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Alcatraz
Sorry guys, some of you commented on a few photos which I had to delete. They were previously posted, and I was just editing them to add watermarks, turns out flickr created new posts instead of overwriting the old ones.
Young people from YOUNGO – the youth constituency under the UNFCCC – are taking action today inside the UN climate talks. Silently holding placards bearing the words ‘Equity is the Pathway to Ambition’, they issue a powerful reminder to negotiators from developed countries that it is their responsibility to take the lead in acting on climate change. YOUNGO demands a renewed drive for progress at the climate talks; progress which is based on science and equity.
“We have had loud and fun actions so far. But today we are silent, reminding negotiators of the respect that the fundamental principles of this Convention require. Some governments believe they can simply overwrite the principles of a global convention but these are based on equitable values which are not up for negotiation. It is only by following a pathway which is equitable and just that we will be able to make real strides in the fight against climate change.” said Maja Gudim Burheim from the Norwegian organisation, Changemaker.
READ THE PRESS RELEASE HERE: pusheurope.eu/media/pressrelease-24052012/
There were quite a few photographs and postcards that seemed to be tying together a family in Argentina with a family in Germany and possibly the US.
The little girl on the left stands out, and she doesn't look particularly happy about it either.
The only writing on this large school (I assume) photograph was 1927 (overwriting 1926).
Digital photos should be treated like any other precious data. Companies go through extensive, sophisticated and sometimes highly complex methods of protecting their data. We as individuals can learn a lot from them in terms of disaster recovery and business continuance plans. While they generally have a lot more financial resources to throw at the problem, some of their solutions can be scaled down and made feasible for individuals to implement.
For internal drives, I've had pretty good luck with Seagate, IBM and Hitachi. I have had a bunch of 18GB and 9GB SCSI Hitachi drives that had been spinning pretty much for 10 years straight in one of my old servers. For Seagate drives, I recommend the AS type drives for workstations, ES for servers and NS for storage arrays.
As for external storage, it depends on the requirements. Do you need it to be highly portable, luggable or fixed? I have all three.
[0] Portable - This drive is meant to go where I go and provides a means of extended normally acquiesced storage for in-the-field and on-the-road backups to data normally on my laptop. I'm still using an old Apricorn Aegis Bio 160GB for this solution. It has built-in security that's biometrically protected for access as well as data encryption. The biometrics is all on the drive unit itself so it's not tied to any specific laptop or operating system. It appears as a USB mass storage device to the host. It is powered through the USB connection. I need the security because I also have sensitive data for work. I'll probably snag myself a larger drive at some point but honestly, I don't need much carry-around storage since I regularly sync back to the "mothership" anyways.
[1] Luggable - This type of drive is externally powered and is usually a bit larger. It may have several ways to connect to the host including Firewire, USB and SATA. I have a couple of Western Digital MyBook drives for this. I don't carry them around. I actually use them as backup media for my network storage array. Basically they've replaced my tape-backup solution. I simply hook up the drive, start my backups and then unhook the drive and store them away. I have several of them so I can rotate them to adhere to my backup and retention strategy.
[2] Network Attached Storage (NAS) - This is a fixed location, typically multidrive array that is accessed and accessible over the network. I run a large number of computers at home and so I needed some kind of fileserver. For this, I use a QNAP TS-869 Pro. It has eight drive bays and is populated with 3TB drives configured into RAID-5 volumes. I also have a second NAS which acts as my backup NAS that mirrors my primary NAS. In the event of a total primary NAS failure, I can shift mounts to my back NAS. The backup NAS is a Netgear ReadyNAS NV+ (formerly Infrant before Netgear bought them). It holds 4 drives and is currently configured with 2TB drives. It supports several forms of RAID from simple striping to mirroring to RAID-5 with hot-standby. It also supports its own proprietary X-RAID. Both NAS appliances allow for organic growth of the array without incurring substantial rebuilding and downtime of the volumes. You simply add drives as you need and the thing grows in size... even while hot. Files are accessible via many forms of transport protocol including NFS (my main priority), CIFS, AFS, Windows sharing, HTTP/HTTPS and FTP. They provide fault-tolerant highly redundant solutions. They also include a built-in backup system which is what I use with the WD MyBooks to achieve nightly incremental and weekly full backups. They don't come with a card reader but they do act as a USB-host so a USB card reader can be attached to it. Any USB mass storage devices (including my DSLR) can be attached to them and exported over the network. They can also act as USB print servers if need be but my printers are already network capable. They support a bunch of software plugins that can be installed to make them do other stuff too such as act as a security camera DVR..
It's probably a good idea to develop an archiving method too. Mine involves a mixture of online, nearline and offline storage with backups.
Nearline field storage includes my laptop's drive and a portable external drive. The laptop has a 320GB drive and the portable external drive is 160GB in capacity. Online and nearline home storage is a 4x1TB network attached storage array running proprietary X-RAID (like RAID-5) with a hot-spare drive. Offline backups are done with external HDs that are rotated into place for nightly incremental and weekly full backups. Current retention schema is 4 weeks of backups with a one week offsite rotation (performed monthly).
Note that if you go the NAS route, many of them have integrated multiple concurrent backup solutions. For instance, my ReadyNAS supports both local and remote nearline storage mechanisms and has a built-in multi-job backup manager. It can be set to sync to another NAS, to attached JBODs (Just a Bunch Of Disks) and/or streamed backup to an offsite backup provider such as their own cloud-based ReadyNAS Vault service which itself can support multiple devices. So when investigating NAS solutions, also pay attention to what it offers as far as integrated backup.
But as with anything, you must first develop your backup and data recovery strategy and policy. Once you've done that then you can develop a plan for implementing it. Once you've done that then you can settle upon what components you will need to purchase and set up.
One key thing to consider is your retention needs. Do you require that all data must be kept and archived or is it okay to overwrite, rotate or delete from archive? Do you need to only keep the most up-to-date copy of your data or do you need version control starting from data birth? How long can you survive with a loss of data? What is your critical recovery time threshold? How many users will be effected? How much data are you willing to lose? If you lose your last week's worth of work for an hour, is it a tragedy or can you live with the time it takes to drive to the safety deposit box at your bank to get the monthly backup drive? Will streaming back 500GB of data from an offsite network backup provider at 10Mbps simply be too long? Do you need to rebuild from bare metal or do you only need critical data backed up?
I only keep NEFs. I create JPEGs and TIFFs only for distribution and have a special Exports directory where I keep them. I then I get rid of them after a short period of time... usually within a month. I use CNX so I can manage versioning within the NEFs since only CNX can write-back NEFs. If I create a JPEG or TIFF I like, I will create a version of the CNX edit steps with the name of that JPEG/TIFF. This way I don't need to keep the JPEG/TIFF. I can always easily recreate it from the NEF version. Because NEFs support multiple versions within the same file, there is no excess space usage by having different versions of the edit steps.
I don't suggest just blindly adopting one specific setup. You have to analyse your needs, your resources, your budget, your comfort with complexity and figure out what works best for you and more importantly, you need to understand the details. Knowing where and how your data lives is very important when it comes to ensuring survivability and disaster recovery.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/4184691332
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Dubai Palm Islands Aerial - Google Earth
Those are the amazing Dubai artificial "Palm Islands". Not sure it's good use of the earth resources needed to build them, but it looks cool.
The investment company that owns those has been in the news recently, because they are basically going bankrupt before completion of the project, causing turmoil in the financial world.
And also they are a little bit worried that it will be under water soon with Global Warming.
For more information about the Dubai Palm Istands, go to www.2daydubai.com/pages/dubai-palm-jumeriah.php , en.wikipedia.org/wiki/Palm_Islands and en.wikipedia.org/wiki/Palm_Jumeirah
This photo is © Google Earth, used by permission (this overwrites any other copyright mention that may appear on this page)
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Carbon neutral computers are not immune to the Blue Screen of Death. In this case it looks like really bad (sooty?) case of memory overwrite.
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
Lego stereo 3D (use duck #1 for parallel eye) (2&3 cross eye) LDD2povray rendering:
After finish the first rengering, rename the png to prevent been overwrite.
Then change camera position to left or right a bit by edit the X or Y of .pov file as below, then render same file again.
#declare ldd_camera_transformation = transform { matrix }
Pic below I use Y+2, change ,5.1669855117797852>} to ,7.1669855117797852>}
Please search google if you don't know how to parallel/cross your eyes. :-)
It will not show up realistic/correct 3D image if you use wrong eyed method.(ie: Use cross eyed on parallel pair.)
Hint:
For best result, please download full size pic from flickr, Original (2920 x 1536) pixels.
Zoom out/sit back for smaller pics for parallel eye (more comfortable but smaller view).
Use full screen for cross eye (not so comfortable but get bigger view).
This kind of 3D pictures look best on screen with high resolution & high DPI. ie: ipad mini 2 with retina display @ native resolution.
We're out of the protected portion of Santa Rosa Island now, stopped at a public services shack next to a public access parking lot on the edge of condo land. I'm impressed there's public access outside the national park territory here, as that's kind of hard to find in Florida. I'm looking west toward the national seashore territory.
Thanks to my parents' love of the place, the Florida Gulf Coast beach is the earliest aesthetic I translated to "vacation," and it has a distinct look that's seared into my subconscious, even though I'd forgotten the specifics. It doesn't look quite like the other beaches I've seen in the decades since those childhood trips, and I'd sort of used those later beaches to overwrite what I remember of Florida. But the sand here really is that white. It's sugary and smooth, made of a more pure carbonate kind of coral and bleached sea shell than the silicate mix that makes up beaches on the Atlantic or Pacific coasts or along the Great Lakes. My Mom has always been fixated on Florida, but she never cared for the Atlantic beaches. She saw this bright sugar sand first, and this is the beach she's always wanted to see ever since.
