintenance difficulties given the new arrangement, as well as under-performance issues at the extreme end of the FUMAR's required performance envelope. Lastly, numerous fabrication errors continue to plague the mechanisms responsible for storing the Adder aboard ships. Often, the YAV-25's wing will get stuck in position or fail to lock when intended for flight. Additionally, the folding rotors stress the actuator disks, resulting in fewer flight hours when vertical capabilities are employed--an issue that continues to haunt the V-22 as well.
All told, the YAV-25 is best considered a stopgap solution if the American defense industry fails to produce a more promising design. Much ruckus has been made over a Boeing contender, though details are few and far between at this point. Still, the likelihood of Boeing participation is high considering the firm has been described as "upset" over Bell's supposed headlong monopolization of V-22 data. Animosity might displace necessity as the mother of invention in this case.
Lots to say about this build. Firstly, this was intended to be finished last year as ten-years-on-Flickr anniversary build, but I suck and didn't do that. Secondly, this is definitely a redux of a very old build, found here. It's okay to point and laugh at it, I promise. Thirdly, much inspiration is owed to Aleks' superb Cobra models found above. Although I'm sure they're mechanically different in many ways, cloning his aesthetic was essential for this build and maintaining some semblance of lore continuity. Lastly, many thanks to Evan for indulging my laziness and adding decals to this thing for flair. Enjoy!
Travel Coventry, Metrobus 2866 on Hale Street during the construction of Millennium Place. The building in the backdrop receiving work to its facade is Coventry Transport Museum.
The photograph proceeds the installation of a huge stainless steel overarching sculpture which dominates the scene today.
The MCW Metrobus had been new to Coventry's Harnall Lane bus garage in May 1985. On the closure of Harnall Lane garage in March 1986, it was transferred to the newly constructed Wheatley Street Bus Garage situated near to the City's bus station.
From January 2006, 2866 worked out of Birmingham's Yardley Wood bus garage, until its withdrawal in March 2009. Disposal was to PVS (bus breaker) Carlton, South Yorks for scrap in July 2009.
Photo - 24th July 2003.
All Star Comics No.8 (1941)
So right off the bat, this book opens up with a good refresher on who the official JSA members are, while promoting (or demoting, depending on how you see it) others to “Honorary Members” meaning 'hey kids, Supes, Bats, Jay, and GL won't be in this book! Go buy some other comics ya dead beat!'
Okay... well maybe it's not 'that' harsh... but you get the idea :P
Anyway, the first page of actual story (page 4 at this point) is all about how Hawkman (the new leader of the team) has his feathers in a twist about a mob/gang that isn't interesting or important unless you were a kid in the 40s. Other JSA members are asking him for help with their own problems with this gang but he's all flustered about the case, when literally out of nowhere pops in Dr Mid-Nite! No explication on where he came from or how he got there... actually come to tell you the truth, they're not actually anywhere... All of these characters are being drawn on single colored backgrounds so I really shouldn't judge.
Anyway, so Dr Mid-Nite decides to bust out a tale to The JSA!
*queue twelve page flashback!*
So Doctor M heard some shenanigans on the radio of some dude who broke out of prison so he checks up with some newspaper clippings he had in a filing cabinet then leaps out a window to go... fight crime... or catch the crook... it isn't quite clear.
Regardless, by the very next page Dr M finds this dude and reacts the same way I first did by saying something like “oh shit that was fast” before immediately tackling the dude and getting into a knife fight! But if you were hoping for a cool fight... TOO BAD! He knocks him out within five panels!
After that, he just up and kidnaps this dude, takes him back to a lab, draws a few blood samples and just ditches him for some other scientist to help with his analogy of the blood. But when he get's to his buddy's lab, the dude isn't there! Instead Dr Mid-Nite finds his assistant and the assistant tells him that he'd left for Africa for some ambiguous reason conveniently right before Doctor M got there.
So despite not just having the assistant be the actual scientist for the addition of a few extra panels, Mid-Nite finds one of the scientists' formula's just lying around and get's the lab assistant to help him inject it into an ape that just so happens to be chillin in the basement!
Some how during all of that Dr M had been working on some kind of tranquilizer antidote formula and after only just injecting the ape with something, he then injects it again with the antidote right before he's attacked by this ape who's mad at him for getting poked or something (look it's all a bit convoluted...)
So anyway, Dr M whisks back to where he left the criminal dude he beat up and injects the guy with the antidote. The criminal dude is all like 'yo man, my lawyer injected me with the crazy serum man, thanks for helpin me bro'
So then Mid-Nite has this criminal write down the address for him and takes off again to find yet another needle and syringe in the lawyer's office. Dun dun dun! *drama*
Then as if this story wasn't convenient enough already, the lawyer walks in with (I kid you not, this is his actual title) The Notorious Political Boss of The City.
So Mid-Nite is all like 'sick! Imma get these fools!' … So he jumps out of the closet he was hiding in and beats them up, then ties them to chairs and interrogates them by threatening to use the crazy drug on them (which is kinda cool actually... felt kinda batman-ish)
So after all that, Mid-Nite gets the two to write confessionals of their crimes. He notices that they don't mention anything about a Dr Elba (which I don't recall reading that name up until that point so I don't understand this dude's purpose but it turns out he's the villain of this overarching story)
Then there's actually a really cool moment where this Elba dude had snuck up on Dr Mid-Nite during this exchange, whacked him in the back of the head and Dr Mid-Nite looses his vision temporarily. So Hooty (Dr Mid-Nite's sidekick owl friend) swoops in and saves him from being shot in the back!
