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En una noche de tormenta un abuelo y su nieto se detuvieron a escuchar el rugir de las olas.
Sin importarles que la lluvia los abrazara completamente...
El nieto agobiado por los problemas de la vida
observaba con desgano la escena .
El abuelo poseia una expresion serena y pacifica,
a pesar de las lineas de cansancio que la vida habia dejado en su rostro.
Luego de unos minutos
Cuando dejo de rugir un poco el viento
El joven escucho la voz de su abuelo como si viniera desde lejos diciendo :
... Ser como el viento que canta.
Y no como la gota que Cae .
Evadir el destino del Ser Humano.
Destinado a Caer Desde los Cielos como gota de Lluvia.
Holderlin vislumbro nuestro destino.
Caer desde lo alto .
Caer a lo Dionisiaco.
Abrazar lo humano.
Como una gota
en un ciclo eterno
de caida al mundo y libertad en el cielo
Asi es nuestro camino
Lleno de caidas
y tambien de libertades...
El joven luego de escuchar estas palabras sintio inmediatamente una gran sensacion de paz.
Se volteo hacia su abuelo para sonreirle.
Pero solo observo al viento en la arena que flotaba y lo rodeaba.
Habian pasado ya muchos años desde aquella noche en que observaron el mar y la tormenta.
Se le habian olvidado ya esas palabras.
Pero en ese momento llegaron desde lejos traidas por el viento y el tiempo.
Sin duda...
Ese era uno de esos momentos de libertad.
One of the two experiments on this self portrait.
When it seems like the world around's just breaking
And it feels like there's no one else around you
And it's quiet there's a silence in the darkness
And it sounds like the carnival is over
As you walk in the crowded empty spaces
And you stare at the emptiness around you
You wanna go to the city and the bright lights
And get away from the sadness around you
'Cause I will be there and you will be there
We'll find each other in the dark
And you will see and I'll see it too
'Cause we'll be together in the dark
'Cause if it's coming for you
Then it's coming for me
'cause I will be there
'Cause we'll need each other in the dark
And if it terrifies you then it terrifies me
'Cause I will be there
So we've got each other in the dark
As I look in to the sky the stars bright as eyes
You want me to take you over there
I want you to stay with me
'cause you're not the only one
The only one
No no
Don't worry you're not the only one
'Cause if it's coming for you
Then it's coming for me
But I will be there
'Cause we'll need each other in the dark
And if it's panicking you then it's panicking me
But I will be there
So we've got each other in the dark
In the dark
In the dark
We'll need each other in the dark
In the dark
In the dark
We'll hold each other in the dark
Now we're save together in the dark
'Cause we've got each other in the dark
Looks really good BIG on black!
I wanted to do something a little more abstract today :). So I borrowed my roommates reverse mount and popped my fifty on backwards for some extreme close-ups.
I got quite a few photos (I might post those a little later). I liked this one the most...it's the most simple out of the others I took...but that's what I like about it :), it's just simple, and in my opinion, looks very cool lol especially the texture.
Hope you all enjoy my day 20! I didn't post a portrait today cause I thought something different would be a breath of fresh air lol.
The Internet is here seen as the new mirror in which we search our own likeness and identity.
The central figure, at the computer, [a self-portrait] has been toned down following the comment below by dou_ble_you, to whom, as always, my thanks for his critique. It was also, subsequently, removed, and then replaced, on a smaller scale, as here seen.
This work grew out of several earlier ones (see: flickr.com/photos/walford/2695328110/ , and flickr.com/photos/walford/2690757479/ ), with the idea of a juxtaposition with elements from two different works by the English 18th c. painter, Joseph Wright of Derby, inspired by the comments of Lensk / Paolo Avalle [see flickr.com/photos/63587066@N00/ for Lensk / Paolo Avalle], as found below the second of the two earlier versions [see www.flickr.com/photos/walford/2695328110/in/photostream/ ]. I am most grateful to Lensk for pointing me in that direction, as had forgotten Wright's Alchemist, though am most familiar with his work.
This piece was only possible with the initial inspiration from Idea-Listic [Robert Marinkovic] 's diabolical self-portrait on his profile page, and a great deal of help from dou_ble_you, who transformed my original into something far more creative and imaginative, which, I, in turn, have re-appropriated back onto my two original computer display screens.
For the original work by Idea-Listic, that triggered this idea, see: www.flickr.com/people/53959560@N00/
And for dou_ble_you's version, made for me, see: flickr.com/photos/dou_ble_you/2694068334/
And for my original version, see here below: flickr.com/photos/walford/2690757479/
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Drill team officers removing horse droppings from the show area. It appears that police horses in DC have the same issue as those in NYC ... they can't read city ordinance! Come to think of it, DC probably has ordinance on picking up after your pet or animal ... hmmm, maybe someone should ask the police to enforce is against ... police? lol :=))
Diocese of Manchester Ordination of Deacons service at Manchester Cathedral. Picture by Paul Heyes, Sunday July 02, 2017.