Laxa’ine’ gigukwdzikasi’ gigukwas Hayałiligase’
(The Many Large Houses of the Ghosts)
by Marianne Nicolson, Musgamakw Dzawada’enux First Nation, Kwakwaka’wakw/Canada
Nicolson presents her work as a guest to the great lakes woodlands region of Toronto outside of her ancestral territory as Kwakwaka’wakw on the west coast. Her animated projection on the Old City Hall clock tower manifests ghost stories from the dead of night, recalling the supernatural spirit world while addressing the institutional haunting of the building as a structure and symbol of the nation state and Toronto's history. She overwrites the Romanesque civic building and courthouse using animated projections of hand-drawn pictographs based in Indigenous oral traditions and languages. Nicolson builds on her investigations into the ongoing tension and unresolved history of dispossession between Indigenous and non-indigenous governance, colonial power and buildings as permanent markers on land and bodies.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/101241752
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Issaouane Erg, Algeria - Photo is copyright Google (Google Earth).
The shapes and colors of the dunes in this desert are amazing. Notice that the three dunes have almost identical shapes. And there are tens of throusands just like those all around.
This area is a major oil field, dotted with oil pumping facilities and pipelines. You'll see them if you explore the surrounding with Google Earth.
This photo is © Google Earth, used by permission (this overwrites any other copyright mention that may appear on this page)
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Does anyone know how to get ECE working together with Lady Body 2.0? I tried many overwrites and not overwrites and I'm being entirely lost... I read everywhere it's possible when you do not overwrite femalehead.nif of LB with ECE, but see the result of that. If anyone has an idea... I'm better dealing with code then with this stuff :\ Thank you
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
Young people from YOUNGO – the youth constituency under the UNFCCC – are taking action today inside the UN climate talks. Silently holding placards bearing the words ‘Equity is the Pathway to Ambition’, they issue a powerful reminder to negotiators from developed countries that it is their responsibility to take the lead in acting on climate change. YOUNGO demands a renewed drive for progress at the climate talks; progress which is based on science and equity.
“We have had loud and fun actions so far. But today we are silent, reminding negotiators of the respect that the fundamental principles of this Convention require. Some governments believe they can simply overwrite the principles of a global convention but these are based on equitable values which are not up for negotiation. It is only by following a pathway which is equitable and just that we will be able to make real strides in the fight against climate change.” said Maja Gudim Burheim from the Norwegian organisation, Changemaker.
READ THE PRESS RELEASE HERE: pusheurope.eu/media/pressrelease-24052012/
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
El franquisme assassinà desenes de milers de persones.
Llei antiterrorista contra l'apologia del franquisme.
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El franquismo asesinó a decenas de miles de personas.
Ley antiterrorista contra la apología del franquismo.
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INFORMACIÓ SOBRE LA FOTOGRAFIA UTILITZADA (MOLT BONA, PER LA LLUM, EL VOLUM I EL DRAMATISME ACONSEGUIT).
Autor de la fotografia: Mario Modesto Mata.
Localització: Segona fossa comuna, de quatre, amb 26 víctimes del franquisme (agost-setembre, 1936). Estépar (Burgos).
Data de la fotografia: 26-7-2014. 15:15:01.
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www.flickr.com/photos/mario_modesto/15487220198/in/photos...
www.flickr.com/photos/mario_modesto/albums
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Mario Modesto Mata.
Fosa común de la Guerra Civil Española. Estépar (Burgos)
Durante parte del mes de julio de 2014 se llevó a cabo la exhumación de varias fosas comunes republicanas de la Guerra Civil Española en la localidad burgalesa de Estépar.
En total se localizaron 4 fosas, en la que la de la imagen es la segunda, y contiene un total de 26 hombres asesinados.
Como se observa en algunos esqueletos, existen evidencias de que estaban maniatados a la espalda.
La imagen en Wikimedia Commons:
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
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Disponible en Wikimedia Commons (Wikipedia) amb la mida i qualitat original (3.13 MB. 4852 × 3280 píxels).
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
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es.wikipedia.org/wiki/Desaparecidos_del_franquismo
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File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
From Wikimedia Commons, the free media repository
File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
Size of this preview: 800 × 541 pixels. Other resolutions: 320 × 216 pixels | 640 × 433 pixels | 1,024 × 692 pixels | 1,280 × 865 pixels | 4,852 × 3,280 pixels.
Language select: Català.
Original file (4,852 × 3,280 pixels, file size: 3.13 MB, MIME type: image/jpeg); ZoomViewer: flash/no flash
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
________________________________________
Summary
Description (Català):
Una de les fosses comunes descobertes a Estèpar (província de Burgos) datant d'agost-setembre del 1936, a l'inici de la guerra civil espanyola. La fossa conté vint-i-sis republicans assasinats pels nacionalistes [feixistes espanyols].
Date 26 July 2014, 15:15:01
Source Own work
Author Mario Modesto Mata
Permission (Reusing this file)
Summary:
In using this image or any subsequent derivatives of it, you are required to release the image under the same license. As such, any reproduction of this image, in any medium, must appear with a copy of, or full URL of the license.
Attribution of this image to the author (Mario Modesto Mata) is required in a prominent location near to the image.
No other conditions may be added to, or removed from this license without the permission of the author and copyright holder.
Please review the full license requirements carefully before using this image. If you would like to clarify the terms of the license or negotiate less restrictive commercial licensing outside of the bounds of GFDL/CC-BY-SA, please contact me by email, or if you don't have a Wikipedia account you can leave a message on my talk page with your contact details and your request.
commons.wikimedia.org/wiki/User:Mario_modesto
Click on the image to see my portfolio: Los ojos de antecessor Photography.svg
losojosdeantecessor.wordpress.com/
Camera location 42° 17' 15.18" N, 3° 53' 59.1" W
View this and other nearby images on: OpenStreetMap - Google Earth
tools.wmflabs.org/wiwosm/osm-on-ol/commons-on-osm.php?zoo...
This file was a finalist in Picture of the Year 2014.
This is a featured picture on Wikimedia Commons (Featured pictures) and is considered one of the finest images.
This is a featured picture on the English language Wikipedia (Featured pictures) and is considered one of the finest images.
This is a featured picture on the Spanish language Wikipedia (Recursos destacados) and is considered one of the finest images.
If you have an image of similar quality that can be published under a suitable copyright license, be sure to upload it, tag it, and nominate it.
This image was selected as picture of the day on Wikimedia Commons for 17 July 2015.
It was captioned as follows:
English: A mass grave at Estépar (Burgos) which contains twenty-six republicans who were killed during Spanish Civil War.
________________________________________
Licensing
I, the copyright holder of this work, hereby publish it under the following license:
w:en:Creative Commons
attribution share alike
This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
You are free:
to share – to copy, distribute and transmit the work
to remix – to adapt the work
Under the following conditions:
attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
share alike – If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.
________________________________________
File history
Click on a date/time to view the file as it appeared at that time.
Date/TimeThumbnailDimensionsUserComment
current18:52, 25 October 2014Thumbnail for version as of 18:52, 25 October 20144,852 × 3,280 (3.13 MB)Mario modesto (talk | contribs)User created page with UploadWizard
You cannot overwrite this file.
________________________________________
Metadata
This file contains additional information, such as Exif metadata, probably added from the digital camera or scanner used to create or digitize it.
If the file has been modified from its original state, some details may not fully reflect the modified file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
Camera manufacturer Canon
Camera model Canon EOS 6D
Author Mario Modesto Mata
Copyright holder Creative Commons
Exposure time 1/100 sec (0.01)
F-number f/8
ISO speed rating 100
Date and time of data generation 15:15, 26 July 2014
Lens focal length 32 mm
Orientation Normal
Software used darktable 1.4
File change date and time 20:43, 25 October 2014
Exposure Program Normal program
Exif version 2.3
Date and time of digitizing 15:15, 26 July 2014
Meaning of each component
Y
Cb
Cr
does not exist
APEX shutter speed 6.625
APEX aperture 6
APEX exposure bias 0
Metering mode Pattern
Flash Flash did not fire
________________________________________
Categories:
Graves in SpainMass gravesProvince of BurgosSpanish Civil WarAssassinationFeatured pictures of Castile and León2014 in the province of BurgosSpanish RepublicansVictims of fascismEstépar1936 deaths
Hidden categories:
Media with locationsPictures of the Year (finalist)Pictures of the Year/2014 (finalist)Pictures of the Year (candidate)Pictures of the Year (2014)Featured pictures on Wikimedia CommonsFeatured pictures on Wikipedia, EnglishFeatured pictures on Wikipedia, SpanishPictures of the day (2015)CC-BY-SA-4.0Self-published workUploaded with UploadWizard
Taken with Canon EOS 6D
________________________________________
This page was last modified on 9 October 2015, at 22:36.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
________________________________________
________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
UNA ALTRA FOTOGRAFIA INTERESSANT, SOBRE LES QUATRE FOSSES COMUNES D'ESTÉPAR, BURGOS.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
Diario: BURGOS CONECTA.ES.
Periodista: Patricia Carro. 31-03-2015. 13:26h
________________________________________
burgosconecta.es/2015/03/31/memoria-historica-retoma-la-e...
burgosconecta.es/files/2014/07/estepar2.jpg
________________________________________
Diario: BURGOS CONECTA.ES. Un nuevo periodismo en Burgos.
Provincia Sociedad - Estépar, Memoria Histórica.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
En Estépar se han localizado cuatro fosas comunes. BC
Patricia Carro. BURGOS CONECTA.ES. 31-03-2015. 13:26h
Un total de 15 investigadores, coordinados por la Sociedad de Ciencias Aranzadi y Francisco Etxeberría, trabajarán desde el jueves.