*end twelve page flashback!*
Hawkman is all like, 'Yo! We've been chasing the same dude! This Elba fella is gonna get what's coming to him!' and so Dr M is all like 'Sweet! Here's some of those tranquilizer drugs, and a shit ton of needles!'
After that, there's a few pages where Doctor Fate meets up with Inza (his GF) and some dude named Bill who runs a Bus Company who was effected by The Notorious Political Boss of The City and like a typical Golden Age superhero Doctor Fate is all like 'This looks like a job for me!' then flies off without saying goodbye to anyone
So what does he do next you ask? Why, he breaks into some random place and starts beating people up of course! At one point he throw's a couch at some dudes and makes a pun like 'SoFA so good' or some crap and it's terrible :P
Anyway, Doctor Fate get's some info on the whereabouts of some lady named Marge and, yep, you guessed it, he breaks in guns blazing and takes out a bunch of dudes before rescuing this Marge chick who has been given no character up to this point.
...Wait... Turns out it was Bill's wife or something. Doesn't mater, because it never comes up again and the writers didn't give her any kind of character anyway!
So then after all this, some of the gang members that Doctor Fate beat up, regroup and hop on a bus and plan to hijack it to taint Bill's name or something idk... but PLOT TWIST the bus driver was Doctor Fate wearing a Bus Driver uniform over his Doctor Fate costume and he gets them again oh my god this story is ridiculous!
After that he hops off the bus and politely returns the uniform to the original bus driver. Then he chases down this gang boss (named Goopy Gus... ya know, a mobster name) and totally wrecks his car, rips him out of the drivers seat, and throws him into the side of the bus he just hopped out of!
Dr fate then takes him to prison yadda yadda... Dr Elba is still up to something and I can't believe I'm now nineteen pages into this book.
The Atom and The Sandman also have their own solo stories like this lasting until page thirty one! (geez this book is long) Then we finally get The Starman's story!
And honestly... it's just as convoluted as the other stories! This one has to do with a haunted house and some kid named Billy that finds a chest full of money and then almost get's ran over by a car but its not any car, it's Ted Knight's car (aka Starman) and Ted brings him back to some mansion where Billy spills the beans on this cash and then Starman goes back to this haunted house to find some criminals and what does he do....?
He... he beat's them up. That's how all of these heroes solved their problems.
THEN HAWKMAN AND THE SPECTRE GET THEIR OWN SPERATE STORIES THAT GO UNTIL PAGE 50 THEN THE BOOK ENDS WITH NO CONCLUSIONS!
IT'S VERY FRUSTRATING
I read this book in hopes to have more to talk about than this, but you know what, it just kind of burned me out. Now don't get me wrong, they're not a terrible group of stories (if read on their own) but like as an over arching narrative for an entire book, it was pretty thinly tied together. I mean that Spectre story is kind of neat; he strands some dude on an asteroid as a method of interrogation. Hawkgirl shows up in Hawkaman's story... but yeah.
Apparently this was the good stuff back in the day. I can see why (because it has like eight stories in this giant comic book featuring like forty characters) but I've read better stories from DC around this era. Sayin' jus sayin'
Take that DC!
...Nah, we cool.
(EDIT PS: I'm beginning to think that the copy of the issue I read was incomplete because upon further inspection, All Star Comics No.8 also has a backup story introducing William Moulton Marston's newest character; Wonder Woman! ...But that wasn't in the copy I read so maybe there was a conclusion to the story but I couldn't find it so whatever I guess, this was a weird post to write for anyway)
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The main reason I shot this shoot was because of ParisCustomBricks most recent release of his Doctor Mid-Nite figure! It's a great design even though I didn't receive my entire promised fig. Despite my pre-order of it from November of 2017, I didn't receive the dual molded boots or the Owl piece I was promised. However, I hope that Gabe can rectify this in the future. But at least the figure arrived! I'm glad to have it now than wait another six months for those two details. However, I won't forget about them and felt inclined to mention it on this post.
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If you'd like to support my artwork, join my Patreon! It's only a dollar a month for a bazillion behind the scenes posts and photos and videos and gifs and yeah from all my past photos! In fact I'd like to thank my newest Patron, DoctorLate28! What a champ! Thank you for the support buddy! :)
Remember, I post more content there on Patreon than any of my other social media pages! So check it out! Plus, if you join you'll get a personal shout out from me on my next public flickr post just like DoctorLate28, along with a follow from yours truly! :)
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The TR-85M2 Bizonul (English: Bison) is Romania's mainstay jalopy of a main battle tank. Indeed, the -85 series is a chimera of licensed, counterfeit, and outmoded technologies thrown onto an extended T-55 chassis. Thus, although the Bizonul has all the external accouterments of a fairly modern (albeit clunky) MBT, it is still very much a relic from the dawn of the main battle tank.