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Russian Field of Honour
On this Field of Honour are the graves of 865 Russian soldiers. 101 Of them died during the German occupation in or next to the nearby notorious Camp Amersfoort. These 101 Russian soldiers were made p.o.w. by the Germans en were transported in September 1941 in cattlewagons to Amersfoort, the Netherlands, as living propaganda-material. After a train journey of 14 days they arrived starving and were driven through the city of Amersfoort to the concentration camp.
The inhabitants of Amersfoort reacted with horror and tried to offer water, fruits and bread, but did not get the chance to reach them. 24 of these Russan soldiers died within 5 months from hunger, disease and maltreatment. The survivors were executed in groups of 4 the 9th of April 1942. On the execution place is now a memorial.
The other graves on this Field of Honour are of Russian soldiers that died from exhaustion and disease, after they were liberated by the American army from German p.o.w.-ship. Their remains were initially burried on the American Military Cemetary in Margraten (Dutch Limburg). They were reburried at this cemetary on a later date.
The monument is made of white marble from the former Sowjet Union.
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Russisch Ereveld Amersfoort
Op dit ereveld liggen de graven 865 Russische militairen. Van hen stierven er 101 tijdens de Duitse bezetting in of nabij Kamp Amersfoort. Het was een berucht kamp, dat aan de Appelweg was gevestigd. Sinds 2004 beschikt de Stichting Nationaal Monument Kamp Amersfoort over een bezoekerscentrum waar uitgebreid informatie wordt gegeven over de geschiedenis van dit kamp en zijn overblijfselen.
De 101 Russen waren door het Duitse leger in Rusland krijgsgevangen gemaakt en werden in september 1941 als levend propagandamateriaal in veewagens naar Amersfoort vervoerd. Na een treinreis van 14 dagen kwamen zijn uitgehongerd aan en werden daarna in optocht door de stad naar het kamp gedreven. De inwoners van Amersfoort reageerden met afgrijzen; zij kwamen uit hun huizen met water, fruit en brood, maar kregen geen kans het aan de gevangenen te geven.
Van deze Russische soldaten stierven er 24 binnen 5 maanden aan honger, ziekte en mishandeling. De overlevenden werden op 9 april 1942 in groepjes van 4 doodgeschoten. Bij de fusilladeplaats - in de bosrand nabij het einde van de Appelweg - staat een gedenkzuil (Monument 'Koedriest' of 'Russenmonument' die aan deze massaexecutie herinnert.
De andere op dit ereveld begraven Russische militairen zijn voor het merendeel overleden aan de gevolgen van uitputting en ziekte, nadat zij door het Amerikaanse leger uit Duitse krijgsgevangenschap waren bevrijd. Hun stoffelijke resten waren aanvankelijk begraven op de Amerikaanse begraafplaats in Margraten. Later zijn zij naar dit Russisch ereveld overgebracht.
Het gedenkteken is gemaakt van wit marmer uit de voormalige Sovjet Unie.
In this series I want to bring light to the forgotten.
Today in society we put so much worth on the objects that we all own. Who owns the most valuable objects? Objects that once had value to us, at times, end up in the corner collecting dust. Others are kept around because the value is more so sentimental. The idea that value comes from the perspective of the owner is an idea I want to bring attention to. Each and every object has a different level of sentimental value to each person. A small trinket could mean nothing to one and everything to another. In this series I want the objects that I have found in these abandoned areas to be hung and illuminated. I want them to have just as much importance as they once had when they had owners. In this series I want to bring light to the forgotten.
Each place I visited had piles of forgotten objects that had once been purchased and used. I decided to hang the objects that I believe to have meant something to someone at some point, whether it be a toy race car, a teddy bear, or a tea strainer, at some point these objects where of some use to someone. By hanging these items in the door ways of each house I am forcing you to see them if you wish to enter, to see what has been forgotten. All of these objects where also in fact left in these doorways so that the next person to visit will also be forced to see what has been left. With the diptychs I show a photo of the objects hung in what is clearly a doorway, then a close up to show the real detail of decay that some of the objects have been through. I found that with different places came different items. On the island of Little Gasparilla I found an abandoned fort that children used to play in, there I chose to hang a chess piece, a buoy, a pair of keys, a conch shell, and a wind chime. These items are so different from the usual house hold items and toys that I found int he rest of the homes. Also the use of a doorway changes, I instead hung them at what I believe to be the entrance to the secret hideaway.