Esperan encontrar 15 cuerpos, un número inferior a los recuperados en las otras tres fosas, que serán enviados a San Sebastián.
La Coordinadora para la Memoria Histórica tiene aún mucho trabajo en Estépar, con más de 300 víctimas enterradas.
Estaba prevista para el mes de noviembre pero las malas condiciones meteorológicas obligaron a su aplazamiento. Ahora, aprovechando las vacaciones de Semana Santa, el equipo de la Coordinadora Provincial para la Memoria Histórica retoma las excavaciones en los Montes de Estépar para recuperar los cuerpos de la última de las cuatro fosas localizadas. Trabajarán un total de 15 investigadores, entre antropólogos, arqueólogos o historiadores, todos ellos de Burgos, que estarán acompañados por cuatro profesionales de la Sociedad de Ciencias Aranzadi, capitaneados por Francisco Etxeberría.
El arqueólogo que coordina la excavación, Juan Montero, explica que los trabajos comenzarán el jueves por la mañana, y se extenderán durante el viernes y el sábado, aunque sin descartar llegar al domingo. Se esperan encontrar unos 15 cuerpos, que serán enviados al Laboratorio de Medicina Forense de la Universidad del País Vasco, en San Sebastián, donde el equipo de Etxeberría lleva a cabo los trabajos de análisis de los restos, extracción de ADN y comparativa con las muestras tomadas a los familiares de posibles víctimas.
Más de 300 víctimas. Montes de Estépar es la peor zona de exterminio de toda la provincia, con más de 300 víctimas.
Desde la Coordinadora Provincial para la Memoria Histórica vuelven a denunciar la falta de apoyo de las administraciones en los trabajos de recuperación de asesinados durante la Guerra Civil y el Franquismo. Recuerdan que los Montes de Estépar son la mayor zona de "exterminio" de toda la provincia, con más de 300 víctimas enterradas. Los testimonios de familiares y de vecinos de las localidades cercanas, así como el estudio de los documentos de la época, archivos militares y civiles permiten hablar de la existencia de hasta cinco sectores con fosas comunes.
El primero de ellos correspondería a las cuatro fosas localizadas el pasado verano. Entonces, el equipo de investigadores recuperó 70 cuerpos, a los que se sumarán los alrededor de 15 que se esperan encontrar ahora. Sin embargo, asegura Montero, queda mucho trabajo por delante. De ahí que, el próximo verano, continúen con las prospecciones para conseguir localizar algunos de los otros cuatro sectores. Uno ya lo dan por desaparecido, el que corresponde con la gravera creada en los años 80 para extraer material con el que se construyó la autovía.
Los propios trabajadores de la época aseguran que hallaron muchos huesos durante las obras, así que poco o nada quedará ahora. Muy afectada se podría encontrar también la zona que se utilizó, hace décadas, como arenal, pero Montero no descarta encontrar algún resto. E intactos tendrían que estar los sectores que se ubicarían en pleno monte comunal. El problema es que hay que localizar el punto exacto, algo difícil teniendo en cuenta que las investigaciones se basan en testimonios orales y que la zona ha cambiado mucho desde el verano del '36, recuerda el arqueólogo.
Sin recursos. Futuras nuevas excavaciones dependerán de los fondos de los que disponga la Coordinadora.
Además, la Coordinadora requiere de fondos para poder llevar a cabo los trabajos. De hecho, la última parte de esta campaña se va a hacer con los mínimos recursos posibles. En lugar de contar con 30 profesionales, como en verano, lo harán sólo con 15. Los de burgos dormirán en sus casas, y sólo se pagará el alojamiento a los investigadores de Aranzadi, explican. Juan Montero insiste en que los investigadores de Burgos "no vamos a cobrar ni un solo euro", siendo en la mayor parte de los casos profesionales en paro, no adscritos a ningún organismo o centro de investigación.
La campaña de crowdfunding desarrollada en verano dio sus frutos, consiguiendo entre 20.000 y 24.000 euros, pero pretenden que les sobre algo de dinero para poder financiar las próximas prospecciones. Además, desde la Coordinadora recuerdan que su objetivo no es sólo recuperar los cuerpos, sino darles un digno enterramiento. Si no se consigue una identificación de los restos, para devolverlos a las familias, irán al cementerio de Estépar, donde ya se ha adquirido el terreno. Sin embargo, sólo hacer el hueco y acondicionarlo para enterramiento puede costar 24.000 euros.
Por ello, desde la Coordinadora denuncian la falta de apoyos institucionales, como los que existen en País Vasco, Navarra o Andalucía, por falta de "voluntad política" de los gobiernos del Partido Popular. Y es que ni Junta ni Diputación disponen de una política de memoria histórica. Nunca se ha hecho nada, insiste Montero, a pesar de que muchos de los asesinados que se encuentran en Estépar fueron víctimas políticas, alcaldes, concejales o gobernadores, que fueron cayendo durante los primeros meses de la Guerra Civil o en la dictadura.
____
MÁS INFO:
burgosconecta.es/2014/07/28/se-recuperan-70-cuerpos-de-aj...
burgosconecta.es/2014/06/15/crowdfunding-para-recuperar-a...
____
Noticias relacionadas:
Entierro digno para los 132 asesinados exhumados en La Pedraja.
FOTO: Los restos han estado presentes en el Monte y luego se han trasladado al panteón. PCR
Tudanca denuncia la derogación "de facto" de la Ley de la Memoria Histórica.
FOTO: Tudanca ha estado presente en el homenaje de La Pedraja. PCR
Se recuperan 70 cuerpos de asesinados en Estépar en el '36 [1936].
FOTO: En Estépar se han localizado cuatro fosas comunes. BC
Último empujón en la recogida de fondos para identificaciones de La Pedraja.
FOTO: Sociedad de Ciencias Aranzadi realizó las exhumaciones. BC
Crowdfunding para recuperar a las víctimas de Estépar.
FOTO: Fosa común recuperada en Covanera, por la Coordinadora. BC
________________________________________
________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
____
____
El franquisme assassinà desenes de milers de persones.
Llei antiterrorista contra l'apologia del franquisme.
____
El franquismo asesinó a decenas de miles de personas.
Ley antiterrorista contra la apología del franquismo.
____
INFORMACIÓ SOBRE LA FOTOGRAFIA UTILITZADA (MOLT BONA, PER LA LLUM, EL VOLUM I EL DRAMATISME ACONSEGUIT).
Autor de la fotografia: Mario Modesto Mata.
Localització: Segona fossa comuna, de quatre, amb 26 víctimes del franquisme (agost-setembre, 1936). Estépar (Burgos).
Data de la fotografia: 26-7-2014. 15:15:01.
_______________________________________________________________________________
www.flickr.com/photos/mario_modesto/15487220198/in/photos...
www.flickr.com/photos/mario_modesto/albums
________________________________________
Mario Modesto Mata.
Fosa común de la Guerra Civil Española. Estépar (Burgos)
Durante parte del mes de julio de 2014 se llevó a cabo la exhumación de varias fosas comunes republicanas de la Guerra Civil Española en la localidad burgalesa de Estépar.
En total se localizaron 4 fosas, en la que la de la imagen es la segunda, y contiene un total de 26 hombres asesinados.
Como se observa en algunos esqueletos, existen evidencias de que estaban maniatados a la espalda.
La imagen en Wikimedia Commons:
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
_______________________________________________________________________________
_______________________________________________________________________________
Disponible en Wikimedia Commons (Wikipedia) amb la mida i qualitat original (3.13 MB. 4852 × 3280 píxels).
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
________________________________________
es.wikipedia.org/wiki/Desaparecidos_del_franquismo
_______________________________________________________________________________
File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
From Wikimedia Commons, the free media repository
File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
Size of this preview: 800 × 541 pixels. Other resolutions: 320 × 216 pixels | 640 × 433 pixels | 1,024 × 692 pixels | 1,280 × 865 pixels | 4,852 × 3,280 pixels.
Language select: Català.
Original file (4,852 × 3,280 pixels, file size: 3.13 MB, MIME type: image/jpeg); ZoomViewer: flash/no flash
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
________________________________________
Summary
Description (Català):
Una de les fosses comunes descobertes a Estèpar (província de Burgos) datant d'agost-setembre del 1936, a l'inici de la guerra civil espanyola. La fossa conté vint-i-sis republicans assasinats pels nacionalistes [feixistes espanyols].
Date 26 July 2014, 15:15:01
Source Own work
Author Mario Modesto Mata
Permission (Reusing this file)
Summary:
In using this image or any subsequent derivatives of it, you are required to release the image under the same license. As such, any reproduction of this image, in any medium, must appear with a copy of, or full URL of the license.
Attribution of this image to the author (Mario Modesto Mata) is required in a prominent location near to the image.
No other conditions may be added to, or removed from this license without the permission of the author and copyright holder.
Please review the full license requirements carefully before using this image. If you would like to clarify the terms of the license or negotiate less restrictive commercial licensing outside of the bounds of GFDL/CC-BY-SA, please contact me by email, or if you don't have a Wikipedia account you can leave a message on my talk page with your contact details and your request.
commons.wikimedia.org/wiki/User:Mario_modesto
Click on the image to see my portfolio: Los ojos de antecessor Photography.svg
losojosdeantecessor.wordpress.com/
Camera location 42° 17' 15.18" N, 3° 53' 59.1" W
View this and other nearby images on: OpenStreetMap - Google Earth
tools.wmflabs.org/wiwosm/osm-on-ol/commons-on-osm.php?zoo...
This file was a finalist in Picture of the Year 2014.