The Bizonul's Frankenstein-esque nature is due in great part to the upheavals generated by Romania's decoupling from the Soviet sphere of influence. Although Bucharest had been one of the largest and most efficient producers of arms for the Warsaw Pact, the collapse of the Eastern Bloc created a slew of economic, political, and social issues in the region, and indeed the world writ large. Romania was naturally not exempt from these complex problems and quickly discovered that the licit arms market had shriveled up now that one of the world's two superpowers was out of the picture. The tendrils Moscow had sent far and wide had finally shriveled up. In real terms, this meant Romanian heavy industry--incredibly inefficient in comparison to Western economies--collapsed overnight. Add in the violent overthrow of the country's less-than-popular president, and one ends up with a national situation spiraling out of control. Because of this overarching quagmire, much of the country's talent and skill migrated westward where actual--if still depressed--wages could be obtained. More or less, the Romanian brain drain meant the nation's once illustrious defense industry was nothing but smoldering ruins. So, with no domestic capability or capital left, Romania borrowed money and technology from scores of actors in a superficial attempt to modernize itself and its armed forces. The TR-85 is the byproduct of that pretentious leap into the new age.
Propelled by Songun clones of the Leopard 1's engine, imbued with electronics and optics from Yugoslavia, and endowed with a (barely) heavier Israeli 105mm main gun jammed into a new turret, the Bizonul is as good as it gets for refurbishing an armored fighting vehicle way past its prime. Indeed, despite Romania's generous new socialist patrons (i.e. the USR and Yugoslavia), many of the TR-85's crews are left to scrounge for spare parts as Bucharest's corruption-riddled Defense Ministry fails to materialize needed supplies. This rampant fraud became especially apparent during the Romanian invasion of Ukraine in 2016 in which many Bizonul's were either neutralized or deserted after maintenance shortfalls crippled the already geriatric tanks. What's even more embarrassing is the fact that Ukraine's military was perhaps in similar, if not greater, shambles for many of the same reasons. However, the losses sustained by Romania during its audacious campaign were something of a gift as they prompted the nation to finally clean house politically and martially. This translates to a desire to finally retire the TR-85 series in favor of something all-new, or at least tried and tested by Romania's premier allies in the region.
Better bigger.
Matt and I were talking about photography and a photographer in Chicago who shoots Chicago in this super-colorful way, representing the city as such. And we both kind of felt that was not authentic. Although the city is indeed colourful, the overarching feeling, the general "Chicagoness," is something very different. I think, for me, the colors here are very Chicago. This sort of vanilla and fall sunlight in an old industrial setting. So yes, this is Chicago.
On a rainy and dull afternoon, artificial lighting prevailed in the passage way of the old General Post Office building in central Melbourne, now converted into an upmarket shopping boutique.
“Marching Star“; Abbie Farwell Brown, Lowell Mason
All the night, when I am sleeping,
While the silent hours go by,
Little stars their watch are keeping
Far above me in the sky.
In a great procession marching,
They are going on their way,
By a pathway overarching
From the night into the day.
“The Music Hour; First Book”
Illustrated by Shirley Kite, 1927
In Swahili Umoja means ‘togetherness’, which is our overarching theme in this collaborative partnership with the Africa Film Festival, the University ...of Leuven and the province of Flemish Brabant.
Umoja Fashion Show inspired by famous Africa inspired designers, models from across the globe and entertainers in music, dance and theater
I commissioned this protest poster for Show Me Podcast Episode 2.11: Four Years of Trump Protest Photos. You can watch, see the photos, or listen here: geofflivingston.com
With the election coming up it seemed like a good idea to review my four year-ongoing Trump Protest photos project and examine overarching themes. From basic civil rights to democratic principles, the same themes kept appearing over and over again in the protests. They were racism, immigration, gender equality, LGBTQ rights, science and facts, the right to earn, and freedom of expression. See the photos in the podcast or below in a photo essay format, or just listen to the podcast to hear about those protest trends, the major issues that define the Trump presidency.
This moc was built for the second round of the 2017 bio-cup. The overarching theme was historical and my sub theme was western.
Color Tales
4/17
The project should deal with colors and their effect on well-being, feelings, expression and thus on human psychology. When I realized that there was so much more to tell through this project, I began to develop it into an overarching concept. The language of images should not only shed light on the linear theories of the psychological effects of colors. The pictures with the help of the language of colors should tell a story, describe a situation, let thoughts wander into the future or the past, inspire our fantasies.
I used milk, acrylic paint, liquid soap and oil to create this amazing arts.
Every picture tells a story, but I desided not to explane the story behinde each one, but invite you to give your own meaning and your own feelings when you look at the picture. I belive that makes more fun:)
Enjoi it and I hope you’ll like it.
PS: have a good time and take care!
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
"The dim trail lay like a rambling red shadow cast on the soft forest floor by the great redwoods and overarching oaks" - Jack London in his novel "The Valley of the Moon", 1913.
Welcome to my new adventure to close out the year! I'm taking every theme from the figbarf page on Instagram and posting at least one figure per theme, since I feel bad for not keeping up the whole year and I like a challenge lol. As a way to guide myself, I also picked a theme from each group that would be the overarching theme, with this overall theme being Mutants and Half-Breeds. Hope y'all enjoy these!