This is a featured picture on Wikimedia Commons (Featured pictures) and is considered one of the finest images.
This is a featured picture on the English language Wikipedia (Featured pictures) and is considered one of the finest images.
This is a featured picture on the Spanish language Wikipedia (Recursos destacados) and is considered one of the finest images.
If you have an image of similar quality that can be published under a suitable copyright license, be sure to upload it, tag it, and nominate it.
This image was selected as picture of the day on Wikimedia Commons for 17 July 2015.
It was captioned as follows:
English: A mass grave at Estépar (Burgos) which contains twenty-six republicans who were killed during Spanish Civil War.
________________________________________
Licensing
I, the copyright holder of this work, hereby publish it under the following license:
w:en:Creative Commons
attribution share alike
This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
You are free:
to share – to copy, distribute and transmit the work
to remix – to adapt the work
Under the following conditions:
attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
share alike – If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.
________________________________________
File history
Click on a date/time to view the file as it appeared at that time.
Date/TimeThumbnailDimensionsUserComment
current18:52, 25 October 2014Thumbnail for version as of 18:52, 25 October 20144,852 × 3,280 (3.13 MB)Mario modesto (talk | contribs)User created page with UploadWizard
You cannot overwrite this file.
________________________________________
Metadata
This file contains additional information, such as Exif metadata, probably added from the digital camera or scanner used to create or digitize it.
If the file has been modified from its original state, some details may not fully reflect the modified file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
Camera manufacturer Canon
Camera model Canon EOS 6D
Author Mario Modesto Mata
Copyright holder Creative Commons
Exposure time 1/100 sec (0.01)
F-number f/8
ISO speed rating 100
Date and time of data generation 15:15, 26 July 2014
Lens focal length 32 mm
Orientation Normal
Software used darktable 1.4
File change date and time 20:43, 25 October 2014
Exposure Program Normal program
Exif version 2.3
Date and time of digitizing 15:15, 26 July 2014
Meaning of each component
Y
Cb
Cr
does not exist
APEX shutter speed 6.625
APEX aperture 6
APEX exposure bias 0
Metering mode Pattern
Flash Flash did not fire
________________________________________
Categories:
Graves in SpainMass gravesProvince of BurgosSpanish Civil WarAssassinationFeatured pictures of Castile and León2014 in the province of BurgosSpanish RepublicansVictims of fascismEstépar1936 deaths
Hidden categories:
Media with locationsPictures of the Year (finalist)Pictures of the Year/2014 (finalist)Pictures of the Year (candidate)Pictures of the Year (2014)Featured pictures on Wikimedia CommonsFeatured pictures on Wikipedia, EnglishFeatured pictures on Wikipedia, SpanishPictures of the day (2015)CC-BY-SA-4.0Self-published workUploaded with UploadWizard
Taken with Canon EOS 6D
________________________________________
This page was last modified on 9 October 2015, at 22:36.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
________________________________________
________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
UNA ALTRA FOTOGRAFIA INTERESSANT, SOBRE LES QUATRE FOSSES COMUNES D'ESTÉPAR, BURGOS.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
Diario: BURGOS CONECTA.ES.
Periodista: Patricia Carro. 31-03-2015. 13:26h
________________________________________
burgosconecta.es/2015/03/31/memoria-historica-retoma-la-e...
burgosconecta.es/files/2014/07/estepar2.jpg
________________________________________
Diario: BURGOS CONECTA.ES. Un nuevo periodismo en Burgos.
Provincia Sociedad - Estépar, Memoria Histórica.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
En Estépar se han localizado cuatro fosas comunes. BC
Patricia Carro. BURGOS CONECTA.ES. 31-03-2015. 13:26h
Un total de 15 investigadores, coordinados por la Sociedad de Ciencias Aranzadi y Francisco Etxeberría, trabajarán desde el jueves.
Esperan encontrar 15 cuerpos, un número inferior a los recuperados en las otras tres fosas, que serán enviados a San Sebastián.
La Coordinadora para la Memoria Histórica tiene aún mucho trabajo en Estépar, con más de 300 víctimas enterradas.
Estaba prevista para el mes de noviembre pero las malas condiciones meteorológicas obligaron a su aplazamiento. Ahora, aprovechando las vacaciones de Semana Santa, el equipo de la Coordinadora Provincial para la Memoria Histórica retoma las excavaciones en los Montes de Estépar para recuperar los cuerpos de la última de las cuatro fosas localizadas. Trabajarán un total de 15 investigadores, entre antropólogos, arqueólogos o historiadores, todos ellos de Burgos, que estarán acompañados por cuatro profesionales de la Sociedad de Ciencias Aranzadi, capitaneados por Francisco Etxeberría.
El arqueólogo que coordina la excavación, Juan Montero, explica que los trabajos comenzarán el jueves por la mañana, y se extenderán durante el viernes y el sábado, aunque sin descartar llegar al domingo. Se esperan encontrar unos 15 cuerpos, que serán enviados al Laboratorio de Medicina Forense de la Universidad del País Vasco, en San Sebastián, donde el equipo de Etxeberría lleva a cabo los trabajos de análisis de los restos, extracción de ADN y comparativa con las muestras tomadas a los familiares de posibles víctimas.
Más de 300 víctimas. Montes de Estépar es la peor zona de exterminio de toda la provincia, con más de 300 víctimas.
Desde la Coordinadora Provincial para la Memoria Histórica vuelven a denunciar la falta de apoyo de las administraciones en los trabajos de recuperación de asesinados durante la Guerra Civil y el Franquismo. Recuerdan que los Montes de Estépar son la mayor zona de "exterminio" de toda la provincia, con más de 300 víctimas enterradas. Los testimonios de familiares y de vecinos de las localidades cercanas, así como el estudio de los documentos de la época, archivos militares y civiles permiten hablar de la existencia de hasta cinco sectores con fosas comunes.
El primero de ellos correspondería a las cuatro fosas localizadas el pasado verano. Entonces, el equipo de investigadores recuperó 70 cuerpos, a los que se sumarán los alrededor de 15 que se esperan encontrar ahora. Sin embargo, asegura Montero, queda mucho trabajo por delante. De ahí que, el próximo verano, continúen con las prospecciones para conseguir localizar algunos de los otros cuatro sectores. Uno ya lo dan por desaparecido, el que corresponde con la gravera creada en los años 80 para extraer material con el que se construyó la autovía.
Los propios trabajadores de la época aseguran que hallaron muchos huesos durante las obras, así que poco o nada quedará ahora. Muy afectada se podría encontrar también la zona que se utilizó, hace décadas, como arenal, pero Montero no descarta encontrar algún resto. E intactos tendrían que estar los sectores que se ubicarían en pleno monte comunal. El problema es que hay que localizar el punto exacto, algo difícil teniendo en cuenta que las investigaciones se basan en testimonios orales y que la zona ha cambiado mucho desde el verano del '36, recuerda el arqueólogo.
Sin recursos. Futuras nuevas excavaciones dependerán de los fondos de los que disponga la Coordinadora.
Además, la Coordinadora requiere de fondos para poder llevar a cabo los trabajos. De hecho, la última parte de esta campaña se va a hacer con los mínimos recursos posibles. En lugar de contar con 30 profesionales, como en verano, lo harán sólo con 15. Los de burgos dormirán en sus casas, y sólo se pagará el alojamiento a los investigadores de Aranzadi, explican. Juan Montero insiste en que los investigadores de Burgos "no vamos a cobrar ni un solo euro", siendo en la mayor parte de los casos profesionales en paro, no adscritos a ningún organismo o centro de investigación.
La campaña de crowdfunding desarrollada en verano dio sus frutos, consiguiendo entre 20.000 y 24.000 euros, pero pretenden que les sobre algo de dinero para poder financiar las próximas prospecciones. Además, desde la Coordinadora recuerdan que su objetivo no es sólo recuperar los cuerpos, sino darles un digno enterramiento. Si no se consigue una identificación de los restos, para devolverlos a las familias, irán al cementerio de Estépar, donde ya se ha adquirido el terreno. Sin embargo, sólo hacer el hueco y acondicionarlo para enterramiento puede costar 24.000 euros.
Por ello, desde la Coordinadora denuncian la falta de apoyos institucionales, como los que existen en País Vasco, Navarra o Andalucía, por falta de "voluntad política" de los gobiernos del Partido Popular. Y es que ni Junta ni Diputación disponen de una política de memoria histórica. Nunca se ha hecho nada, insiste Montero, a pesar de que muchos de los asesinados que se encuentran en Estépar fueron víctimas políticas, alcaldes, concejales o gobernadores, que fueron cayendo durante los primeros meses de la Guerra Civil o en la dictadura.
____
MÁS INFO:
burgosconecta.es/2014/07/28/se-recuperan-70-cuerpos-de-aj...
burgosconecta.es/2014/06/15/crowdfunding-para-recuperar-a...
____
Noticias relacionadas:
Entierro digno para los 132 asesinados exhumados en La Pedraja.
FOTO: Los restos han estado presentes en el Monte y luego se han trasladado al panteón. PCR
Tudanca denuncia la derogación "de facto" de la Ley de la Memoria Histórica.
FOTO: Tudanca ha estado presente en el homenaje de La Pedraja. PCR
Se recuperan 70 cuerpos de asesinados en Estépar en el '36 [1936].
FOTO: En Estépar se han localizado cuatro fosas comunes. BC
Último empujón en la recogida de fondos para identificaciones de La Pedraja.
FOTO: Sociedad de Ciencias Aranzadi realizó las exhumaciones. BC
Crowdfunding para recuperar a las víctimas de Estépar.
FOTO: Fosa común recuperada en Covanera, por la Coordinadora. BC
________________________________________
________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
____
____
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/4201573597
Share this photo on: facebook • twitter • more...
Google Earth capture of the mouth of the Flàajökull Glacier (Iceland)
You can see the remnant of earlier mouth of the glacier - The glacier is now smaller than it used to be, possibly a sign of global warming?
This is an exact match of my aerial photo of this glacier.
This photo is © Google Earth, used by permission (this overwrites any other copyright mention that may appear on this page)
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.
The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.
I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.
The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.
Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)
The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.
What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!
Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.
What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.
If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.
This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.
While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)
A context free grammar with associated transforms in the plane and RGB space made these...
rules like
a -> bc
b -> bd
but never like:
d -> dd
each symbol is associated with a rotation, shift and scale in the plane, and a step in a direction in the RGB color space.
There are no real terminal symbols, termination occurs when the sub-tree would be less than a pixel in size, and the pixel at the resulting position is coloured.
Much like an L-System, I would say.
Actually because the tree overwrites itself in the image, does that make it context-sensitive, in that the result depends on other symbols? Certainly you need the image buffer as well as the stack to represent the process.
SEWING & EMBROIDERY ELNA 8600
Rp25.000.000
TECHNICAL FEATURES
LCD color touch screen – 94 mm x 71 mm, 3 ¾" x 2 ¾"
PC card slot
Memory - save onto machine or PC cards, name files, save, recall, overwrite, delete
Personalized machine function settings :
Maximum embroidery speed
Inches/millimeters
Screen contrast
Sound – adjust volume or turn off
Adjust eco mode
Sew with light on or off
Thread selection – Robison-Anton, Madeira, Mettler
Languages
Realign keys
Start/stop key – color-coded red/green, for embroidery and traditional sewing
Sensors – upper thread, bobbin thread, presser bar, foot control, etc.
On-screen instruction manual
Adjustable speed control
Built-in carriage
Free arm embroidery
Built-in needle threader
Auto tension setting
Auto drop feed dog
Adjustable foot pressure
Top protective cover with design chart
Metric and inch seam allowance lines – on bobbin cover plate, needle plate, free arm
Rotary horizontal hook with transparent bobbin cover
Thread holder and cutter
Thread cutter for bobbin winding
Extra presser foot lift
Foot control with retractable cord
Universal voltage
SEWING FEATURES
104 stitches, including 7 buttonholes
1 alphabet
Operation keys - needle up/down, auto-lock, reverse
Function keys - twin needle, mirror image, elongation, needle stop position, memorize a sequence
Adjustable width (7 mm) and length (5 mm)
Adjustable needle position for straight stitches
EMBROIDERY FEATURES
An abundant choice of built-in designs
Alphabets – 3 styles, 3 sizes :
Single or multiple colors with color change key
Edit any letter anywhere in a sequence
Horizontal/vertical alignment for letters
Monograms – 2 letter and 3 letter with 4 styles of frames
Edit features – rotate, resize, mirror image, face to face, move by drag and drop or directional arrow keys, grid
Jog keys align hoop to needle start position
Design embroidery information - skipping and color overview, remaining embroidery time in minutes, number of colors/parts, design size, trace key, stitch counter
Hoops – 2 hoops with templates included
STORAGE
Two convenient storage areas accommodate presser feet, bobbins, needles, quilt guide, screwdriver, screw key, scissors, spool stand, additional spool pin, spool pin felt, lint brush, seam ripper, spool holders :
under top cover
in extension table
Dust Cover - ideal for storing your new Elna 8600 and its accessories.
My Lokasi
JL Raya Utan Panjang Timur No1A Kemayoran JAKARTA PUSAT 10650
TLP: 021 99101393
081586526093
whatsapp 081389725533
MESIN JAHIT JANOME DAN ELNA
Menjahit lebih cepat dan mudah dengan pilihan merk mesin jahit terbaik dalam spesifikasi dan fitur-fitur teknologi terbaru yang semakin memudahkan semua pengerjaan menjahit.Jual Mesin Jahit, Mesin Jahit Portable, Mesin Jahit Singer, Harga Mesin Jahit Butterfly, Jenis Mesin Jahit, Daftar Harga Mesin Jahit, Mesin Jahit Butterfly, Mesin Jahit Multifungsi, Merk Mesin Jahit, Macam Macam Mesin Jahit
Young people from YOUNGO – the youth constituency under the UNFCCC – are taking action today inside the UN climate talks. Silently holding placards bearing the words ‘Equity is the Pathway to Ambition’, they issue a powerful reminder to negotiators from developed countries that it is their responsibility to take the lead in acting on climate change. YOUNGO demands a renewed drive for progress at the climate talks; progress which is based on science and equity.
“We have had loud and fun actions so far. But today we are silent, reminding negotiators of the respect that the fundamental principles of this Convention require. Some governments believe they can simply overwrite the principles of a global convention but these are based on equitable values which are not up for negotiation. It is only by following a pathway which is equitable and just that we will be able to make real strides in the fight against climate change.” said Maja Gudim Burheim from the Norwegian organisation, Changemaker.
READ THE PRESS RELEASE HERE: pusheurope.eu/media/pressrelease-24052012/
El franquisme assassinà desenes de milers de persones.
Llei antiterrorista contra l'apologia del franquisme.
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El franquismo asesinó a decenas de miles de personas.
Ley antiterrorista contra la apología del franquismo.
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INFORMACIÓ SOBRE LA FOTOGRAFIA UTILITZADA (MOLT BONA, PER LA LLUM, EL VOLUM I EL DRAMATISME ACONSEGUIT).
Autor de la fotografia: Mario Modesto Mata.
Localització: Segona fossa comuna, de quatre, amb 26 víctimes del franquisme (agost-setembre, 1936). Estépar (Burgos).
Data de la fotografia: 26-7-2014. 15:15:01.
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www.flickr.com/photos/mario_modesto/15487220198/in/photos...
www.flickr.com/photos/mario_modesto/albums
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Mario Modesto Mata.
Fosa común de la Guerra Civil Española. Estépar (Burgos)
Durante parte del mes de julio de 2014 se llevó a cabo la exhumación de varias fosas comunes republicanas de la Guerra Civil Española en la localidad burgalesa de Estépar.
En total se localizaron 4 fosas, en la que la de la imagen es la segunda, y contiene un total de 26 hombres asesinados.
Como se observa en algunos esqueletos, existen evidencias de que estaban maniatados a la espalda.
La imagen en Wikimedia Commons:
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
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Disponible en Wikimedia Commons (Wikipedia) amb la mida i qualitat original (3.13 MB. 4852 × 3280 píxels).
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
commons.wikimedia.org/wiki/File:Spanish_Civil_War_-_Mass_...
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es.wikipedia.org/wiki/Desaparecidos_del_franquismo
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File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
From Wikimedia Commons, the free media repository
File: Spanish Civil War - Mass grave - Estépar, Burgos.jpg
Size of this preview: 800 × 541 pixels. Other resolutions: 320 × 216 pixels | 640 × 433 pixels | 1,024 × 692 pixels | 1,280 × 865 pixels | 4,852 × 3,280 pixels.
Language select: Català.
Original file (4,852 × 3,280 pixels, file size: 3.13 MB, MIME type: image/jpeg); ZoomViewer: flash/no flash
upload.wikimedia.org/wikipedia/commons/9/9a/Spanish_Civil...
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Summary
Description (Català):
Una de les fosses comunes descobertes a Estèpar (província de Burgos) datant d'agost-setembre del 1936, a l'inici de la guerra civil espanyola. La fossa conté vint-i-sis republicans assasinats pels nacionalistes [feixistes espanyols].
Date 26 July 2014, 15:15:01
Source Own work
Author Mario Modesto Mata
Permission (Reusing this file)
Summary:
In using this image or any subsequent derivatives of it, you are required to release the image under the same license. As such, any reproduction of this image, in any medium, must appear with a copy of, or full URL of the license.
Attribution of this image to the author (Mario Modesto Mata) is required in a prominent location near to the image.
No other conditions may be added to, or removed from this license without the permission of the author and copyright holder.
Please review the full license requirements carefully before using this image. If you would like to clarify the terms of the license or negotiate less restrictive commercial licensing outside of the bounds of GFDL/CC-BY-SA, please contact me by email, or if you don't have a Wikipedia account you can leave a message on my talk page with your contact details and your request.
commons.wikimedia.org/wiki/User:Mario_modesto
Click on the image to see my portfolio: Los ojos de antecessor Photography.svg
losojosdeantecessor.wordpress.com/
Camera location 42° 17' 15.18" N, 3° 53' 59.1" W
View this and other nearby images on: OpenStreetMap - Google Earth
tools.wmflabs.org/wiwosm/osm-on-ol/commons-on-osm.php?zoo...
This file was a finalist in Picture of the Year 2014.
This is a featured picture on Wikimedia Commons (Featured pictures) and is considered one of the finest images.
This is a featured picture on the English language Wikipedia (Featured pictures) and is considered one of the finest images.
This is a featured picture on the Spanish language Wikipedia (Recursos destacados) and is considered one of the finest images.
If you have an image of similar quality that can be published under a suitable copyright license, be sure to upload it, tag it, and nominate it.
This image was selected as picture of the day on Wikimedia Commons for 17 July 2015.
It was captioned as follows:
English: A mass grave at Estépar (Burgos) which contains twenty-six republicans who were killed during Spanish Civil War.
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Licensing
I, the copyright holder of this work, hereby publish it under the following license:
w:en:Creative Commons
attribution share alike
This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
You are free:
to share – to copy, distribute and transmit the work
to remix – to adapt the work
Under the following conditions:
attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
share alike – If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.
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File history
Click on a date/time to view the file as it appeared at that time.