Left to right:
#figbarf6 - Mutants & Half-Breeds: Minotaur
#figbarf7 - Sci-fi Rebels: Wolverine (Days of Future Past)
#figbarf8 - Empires & Ancient Civilizations: Horus
#figbarf9 - Cyberpunk: Miguel O'Hara (Spider-Man 2099)
#figbarf10 - Witches, Wizards, & Warlocks: Centaur Wizard
The tall Bearded Iris 'Chantilly’. Pure elegance. And, with bud.
Ruffled and feminine flowers, they are a very pretty orchid pink which blends into a pale yellow. The petals are crimped along their edges.
The Iris flower is of interest as an example of the relation between flowering plants and pollinating insects. The shape of the flower and the position of the pollen-receiving and stigmatic surfaces on the outer petals form a landing-stage for a flying insect, which in probing for nectar, will first come into contact with the perianth, then with the stigmatic stamens in one whorled surface which is borne on an ovary formed of three carpels. The shelf-like transverse projection on the inner whorled underside of the stamens is beneath the overarching style arm below the stigma, so that the insect comes in contact with its pollen-covered surface only after passing the stigma; in backing out of the flower it will come in contact only with the non-receptive lower face of the stigma.
Thus, an insect bearing pollen from one flower will, in entering a second, deposit the pollen on the stigma; in backing out of a flower, the pollen which it bears will not be rubbed off on the stigma of the same flower.
Thanx for your time, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Welcome to my new adventure to close out the year! I'm taking every theme from the figbarf page on Instagram and posting at least one figure per theme, since I feel bad for not keeping up the whole year and I like a challenge lol. As a way to guide myself, I also picked a theme from each group that would be the overarching theme, with this overall theme being Royalty. Hope y'all enjoy these!
Left to right:
#figbarf36 - Royalty: Queen Cersei
#figbarf37 - Sitcoms: The Fresh Prince of Bel-Air
#figbarf38 - Batman Day: Batman Who Laughs
#figbarf39 - Myths & Legends: King Midas
#figbarf40 - Video Games: Princess Peach
Lakeisha (EP)
I was quite excited for this particular lesson but found it more challenging than anticipated. While I've long considered myself very musical I soon became overwhelmed by all my choices until I relaxed & fueled my inability to commit to one genre into picking my favorite songs from several & reinterpreting them in a new way, while it is name after the Swahili name meaning 'Favorite'. The overarching musical style is Trip Hop but there are also elements of Disco, R&B and Classic Rock. The lead single itself is a blend of African beats, Caribbean melodies & electric guitar and is my personal favorite.
I hope my music is something you can enjoy!!
Tracklisting -
1. Here Sometimes
2. Heart Attack at 23
3. Mr. McGee
4. Wings
5. Heart Attack at 23 (inst.)
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And so ends my tenure on 'Star School'. I became distracted & allowed myself to become overwhelmed leading to an underwhelming performance. Ah well - while I lost the competition I DEFINITELY won for best goodbye post thus far :3 And I'll still be following as a spectator, which should be fun as now Sy'Rai will no longer be accessible to use as a scapegoat ;D
In a way a feel like Ms. New York from 'Ms. Congeniality' as I might not have won but I got pretty far doing things my own way/the best I could without photo editing (not that I hate them for doing it - it's just a skill I lack) & I can only feel proud about that.
Good luck final 6!!
#TeamDotti
BAD - Before Art Deco!
Hamilton Town Hall is a heritage-listed former town hall at 36-42 Racecourse Road, Hamilton, Queensland, Australia. It was designed by Montague Talbot Stanley and built from 1919 to 1920. It was added to the Queensland Heritage Register on 6 April 2005.
Location
36–42 Racecourse Road, Hamilton, Queensland, Australia
The Hamilton Town Hall, a single-storey brick building comprising council chambers and public hall, was erected in 1920 for the Hamilton Town Council. It was designed by Montague Talbot Stanley, and is one eight remaining town halls from the twenty that were built prior to the formation of Greater Brisbane in 1925.
When Moreton Bay was opened for free settlement in 1842, local government was controlled from Sydney, using British Imperial Government policy. The Municipality of Brisbane was not proclaimed until 1859, and the first council was elected in the same year. As settlements sprang up around Brisbane a desire for separate municipality status developed, and in 1879 the Divisional Boards Act provided for a number of new autonomous authorities adjacent to Brisbane. By 1891, 21 local authorities had been created in the Brisbane metropolitan area under this legislation. These consisted of the City of Brisbane as well as a municipality, shires, divisions, and one borough.
In 1890, the Hamilton Division separated from Toombul Division, although the Hamilton Divisional Board initially conducted its business from the Toombul Divisional Board Offices. Andrew Petrie was appointed the first chairman. The board became a Town Council in 1904 and the first mayor was John Brett Charlton. In 1917 the council purchased 64 perches (1,600 m2) (approximately 1600 square metres) of land in Racecourse Road with the intention of building council chambers and a public hall. In 1919 plans and specifications for the new building were received from Montague Stanley, son of Francis Drummond Greville Stanley, the well-known Queensland Colonial Architect. At a special meeting, amendments were made, including a wider front door and the use of Australian manufactured materials. A tender from Messrs McArthur & Walker for £6,894 was accepted and the current mayor Alderman George Rees laid the foundation stone on 26 September 1919. Extra walling and iron railing with a double gate along Racecourse Road was added to the plan and the building was completed in 1920 for a cost of £8,873.