Date/TimeThumbnailDimensionsUserComment
current18:52, 25 October 2014Thumbnail for version as of 18:52, 25 October 20144,852 × 3,280 (3.13 MB)Mario modesto (talk | contribs)User created page with UploadWizard
You cannot overwrite this file.
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Metadata
This file contains additional information, such as Exif metadata, probably added from the digital camera or scanner used to create or digitize it.
If the file has been modified from its original state, some details may not fully reflect the modified file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
Camera manufacturer Canon
Camera model Canon EOS 6D
Author Mario Modesto Mata
Copyright holder Creative Commons
Exposure time 1/100 sec (0.01)
F-number f/8
ISO speed rating 100
Date and time of data generation 15:15, 26 July 2014
Lens focal length 32 mm
Orientation Normal
Software used darktable 1.4
File change date and time 20:43, 25 October 2014
Exposure Program Normal program
Exif version 2.3
Date and time of digitizing 15:15, 26 July 2014
Meaning of each component
Y
Cb
Cr
does not exist
APEX shutter speed 6.625
APEX aperture 6
APEX exposure bias 0
Metering mode Pattern
Flash Flash did not fire
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Categories:
Graves in SpainMass gravesProvince of BurgosSpanish Civil WarAssassinationFeatured pictures of Castile and León2014 in the province of BurgosSpanish RepublicansVictims of fascismEstépar1936 deaths
Hidden categories:
Media with locationsPictures of the Year (finalist)Pictures of the Year/2014 (finalist)Pictures of the Year (candidate)Pictures of the Year (2014)Featured pictures on Wikimedia CommonsFeatured pictures on Wikipedia, EnglishFeatured pictures on Wikipedia, SpanishPictures of the day (2015)CC-BY-SA-4.0Self-published workUploaded with UploadWizard
Taken with Canon EOS 6D
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UNA ALTRA FOTOGRAFIA INTERESSANT, SOBRE LES QUATRE FOSSES COMUNES D'ESTÉPAR, BURGOS.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
Diario: BURGOS CONECTA.ES.
Periodista: Patricia Carro. 31-03-2015. 13:26h
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burgosconecta.es/2015/03/31/memoria-historica-retoma-la-e...
burgosconecta.es/files/2014/07/estepar2.jpg
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Diario: BURGOS CONECTA.ES. Un nuevo periodismo en Burgos.
Provincia Sociedad - Estépar, Memoria Histórica.
Memoria Histórica retoma la exhumación de víctimas del Franquismo en la cuarta fosa de Estépar.
En Estépar se han localizado cuatro fosas comunes. BC
Patricia Carro. BURGOS CONECTA.ES. 31-03-2015. 13:26h
Un total de 15 investigadores, coordinados por la Sociedad de Ciencias Aranzadi y Francisco Etxeberría, trabajarán desde el jueves.
Esperan encontrar 15 cuerpos, un número inferior a los recuperados en las otras tres fosas, que serán enviados a San Sebastián.
La Coordinadora para la Memoria Histórica tiene aún mucho trabajo en Estépar, con más de 300 víctimas enterradas.
Estaba prevista para el mes de noviembre pero las malas condiciones meteorológicas obligaron a su aplazamiento. Ahora, aprovechando las vacaciones de Semana Santa, el equipo de la Coordinadora Provincial para la Memoria Histórica retoma las excavaciones en los Montes de Estépar para recuperar los cuerpos de la última de las cuatro fosas localizadas. Trabajarán un total de 15 investigadores, entre antropólogos, arqueólogos o historiadores, todos ellos de Burgos, que estarán acompañados por cuatro profesionales de la Sociedad de Ciencias Aranzadi, capitaneados por Francisco Etxeberría.
El arqueólogo que coordina la excavación, Juan Montero, explica que los trabajos comenzarán el jueves por la mañana, y se extenderán durante el viernes y el sábado, aunque sin descartar llegar al domingo. Se esperan encontrar unos 15 cuerpos, que serán enviados al Laboratorio de Medicina Forense de la Universidad del País Vasco, en San Sebastián, donde el equipo de Etxeberría lleva a cabo los trabajos de análisis de los restos, extracción de ADN y comparativa con las muestras tomadas a los familiares de posibles víctimas.
Más de 300 víctimas. Montes de Estépar es la peor zona de exterminio de toda la provincia, con más de 300 víctimas.
Desde la Coordinadora Provincial para la Memoria Histórica vuelven a denunciar la falta de apoyo de las administraciones en los trabajos de recuperación de asesinados durante la Guerra Civil y el Franquismo. Recuerdan que los Montes de Estépar son la mayor zona de "exterminio" de toda la provincia, con más de 300 víctimas enterradas. Los testimonios de familiares y de vecinos de las localidades cercanas, así como el estudio de los documentos de la época, archivos militares y civiles permiten hablar de la existencia de hasta cinco sectores con fosas comunes.
El primero de ellos correspondería a las cuatro fosas localizadas el pasado verano. Entonces, el equipo de investigadores recuperó 70 cuerpos, a los que se sumarán los alrededor de 15 que se esperan encontrar ahora. Sin embargo, asegura Montero, queda mucho trabajo por delante. De ahí que, el próximo verano, continúen con las prospecciones para conseguir localizar algunos de los otros cuatro sectores. Uno ya lo dan por desaparecido, el que corresponde con la gravera creada en los años 80 para extraer material con el que se construyó la autovía.
Los propios trabajadores de la época aseguran que hallaron muchos huesos durante las obras, así que poco o nada quedará ahora. Muy afectada se podría encontrar también la zona que se utilizó, hace décadas, como arenal, pero Montero no descarta encontrar algún resto. E intactos tendrían que estar los sectores que se ubicarían en pleno monte comunal. El problema es que hay que localizar el punto exacto, algo difícil teniendo en cuenta que las investigaciones se basan en testimonios orales y que la zona ha cambiado mucho desde el verano del '36, recuerda el arqueólogo.
Sin recursos. Futuras nuevas excavaciones dependerán de los fondos de los que disponga la Coordinadora.
Además, la Coordinadora requiere de fondos para poder llevar a cabo los trabajos. De hecho, la última parte de esta campaña se va a hacer con los mínimos recursos posibles. En lugar de contar con 30 profesionales, como en verano, lo harán sólo con 15. Los de burgos dormirán en sus casas, y sólo se pagará el alojamiento a los investigadores de Aranzadi, explican. Juan Montero insiste en que los investigadores de Burgos "no vamos a cobrar ni un solo euro", siendo en la mayor parte de los casos profesionales en paro, no adscritos a ningún organismo o centro de investigación.
La campaña de crowdfunding desarrollada en verano dio sus frutos, consiguiendo entre 20.000 y 24.000 euros, pero pretenden que les sobre algo de dinero para poder financiar las próximas prospecciones. Además, desde la Coordinadora recuerdan que su objetivo no es sólo recuperar los cuerpos, sino darles un digno enterramiento. Si no se consigue una identificación de los restos, para devolverlos a las familias, irán al cementerio de Estépar, donde ya se ha adquirido el terreno. Sin embargo, sólo hacer el hueco y acondicionarlo para enterramiento puede costar 24.000 euros.
Por ello, desde la Coordinadora denuncian la falta de apoyos institucionales, como los que existen en País Vasco, Navarra o Andalucía, por falta de "voluntad política" de los gobiernos del Partido Popular. Y es que ni Junta ni Diputación disponen de una política de memoria histórica. Nunca se ha hecho nada, insiste Montero, a pesar de que muchos de los asesinados que se encuentran en Estépar fueron víctimas políticas, alcaldes, concejales o gobernadores, que fueron cayendo durante los primeros meses de la Guerra Civil o en la dictadura.
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MÁS INFO:
burgosconecta.es/2014/07/28/se-recuperan-70-cuerpos-de-aj...
burgosconecta.es/2014/06/15/crowdfunding-para-recuperar-a...
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Noticias relacionadas:
Entierro digno para los 132 asesinados exhumados en La Pedraja.
FOTO: Los restos han estado presentes en el Monte y luego se han trasladado al panteón. PCR
Tudanca denuncia la derogación "de facto" de la Ley de la Memoria Histórica.
FOTO: Tudanca ha estado presente en el homenaje de La Pedraja. PCR
Se recuperan 70 cuerpos de asesinados en Estépar en el '36 [1936].
FOTO: En Estépar se han localizado cuatro fosas comunes. BC
Último empujón en la recogida de fondos para identificaciones de La Pedraja.
FOTO: Sociedad de Ciencias Aranzadi realizó las exhumaciones. BC
Crowdfunding para recuperar a las víctimas de Estépar.
FOTO: Fosa común recuperada en Covanera, por la Coordinadora. BC
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Laxa’ine’ gigukwdzikasi’ gigukwas Hayałiligase’
(The Many Large Houses of the Ghosts)
by Marianne Nicolson, Musgamakw Dzawada’enux First Nation, Kwakwaka’wakw/Canada
Nicolson presents her work as a guest to the great lakes woodlands region of Toronto outside of her ancestral territory as Kwakwaka’wakw on the west coast. Her animated projection on the Old City Hall clock tower manifests ghost stories from the dead of night, recalling the supernatural spirit world while addressing the institutional haunting of the building as a structure and symbol of the nation state and Toronto's history. She overwrites the Romanesque civic building and courthouse using animated projections of hand-drawn pictographs based in Indigenous oral traditions and languages. Nicolson builds on her investigations into the ongoing tension and unresolved history of dispossession between Indigenous and non-indigenous governance, colonial power and buildings as permanent markers on land and bodies.
The European 1GB edition of the Sandisk Sansa Express USB MP3 player, firmware version 01.01.12e, is shown. The manual talks about certain of these devices having an FM radio - for some reason, the European edition doesn't ship with this feature, while the American edition does.
I did some digging and discovered that all the devices have the FM radio hardware, but you'll need to flash the European firmware, replacing it with the American version, to enable the feature. Download the American version of firmware.
Instructions:
1. Download the firmware and unzip the files to your Desktop.
2. You'll see a file called "StMp3Rec.sys", move this to "C:\windows\system32\drivers\". If you already have this driver, no need to overwrite the files.
3. Put the player in USB mode as follows:
a) Right-click on My Computer then select Properties.
b) In the Hardware tab, click the Device Manager button.
c) Find the Sansa Express device. (It should be in the Windows Portable Devices category)
d) Right click on the device then select Update Driver.
e) Choose "No...", "Install from a list...", and then "Don't search...".
f) Check the "Show Compatible Hardware" checkbox if it is unchecked.
g) Select "USB Mass Storage Device", click Next, and then click Finish.
4. My device showed up as "G:" in Windows Explorer.
5. Copy everything from the device to a backup folder on your "C:".
Back up everything on your device. The firmware update may delete your files!
6. Open the firmware folder and double click on "SansaExpressUpdater.exe" - a box with a large yellow warning symbol and a progress bar will show the firmware update being applied.
7. Close the updater box once finished and unplug the device from the USB port.
8. Power on the device and check the firmware version in the player's settings.
Our dear little Giraffe, having landed herself in the Land of Everfog, had been stunned with the sudden knowledge. Armed with absolutely nothing, not even a tapioca leave over her head, she had with her, only her Spots and memories of the Sun and the Rain.
However, this story is not about our dear little Giraffe and we shall leave her for a moment and get back to the Land of Mushrooms.
Now, after ages innumerable, for time was inmeasurable in the Land of Mushrooms, Cows and Spider started wondering about Giraffe. They had let her go. But yet, it has been too long that there was no news of her.
Very soon, Cows and Spider started to get worried. Seriously worried. Giraffe never had much sense of direction in the first place, and also, being sweet and innoccent by nature, Cows and Spider were getting really worried about Giraffe falling prey to some of the more sinister beings from the Rest of the World.
Cows and Spider thus set off looking for Giraffe.
As they started towards the Rest of the World they saw Parcetemol rolling along.
"Have you seen Giraffe?" were the first thought bubbles that greeted Parcetemol from Cows and Spider.
"The last time i saw her was ages back. She bounced past me distractedly, asking 'what is time?'. A long time back. A long time? Time? What is time? Time.." Parcetemol replied in confused thought bubbles and by the time he finished his last thought bubble, Parcetemol had forgotten about Cows and Spider and went rolling along, mumbling thought bubbles to herself, "time, what is time? Time? Time?"
Not able to get anything else out from Parcetemol, Cows and Spider thus moved on.
As they continued towards the Rest of the World, Cows and Spider saw Pig circling his nest, trying to get the most comfortable position to get to sleep. Cows and Spider walked nearer and found Pig also mumbling some thought bubbles to himself distractedly.
"Where did I come from? Where is the Land of Mushrooms? Where will I go to when I sleep?"
"Have you seen Giraffe?" anxious thought bubbles arose from Cows and Spider.
"Giraffe? Arh yes, Giraffe. Where do we all come from? Where did the Land of Mushrooms come from?" and nothing else could be gotten from Pig.
Not being able to do anything else with Pig, Cows and Spider continued on their journey. Not far from Pig, Cows and Spider saw Chipmunk (for Chipmunk was a good friend of Pig and they were never very far away from each other).
"Chipmunk! Giraffe knew you well! Did she tell you where she was going?"
"Giraffe! Dear little Giraffe. Arh yes, Giraffe. Where are we going henceforth? Land of Mushrooms? What is over the Edge of the World? What what what what what what what?" the excitable Chipmunk started to get extremely hyper again.
"Alright alright, there there there. It's ok." Cows and Spider did their best to get Chipmunk calm down again.
When Chipmunk has calmed down sufficiently and Cows and Spider felt it was alright to leave him alone, they started moving on again.
They proceeded more quickly after this for they were getting more and more anxious. Also, they did not meet so many beings of the Land of Mushrooms at this Part of the World.
One bright and Sunny day, Cows and Spider woke up and prepared to start on another day's journey when they crossed the path of a little brook. As they were crosssing the brook, Spider suddenly felt a little tremor under her third leg on her left. She peered into the water and to her surprise, a voice greeted her.
"Hail Spider! What bringest thou on this journey?"
Spider's shock was not small. She jumped up and splashed water not only on herself but all over Cows as well.
"What..What..Who are you?" Spider's shock was not only at the voice in the water, but that there is a speaking voice, for recall that in the Land of Mushrooms, the inhabitants communicated with thought bubbles and slabs of stones.
"What are you looking for?" the voice continued asking.
Spider recovered from her shock after a while and replied (in speech, not in thought bubbles since Spider and Cows did not originate from the Land of Mushrooms and were capable of speech, only they never use it anymore in the Land of Mushrooms).
"We are searching for Giraffe. Have you by any chance seen her around?"
"She's got a terrible sense of direction you see, and it's been a long time since we parted company and we've not heard of her since." Cows added.
"A long time you said." the voice sounded.
"Yes. A long time and we are getting really worried."
"A long time." the voice sounded more insistent.
"Yes! Have you seen her?" Spider did not have much patience.
"Time. All around us. Yet, what is time?"
"We're looking for Giraffe! Not time!" Spider was practically fuming now.
"What is time?" the voice was not daunted.
Cows suddenly saw a little streak of light somewhere in this argument and laid hooves on Spider's shoulder.
"Wait." Cows communicated to Spider in thought bubbles.
Then Cows spoke. "This was one of the questions Giraffe was asking as she set of in search of Beet-in-Oven! Have you seen her?"
"I'm glad you remembered that. Then Giraffe's wanderings has not been in vain."
"Where is she?" Spider was still indignant.
Patient Cows however, suddenly asked, "Who are you?"
The voice suddenly grew much sweeter and magical. More than any other voice Cows or Spider have ever heard.
"I came from far away. Where i lived together with the Sun. But i came down for a while to give Giraffe a little lift. And now I'm waiting for my beloved Sun to bring me back again. I missed him so much. But I'm glad you two crossed my path before I go."
After a long pregnant pause, the voice continued.
"Giraffe was a little fuse in this Land where nothing ignites. She ignited herself, knowing there's not going to be a way back anymore, and she went around the Land spreading her spark. But it will take more than a spark to ignite many inhabitants of this Land." the voice sighed.
Cows and Spider were still dumbstruck. They seemed to understand something, yet they do not understand yet.
"Giraffe has asked many questions, and she has found the answers for them. Now I'm going to ask you one question. Just one. And I hope you can find out the answer. What lies over the Edge of the World?"
Cows and Spider looked at each other. True, they were always curious about that, but like the rest of the inhabitants of the Land of Mushrooms, they have never had the courage to peer over the Edge.
"When you find that answer, you'll be a step closer to Giraffe." the voice sounded more magical and more sweet.
"And now my work here is complete. I'm going back to the Sun. He has missed me badly too. I am the Rain." and with that, all was silent save for the murmurings of Rain moving in the brook.
Cows and Spider looked at each other in amazement. Giraffe? What does this mean?
Finally, Spider said tentatively to Cow. "I think we should make a journey home."
"To the Edge of the World." Cows understood.
Thus Cows and Spider started walking back home, to their red mushroom with white spots, at the Edge of the World.
When they were quite near the Edge of the World, they passed Weasel who appeared deep in thought. "Hey Weasel! How are you?" Cows asked, attempting to be friendly. However, Weasel did not even seem to hear and continued sitting on a rock, staring into air.
With a shrug of shoulders, Cows and Spider continued on their way.
They plodded on, the eight legs of Spider and the many hooves of Cows making constant and resounding thuds on the stony ground.
After a long journey and ages innumerable, for time was immeasurable in this Land of Mushrooms, Cows and Spider finally reached the Edge of the World.
"Shall we have a long hibernation in our Mushroom first?" Cows being so tired out they could barely lift their eyelids.
"Just a little while more! Let's go to the Edge of the World first." Spider persuaded, for although Spider was tired as well, she was relatively less so than Cows since she only had eight legs to move while Cows had many many hooves.
"Well, alright then." good-natured Cows agreed and plodded on with Spider to the very Edge of the World.
When Cows and Spider got to the Edge, Cows suddenly stopped and pointed a trembling hoof to the left. Spider followed the hoof and saw, to her surprise, a lone tapioca leaf flapping in the wind and a little hoof print on the ground.
They rushed over immediately and stopped by the hoof print. Not being able to control themselves anymore, they broke down and wept. Tears of sadness at the lost of Giraffe; tears of anguish at themselves having let Giraffe start on her journey; tears of loneliness and self-pity at themselves, having to face ages forevermore without Giraffe.
In the midst of all their tears and howls, a deep strong voice suddenly rang out.
"Why do you weep my friends?"
The weeping and howling immediately stopped. Just. Like. That. And Cows and Spider craned their necks trying to find the source of the voice. The tapioca leaf? Cows and Spider blinked, and stared.
"Yes, yes, it's me. Here. Can't a tapioca leaf have a deep strong voice?"
Cows and Spider blinked again.
"Rain has told me, you are trying to find Giraffe, yes? Anyway, how do you like Rain? She's nice isn't she? I used to think she was too avant-garde for my taste, but well, my Sun loves her. And after a while, I realised she's sweet and nice too. Oh, where was I? Oh yes. Rain. She said you were looking for Giraffe."