The town hall accommodated council officers as well as providing council chambers and a public hall. There were a kitchen and a strong room, but it is not known if the supper room was constructed at this time. An honour board for local residents who had contributed to World War I was erected in the council offices.
With rapid population increases, small local governments found it ever more difficult to fund and administer their responsibilities effectively and economically. The development of services such as roads, transport, water supply and sewerage could only be efficiently managed by an overarching authority. A move to amalgamate local authorities began in 1902 when the Booroodabin Division was absorbed into the City of Brisbane. The idea of amalgamation was promoted throughout the 1900s and culminated in the City of Brisbane Act of 1924, when Hamilton was one of the towns and shires who joined to form the Brisbane City Council. The first Greater Brisbane Council was elected on 21 February 1925 and the Hamilton Town Council was disbanded.
The Hamilton Town Hall then became the property of the Brisbane City Council and since that time has had various uses. During 1925/1926 it is recorded as a council depot in the Post Office directories. From 1927 it was known as the School of Arts and provided a venue for social events. The building was headquarters for the Australian Army Survey Corps during World War II. After the war, major alterations were made to the council chambers to create the Hamilton Municipal Library. The hall continued to be used for various social activities. Additions were made to the northern end of the hall in 1973 to accommodate the mobile library service. Further changes in 1987 included alterations to the dressing room and a covered walkway between the Supper Room and the hall. The former town hall still houses the city council's Hamilton library and it is used by an amateur theatrical group and by other local groups for meetings and social activities. Though its use as a venue for functions and gatherings and as a local library, the building has long associations with the cultural and social life of the area.
Description
The former Hamilton Town Hall is on a corner block, with the entrance to the library from Racecourse Road and the entrance to the hall from Rossiter Parade. It consists of a series of linked single-storey structures comprising the original brick main building (hall and library), a timber supper room, and the 1973 brick annexe. The main building is a load-bearing face brick structure with a timber-framed floor and a timber-framed terracotta tiled roof. Externally the building features English-bond face brickwork contrasted by a rendered base, string courses and entablature. Both street elevations are emphasized by a pedimented frontispiece. The original balustraded parapet is now missing, as are the metal palisades and gates to both street alignments.
Library (formerly council chambers)
The entrance to the library consists of a vestibule with Art Nouveau-styled leaded glass windows and tessellated/encaustic floor tiles. Some floor tiles are replicas laid down in 2004. Only a small section of the border pattern consists of the original tiles, the others being specially made replicas laid in 2004. Panels in the French doors opening into the library and sections on either side of the doors are all matching leadlight.
Internally, the Library has been substantially altered by the removal of walls and doorways. However, the "Reliance" strongroom with steel doors remains in working order. The main windows to both street facades are original Diocletian windows and sashes. The interior features shallow coffered ceilings with plaster rose. Picture rails remain in some rooms, and the section of the library with the strongroom is half paneled. The original open verandah to the north of the library has been unsympathetically enclosed with timber boarding and glass louvres.
Hall and Supper Room
The hall, across the rear of the library, is much more intact and features a fibrous plaster ceiling with coffered timber beams. Two large roof ventilators are built into the hall roof.
The supper room is a small single-storey timber-framed weatherboard-clad structure with a timber floor close to the ground, paired casement windows, and a gabled corrugated iron roof. Internally, the supper room is an open space with cupboards and a sink underneath the windows at the rear of the room. It is linked to the hall by a dressing room, and a recently constructed covered walkway (without heritage significance) incorporating ornate timber detailing which is neither original nor authentic and has unsympathetically altered two of the original large hall windows.
AnnexeEdit
The Mobile Library Service Annexe is a modern cavity brick concrete slab on ground structure with a tiled roof. The building in its scale, form, materials and detailing are all unsympathetic to the main building to which it is attached. It is not considered to have any heritage significance.
Thanks to Wikipedia
A perfect axis. Setting sun framed in the La Grande Arche de la Defense, seen from Acc de Triomphe. Paris, France
Under the auspices of NATO's Partnership for Peace program, Exercise Joint REBUKER (Response Battlegroup for Ukraine and Eastern Romania) is an annual multilateral training regimen meant to consolidate or recall forces from Europe and the Near East for the defense of Kyiv. Joint REBUKER was established in 2019--three years after the short-lived invasion of Ukraine by Romania and the non-state Black Cross terror group--as a means of deterrence aimed at the signatories of the Novi Sad Declaration (i.e. Yugoslavia, Romania, and Hungary) who retain revanchist and expansionist claims on Ukraine. Hence, Joint REBUKER predominantly consists of maneuver exercises meant to heighten allied trust in interoperability and the capacity for NATO to respond to threats on its doorstep--the latter being of great import following NATO's inability to respond to the Russian Civil War due to attrition and overstretch.
With this in mind, one can see in the image above four international tank crews hailing from Ukraine, Germany (representing the intra-NATO Armed Forces of Central Europe [ZEUS, Zentral-Europäische Streitkräftethe]), the United States, and the United Kingdom. During Joint REBUKER 2026, Britain simulated an entrenched opposing force (OPFOR) that had to be ousted by newly-arrived coalition forces. For this reason, the OPFOR emphasized camouflage and ambush tactics not dissimilar from those employed by the Socialist Republic of Yugoslavia. The tripartite faction of Ukraine, Germany, and the US managed to utilize superior intelligence, surveillance, and reconnaissance (ISR) assets in the air to sniff out the dastardly Brits, though not before sustaining numerous casualties themselves. The overarching lesson (re)learned was the necessity for special forces to capitalize on bountiful ISR by triggering and disrupting enemy encampments before heavier allied forces strike the OPFOR's softened underbelly.
Anyhow, as depicted above, the various Joint REBUKER crews seem intent on engaging in rather stereotypical behavior: The Ukrainians are forced to tinker with their machine due to mechanical failures produced from budget constraints; the Germans, masters of orderliness, intently polish their vehicle to presentable standards once more; the Americans begin skottling to liberate their voracious stomachs from hunger; and the Brits are taking the piss whilst enjoying a cuppa. Naturally, the Nordic Defense Council was set to participate in the Joint REBUKER exercise, but a mixture of Scandinavian asociality and logistical delays denied them of the privilege. Sometimes the world is a silly and predictable place.
This is a joint upload with Evan's Ox CEV and Brian's M1 Naybrams. Enjoy!
Okay! My thoughts on Endgame! Here we go! Spoiler Alert, I didn’t like it that much but then I thought about it and I liked it a little more I think? ...I don’t know I just like thinking about movies and stuff and yeah. Here’s what I’m thinking about...
But really. Spoilers from here.
Okay!
I feel like this might be an obvious place to start, but it felt to me like it was unnecessarily long! There was so much that could have been cut for time, not to mention how the pacing was off the rails for the first two acts. You could go from dramatic sad scenes of rehab, to Paul Rudd in a storage unit, to Hipster Hulk taking selfies right after Black Widow sadly eats a sandwich. Those scenes on their own fit pretty well, but back to back just felt a bit messy in my opinion.
And messy just might be the best way I could describe Endgame I think. It was a fun enjoyable messy time. But also by contrast, if it was an event comic, I think I would have found it very neat and tidy. My comic fan brain and my college writer’s brain are clashing and it’s weird :P
Nick Mason of The Weekly Planet described his movie experience in a very similar way that I experienced it:
“The theatre was like the wild west! People were moving around and texting and making nose and it could be distracting.” And I felt that at times. I had this vide that most people were getting bored with a lot of the extended exposition. Myself included.
I have no idea how people could have gone to see this five or six times though. Like oh my gosh it was nearly a four hour process for me to get to the theatre, watch the movie, then get back home… man. I’m still so tired. Almost a four days later and I’m still exhausted just thinking about it! :P
This movie, in a nutshell, suffers from the same problems that the final Hobbit movie had. Most of the “Thanos and The Gem’s” story was over by by the time the movie started. Where as Infinity War was about Thanos as a character, this movie was about reuniting the A-Team, getting the gems, then fighting the big bad guy... and that’s about it. There’s a lot of stuff that was chucked into those three things, but like I don’t feel like it ALL needed to be in there. It was a lot of pouting or reminiscing on story we’ve already seen, then a big super cool battle that blew my socks off!
But like, the humor wasn’t quite right in more places than any other Marvel movie so far. It felt like DC humor, and that’s saying something. Squeezing in humor always breaks the drama and it did just that nearly every time. Basically any scene Thor was in, he broke the tension, but I’m gonna come back to than in a minute.
Most of the 2012 New York battle was really fun, but I can’t help but wonder what happened to Loki and the tesarract...
Think about it, if he got it and escaped back in 2012 after the battle, then the events going forward would be veeeery different, surely. Even if Cap did return the stone as a not-cube to the 70s where they finally ended up plucking it, Loki would still end up having it 2012 and escape with it right? Those events in 2012 still took place because it had to have been in the 70s to have been in 2012 for 2019 Tony to drop it.
The movie never comes back to it either. Like if he got the tesseract, then he wouldn’t be in jail in Thor 2 The Dark Thor. Then from there it’s safe to assume that Thor would have been killed by Doctor Who The Elf. Then with Thor gone, Age of Ultron would have had a very different outcome, then going even further to say that the events of Raganarok would have never taken place with Surtur, and in tandem leaving Hulk in space forever.
It feels kind of important to just not address after the fact. Or am I looking to deeply into this? :P
Speaking of Thor... (here we go)
I didn’t like Thor! In fact I don’t think anybody liked what they did with Thor! (at least no one I’ve talked with liked Thor)
He was probably my least favorite part of the movie, which at times pulled me out of the drama and tension of scenes, and overall just felt poorly handled and trashy for a few cheap gags. It’s 2019 and we’re still making fun of fat people? Come on! Laaaaame! Get some new material!
You could have something like Thor being aware he let himself go. He could have a little chub that makes him just look kinda average and he hates it, but he still looks like a hunky Asgardian in most senses.
That’s the joke right there! A slight imperfection to a human, but a big deal to a Norse God. Not a shitty fat suit through the ENTIRE MOVIE! WHO THOUGHT THAT WAS A GOOD IDEA?! EVEN THE STUPID BEARD BRAID OH MY GOD I HATED IT!