Tapioca leaf took a deep breath and continued, "Giraffe went in search of many things, yes? Well, do you know I sheltered her when Rain came down? I tried to keep her Spots dry. Oh, where was I? Oh yes, Giraffe. She went in search of many things."
Cows and Spider were blinking and staring so hard in turns it seemed like the whish of eyelashes could be heard. Was this tapioca leaf a bit unbalanced up there wherever his mind was, or was he telling the truth?
"She went all around the Land of Mushrooms, questioning, searching. It was Beet-in-Oven who first awoken the spirit of questioning in her. Ah..the power of music. Incidentally, do you know, in my other incarnation, I play really beautiful music? Ah well..anyway, where was I? Oh yes. Giraffe. She started questioning. Do you remember the questions she asked?" finally, Tapioca Leaf paused at this point and waited for Cows and Spider to answer.
Stunned, Cows and Spider looked at each other. They had remembered Giraffe asking, but it was so long ago (or was it?) and they did not really keep it to mind.
"We did remember something about Beet-in-Oven. Giraffe wanted to look for him." Spider volunteered tentatively.
Cows nodded, and added, "We can't really remember the questions Giraffe asked, but when we met Rain, she asked us one question. She asked us what was over the Edge of the World. What is over the Edge of the World? Can you tell us? Rain said we'll be one step closer to Giraffe when we've found that answer."
"The Edge of the World. A good question. Very befitting for Rain. But there will be no coming back once you found that out. Do you really want to know? Think about it with care." Tapioca Leaf sounded solemn.
What do you mean? No coming back? No coming back to the Land of Mushrooms? You mean there is some place out there outside this Land? Is that where Giraffe went to? Where is she now? Why can't she come back?" Cows were full of questions.
"That is a path few people can trod. That is a path destined for a few. Giraffe is one of them. She has searched, and she found. I cannot tell you where she is now for our slabs of stones with our stories may be under different hands. Giraffe did not find Beet-in-Oven. His was on a different slab of stone. But Giraffe found her own slab of stone. That is all I can tell you. Now do you want to go looking for your own slabs of stones?" Tapioca Leaf sounded kind now, and concerned.
Cows and Spider were silent for a while. Then Cows spoke. "You mean we may not be on the same slab of stone as Giraffe? Or with each other? We won't be able to see each other forever then!"
"I wouldn't count on forever." Tapioca Leaf replied. "You may realise that forever may be just a mode of thought, yes? And yes, you may all be on the same slab of stone, or you may not. That I cannot tell. So have you decided?"
Cows and Spider looked at each other and communicated in anxious, intense thought bubbles. After a long time (or it may not be too long after all since over in this Land, time was immeasurable), Spider finally turned to Tapioca Leaf and said, "Your offer sounds tempting. But I think we cannot agree. You see, we love each other so. It is dreadful losing Giraffe and we wish we could get her back. But you cannot promise that and we do not want to lose each other as well. So I think we have to say no to what you offered us."
"Yes. Well I expected you will give me this answer. You were destined for this. It was just my little wish, a hope beyond hopes, that you might overwrite the hand that wrote you on the slab of stone. Oh well, we all follow different paths. Go. With all my blessings. And do not stop searching and questioning. You have been granted a little peep into the secrets. Continue sowing the seeds, even if it is only here in the Land of Mushrooms." With a final waver, Tapioca Leaf fluttered over the Edge of the World, leaving Cows and Spider alone, facing the lonely hoof-print.
The silence seemed too sacred to break and Cows and Spider stood still, not moving even a single eyelash.
There are some whose destinies are to roam and search. And there are some that are to stay. Yet others may be given a chance to choose. But there is a purpose to whatever that is being chosen. Our stories have all been written with a purpose.
Los Angeles, CA, January 12, 2008 -
Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena. PGLA is proud to announce a partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III." Curated by Dangerous Curve.
Location: 248 Pine Ave, Long Beach, CA 90802
Exhibit runs: January 12 to March 12, 2008.
Viewable 24/7 with optimal viewing hours between 5 pm - 1 am.
Gallery Hours by appointment only.
Reception for the artist TBA.
"Fiat Lux" means "Let There be Light." Chorpenning means to light up
the darkest days and longest nights of the year. If you've not seen
one of Susan Chorpenning's twinkling light window displays, you've not
had a true urban winter-wonderland experience! Her last PGLA
installation, "Fiat Lux II," was like a holiday mega-display, with the
lights painstakingly intertwined and loaded on until they filled the
whole window. From afar, the window seemed to hover in front of its
pane of glass. Up close, one's whole field of vision was engulfed.
The effect was invigorating exuberance.
"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights
restrained (if only slightly) and elegant. It fills the two windows to the left and
right of the location's main doorway. The walls are painted
bright colors with added blocks of color behind some light elements. These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames. Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme. These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.
More about the Artist
Chorpenning suechor/myhomepage/index.html
is from Altadena, via New York and Europe. She has had numerous solo
shows and siteworks in galleries and museums, nationally in New York,
the San Francisco Bay Area, Texas, and internationally in Paris,
France, and Germany. She has performed to rave reviews at Dixon
Place, The Knitting Factory, BACA, The Painted Bride, and Claremont
College.
Among other things, Chorpenning does so-called "dark rooms," chairs
with flash units and light-sensitive rocks. All these
things use afterimages (from phosphorescent paint or flash units that
leave traces on one's retina to mimic memory perceptions. The "memories" can build up and overlap, and sometimes interact and overwrite each other.
Chorpenning's solo show at Dangerous Curve in 2004 was one of her
"light room" installations. In these, she uses paint on walls and
floors to record "memories" of constantly moving sunlight streaming in
through doors, windows, and skylights throughout a given day. All
Chorpenning's past light rooms have been records of sunlight as it
actually came into the rooms, but in "February Thirtieth," the
sunlight was completely fabricated for a completely fabricated day.
Chorpenning has noted that light traces left from another part of a
day can have a surprising psychological effect, causing the viewer to
perceive enhanced brightness in a room without really understanding
why. Imagine the effect in a room that, facing north, doesn't have any
direct sunlight at all. The space at Dangerous Curve is such a room,
and the effect of Chorpenning's multicolored trace records was
profound.
More about the Presenters
Phantom Galleries LA PhantomGalleriesLA.com is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Dangerous Curve dangerouscurve.org is a leading
contemporary art space in the Arts District of Los Angeles that
supports risky and intelligent work that's ahead of the curve.
The Long Beach Redevelopment Agency works to build a better Long Beach. For more information about Long Beach contact: rda.longbeach.gov
photo by americanimagegallery.com
model: Valentina
www.youtube.com/watch?v=FZyDiuzpHCg
Blackout
Blood in your eye
Blackout
Blood in your eye
Blackout
Blood in your eye
Floating out as colors fill the light
We look up from the ground in fields of painted white
Floating up you pass us in the night
The future gazing out a past to overwrite
So come down far below
We've been waiting to correct the things you know
Come down far below
We've been waiting to correct what you've let go
Come down below...
Linkin Park
sometimes coding late into the night is counter-productive. This is a snapshot of our git repository (a system for allowing multiple programmers to work on some code without overwriting each other's work). An orderly 'checkout - change - check-in' looks like the area on the left. We were looking good until sometime around 2am when we tied a knot in our code that took a half hour to get undone again
"America's Next Drag Superstar!" - yadda, yadda, yadda. I'm overwriting the default commentary that you can find on any of the other pics of this series. I have something specific to say about this image.
I photographed this show on May 7, 2010. When I returned home, I immediately uploaded almost a thousand images to my computer. I then started surfing them until my gaze fell upon this one. When I saw this image, I felt that I had captured a minor winner. Knowing my normal photo work habits meant there would be a significant wait before anyone saw them posted to flickr (it is June 22nd as I type this commentary), I decided I could not wait to show it to Arielle. I immediately put this photo through processing and sent the result to her. She loved the photo and used it for quite some time as her facebook profile pic. I decided to wait until I could post it (today - June 22nd) along with the entire series to flickr.
I also prep'd the video of Arielle's performance for uploading to YouTube. As I closely watched the video, I saw that little less than a miracle had occurred. This photo was taken at the beginning of Arielle's performance, as she makes her initial slow walk across the stage, lowering the "Wings of Isis" as she goes. Arielle is NOT posing for me nor the audience. She is in full transition of movement at this moment. I finally realized that my window of opportunity for capturing this "winner" had been only a fraction of a second! And I got it! I was just DANG LUCKY to have captured this image as I did, with the symmetry of the two swords crossed right at her nose and her two fantastically made-up eyes just above that intersection of the blades.
Okay, I know what Arielle's holding is pretty much reinforced curtain rods. but it's a lot more exotically intriguing to refer to them as "swords" and "blades". It's my fantasy (heck, the entire performance is a fantasy) so just play along with me on this one, friends! :-)
It sure looks like a posed shot, but the reality is a very different story. Watch the YouTube video yourself. I think you'll agree that, on this shot, timing was everything! :-)
I still can't believe I captured this image as well as I did.
Photo by Bill Tricomi
Video on YouTube; search for "Arielle juliette"
Check out Arielle at www.ariellejuliette.com
Written by Water. For his contribution to the Biennale Arte 2019, Marco Godinho turns his attention to the ambivalent relationships that mankind entertains with the sea. In Written by Water, he sounds the depths of the Mediterranean Sea as both a territory of real-life adventure and tragedy and a collective imaginary space. Spectators dive into a liquid world of imagination, reflection, and contemplation that encourages them to project their own histories onto a multilayered canvas of constantly changing, seemingly inexhaustible impressions. By staging human learning and remembering as continuous processes of writing, erasing, and overwriting, Written by Water lets viewers experience history as an essentially ungraspable flux of personal and collective destinies.