I mean part of his charm is that he’s a dummy, but he can back himself by his own brawn and bravery and share it with others. When you take that away from him for cheap jokes, he’s borderline dislikable. I mean think about that kick-ass scene in Ragnarock where Zeppelin is playing as he rocks up on the rainbow bridge!
Now think of Endgame Thor in a hoodie.
See?
Man, what a disappointment.
But on the other side of the coin...
Captain America was perfect! He’s one of the few comic book characters to have a solid character arc through every single one of his movies. He’s never wavered or changed (unlike Thor for example, or the forgotten PTSD Tony)
Cap being worthy of Mjolnir was a bit corny to see on screen but it fit the character and was really exciting in the moment. I mean it isn’t the first time he’s wielded it anyway so I’m not mad about it, but I saw it coming from a mile away and I think that’s why I didn’t like it in hindsight, but it was still really fun and he used it in fun new ways of combat that Thor never did! That moment in the theater though was really fun! :P
But really, Steve’s final arc was the best send off for a Movie Superhero I’ve ever scene! Possibly even better than Logan! For one, it gives future writers room for more stories between then and now, but his final moments with Peggy were fantastic and I certainly teared up for them :)
On a totally different topic, I found it almost too convenient that 2014 Nebula had the ability to develop reverse memories...? Being in the same time as your past self won’t fuse your memory even if you’re a cyborg, right? It didn’t happen to anyone else, so why only her? And why doesn’t it go both ways simultaneously instead of hours later, when it’s mere seconds before they’re about to leave with the stone?
Because of drama that’s why.
Also, maybe this is just my opinions kicking around again, but 2014 Thanos flying into the quantum realm to time travel, and just getting the gems by blowing up the compound really felt like it undermines the entire journey he took in the last film. It felt like he had no depth as a character and was basically Steppenwolf. His whole resource management thing was out the window for just a big ole’ “I just want everyone to like me and if they don’t I’ll just dust em!”
But also like… that wasn’t the character we all watched in IW anyway, so yeah. Maybe I just expected a little more from him, that’s all.
Along with that thought, I felt like the scene with the Soul Stone, Nat, and Hawkeye felt repetitive. Watching Clint and Natasha debate felt quite same-y from Infinity War’s very similar scene. The first time seeing it, it was visually impressive and shocking to see Red Skull again after being missing from like ten movies; but this time it just felt like it took up too much time for something that we had already gone over before. All we needed to know was who was going to sacrifice themselves in the end.
(But that scene when the full team gets back together and start to celebrating, then they realise Natasha is gone… Oh man what a good scene!)
Also I personally think that it should have been Hawkeye that died, but we needed him to be around for his family because Black Widow never got her own backstory or family or even her own film to cling to so yeah. I get it.
Also also, if it was five years later Ned would have been out of high school by now, right? Or did he get snapped too? If so (more than likely because he was the same age and not five years older like Cassy), no time would have passed for him like none had passed for Peter... So why the reunion hug? I need more information for it scene to have emotional gravity!
Aaaghhhh! I almost forgot to talk about Danvers!
Captain Marvel was a nothing character! She showed up at the beginning to be like “Hey I know who Thanos is too but like I’m kinda too busy to fully care so byeeee”
Then three hours later without popping in, benefiting the plot, or contributing to anything in the overarching story, she just shows up and solves all their problems by blowing up the big triangle ship; then she doesn’t even speak to anybody after the battle! I mean why even have her in the movie at all?
Okay sorry... things I like... Staying positive about a movie full of action figures… *deep breath*
The 1970s were pretty fun, Howard was nice, the classic Antman Helmet was cool, Peggy’s scene was heartbreaking.
I like that Gwyneth Paltrow was reading a book on compost. (If you get it, than you get it)
Hipster hulk was weird... But I mean there was a good message behind it, to learn to live with yourself and all that, but his overall vibe was odd. Also why waste like five minutes on the selfie scene? Like it was awkward for the characters and it was awkward watching it and this movie was so long! Why dwell on it for so long?
But that end battle was incredible and I keep coming back to it! The action was incredible! It blew my mind at how cool it all was! But like yeah Danvers at the end felt just a bit too cliche and killed the vibe towards the end.
Yeah... I don’t know man. I've got a lot of thoughts.
I mean for instance, what are the consequences of bringing back half the population after five years of absence? Ecosystems have changed, weather has changed, life in general has changed from the mass population exodus! You can’t just go from 3.5 billion people after five years then back to 7 billion. It just wouldn’t be the same. Think of bringing back say, a pilot of an airplane that killed people that didn’t die in the snap. Or like members of international governments returning to power. Food production and consumption, along with trade and stocks. Or little things like single parents with kids. Prison Establishments. Hospitals. Educational facilities… Gaaaahhh!
...Spider-Man’s next movie is gonna have a lot to answer for.
But really, I did quite like it. Yet at the same time, I didn’t.
So yeah.
...Thaaat’s, the tooth.
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If you wanna see how I photographed this shot, or how I built this little set up, be sure to check out all the details on my Patreon! :)
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liège - belgium 03/2011
PLEASE use your headphones: ellen allien - sehnsucht
Ellen Allien, born Ellen Fraatz (born 1969), is a German electronic musician, music producer and founder of BPitch Control music label. She lives in Berlin, Germany. She sings in both German and English. She has said that one of the main inspirations for her music is the culture of reunified Berlin; her album Stadtkind was dedicated to the city. Her music is best described as a blend of IDM and electro music, which is dance-floor oriented, yet at the same time has noticeable experimental elements.
During 1989, she lived in London where she first came into contact with electronic music. When she later returned to Berlin, electronic music had become increasingly popular in Germany. In 1992, she became resident DJ in the Bunker, Tresor and in E-Werk. She started her own show on the Berlin radio station Kiss-FM and created her own record label, calling them both "Braincandy". Due to discrepancies with disk sales, she gave Braincandy up in 1997 and instead, organized parties with the name, "B Pitch". Allien created the label BPitch Control in 1999. The label's releases from Sascha Funke and Tok Tok were particularly successful. Allien released her first album, Stadtkind ("city child"), in 2001, and Berlinette in 2003, After releasing Thrills, Allien created a BPitch sub-label for minimal tech and minimal house, called "Memo Musik", in 2005. Orchestra of Bubbles, in collaboration with Apparat, featurings songs like "Way Out" and "Jet", was released in 2006.
During the same year, Ellen Allien launched her own fashion line, which can be seen as "an extension of her philosophy of life“. Ellen Allien Fashion combines a smart perspective onto fashion, music, art, and traveling to an overarching existence, which is meant to be shared. Exploring the globe, street life, Ellen Allien develops her own intuition for materials, forms and designs. In her most recent collection, Night Flowers (Ellen Allien Fashion spring/summer 2010), she created a complete look made of a mixture of black floral lace, white and black floral stitched cotton and summer wool. Featuring hazy prints of dancing people on loose cut t-shirts, each detail transports the feeling of Night Flowers -- "we are the night flowers, and in those special moments, when the music and the crowd become one, we magically blossom at the turn of dusk…."
source: wikipedia
Deryn and I had a late flight so needed to kill a few hours in the morning. We walked up from Dulwich and entered what must be one of the strangest museums. The Horniman houses an eclectic collection of objects with no real theme holding them together. Preserved bugs and butterflies are within reach of voodoo shrines, musical instruments and Hindu and Buddhist figurines. The history of how the museum came into being, below, perhaps explains this mix.
Still it’s much loved and still attracts attendees and during our visit hundreds of tiny kids lining up for the dinosaur exhibition. It also proved a rich seam for amateur photographers! As my photography collection too lacks a theme I had no restrictions in capturing some these treasures.
“Frederick John Horniman, Victorian tea trader and philanthropist, began collecting objects, specimens and artefacts 'illustrating natural history and the arts and handicrafts of various peoples of the world' from around 1860. His overarching mission was to 'bring the world to Forest Hill' and educate and enrich the lives of the local community.
His travels took him to far flung destinations such as Egypt, Sri Lanka, Burma, China, Japan, Canada and the United States collecting objects which 'either appealed to his own fancy or that seemed to him likely to interest and inform those who had not had the opportunity to visit distant lands'. Mr Horniman’s interest as a collector was well known and many travellers approached him with specimens and curiosities.
By the late nineteenth century, these 'natural, industrial and artistic spoils had accumulated to such an extent that he gave up the whole house to the collections'.
His wife is reported to have said 'either the collection goes or we do'. With that, the family moved to Surrey Mount.”
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Excerpt from www.stepsinitiative.com: The STEPS Initiative, an activation partner along an east end stretch of the Pan Am Path that is being curated by East End Arts, have painted benches inspired by textile patterns from Caribbean, North, South, and Central American cultures, as well as the South Asian communities that live in their host community of Thorncliffe Park.
These new work provide much needed seating, as well as a spot for stretching and socializing in the Don Valley, while celebrating the storytelling, history, science, math, and art that intersects in textiles from across the globe.
Artists Anjuli Solanki and Carlos Delgado collaborated on this public art project. Solanki is a painter who became interested in weaving and textiles across different cultures and communities after she worked with Musqueam Weavers Debra Sparrow and Vivian Cambell, who were instrumental in reviving this art form in their community. Their focus on a traditionally female art form that integrated math, science, history, and, art inspired her to pay more attention to weaving and textiles, and to find certain cross-cultural parallels between weaving and other art forms – which ultimately inspired the overarching theme for Pan American Patterns. Solanki’s benches were inspired by patterns from Musqueam (North West Coast BC), Ojibwe (Southern Ontario/ Northern USA) and Oaxacan (Southern Mexican) textiles but also South Asian textile designs, making a connection between these different communities and the communities located around the Zone 9 Portion of the path.
Carlos Delgado, born in rural Colombia and now living in Toronto, believes that art can act as a tool to reflect the world around us while simultaneously being part of it. He creates works which bring beauty and vibrancy while allowing the viewer to create a sense of personal connection with the artwork and the space in which it is painted. One of Delgado’s benches is inspired by Colombian sombreros (or “straw hats”) which are widely worn across the nation. In Colombia patterns that appear on sombreros are representative of different regions, and the patterns which form the bench illustrate a range that are present on various sombreros. While the design of the hat is distinctive and identifiable by region, the black and white lines can be found across nearly every region and are characteristic of Colombian headwear. Another one of Delgado’s benches is inspired by a traditional textile pattern used widely by the indigenous people of Colombia on garments like bags, shoes, clothes, and ponchos.