These places all meant something to someone, the things left on the floor, they all were of some sort of value to some human being at some point. The burned charred toys were once shiny and new and enjoyed. The shoe was once keeping someones foot warm, the tools where once used, and the china doll was once displayed. Only to be left behind, I just don't want them to be left with no recognition of what used to be.
Avi - Papua New Guinea -
Bezoek bij een familie gekleed in de traditionele kledij van de Chimbu-stam. Hun hoofdversiering met prachtige veren zijn heel belangrijk. Het zijn de veren van papegaaien, paradijsvogels en andere siervogels... soms kan je de mooie paradijsvogeltjes met hun unieke veren op hun geheel nog zien als hoofdtooi. De veren worden generaties na elkaar goed bewaard, zo dat er niet telkens voor een feest ettelijke vogeltjes moeten sneuvelen... Ook de schelpen, het vroegere betaalmiddel (shell money), zijn een teken van welstand.
Western Highlands is a province of Papua New Guinea. The provincial capital is Mount Hagen. The province covers an area of 8,500 km², and there are 440,025 inhabitants (2000 census), making the Western Highlands one of the most densely populated provinces. Tea and coffee are grown in the Western Highlands. Mount Wilhelm, the tallest mountain in Papua New Guinea, is on the border of the Western Highlands.
www.en.wikipedia.org/wiki/Western_Highlands_(Papua_New_Gu...
Simbu, also known as (and officially named) Chimbu, is a Highlands Region province in Papua New Guinea.
en.wikipedia.org/wiki/Simbu_Province
A splendid Ah Tay bed with Dayap fruit motif
Estimate: PHP 800,000 - 850,000
Last Quarter, 19th century
Binondo, Manila
Narra, cane / solihiya
247 x 143 x 220 cm
(97 x 56 x 86 1/2 in)
Lot 451 of the Salcedo Auctions auction on 21 September 2019. Please see salcedoauctions.com for more details.
Famous Chinese furniture maker, Ah Tay, and his iconic calabasa bed has remained one of the most coveted pieces of furniture in our history. Though instantly recognizable because of the obvious typical design elements, the scramble for genuine examples from the scores of reproductions continue to grow due to increasing demand from serious collectors. Calabasa bed – aptly named for the heavily gadrooned halved squash shape used for bed posts – is a juxtaposition of varied styles prevalent in Europe from the 1840s to 1880s: Gothic Revival, Rococo Revival and Renaissance Revival. This bed, in particular, has all the quintessential Ah Tay traits, crafted at the highest level – something that latter pieces will never be able to duplicate – that only the master himself can accomplish. Interestingly, there is age-appropriate numbering in Chinese characters on each calabasa support that matches with the corresponding post, thereby avoid mismatching the parts during assembly – a solid proof of Chinese hands in the making this bed. The lustrous patina and the unfeignable signs of usage accumulated over a long time are tactile testaments to its authenticity.
Ah Tay loved to incorporate tropical fruits in his beds. In this example, dayap fruits in varying degree of maturity are carved as decorative motif. Dayap (citrus aurantifolia) is a small tree native to Southeast Asia. Its most popular use in the Philippines is its rind added to leche flan or creme caramel for a distinct, sharp citrusy flavor. This is no coincidence as the original owners of the bed had a dayap farm in Pulupandan town in Negros, thus the sentimental association. They can be seen in the headboard bottom support, inside lyre posts, and from the canopy’s vaulted crests dangling gracefully. In a very good and sturdy condition. Found in a house in Mandaluyong.
Hilo de la Fotohistoria en Pullip .es: SHIN VISITS NOIREL (1 of 1) /
SHIN VISITA A NOIREL (1 de 1)
(Read in order, this is: SHOT/FOTO 01 of 55) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55.
FOTOHISTORY: In English / En Español
Shin: Hi Noirel!
Noirel: Hey Shin! What are you doing here?
Shin: well... came to make a visit... ^^
/
Shin: Hola Noirel!
Noirel: Hola Shin! Que haces aquí?
Shin: Vengo a hacerte una visita... ^^
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
Hilo de la Fotohistoria en Pullip .es:
THE PARK(3 of 3): Akari's suitors /
EL PARQUE (3 de 3): Los pretendientes de Akari
(Read in order, this is: SHOT/FOTO 86 of 95) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95.
FOTOSTORY: In English / En Español
Take: If you need a friend for whatever, you can count me in. ^^
Akari: Hehe, thanks a lot! You are very nice. ^^
Take: I'm Takefumi but you can call me Take if you want.
Akari: Nice to meet you Take! :D
Take: #^__^# ...Do you want to go somewhere else? We could do something...
Akari: Well... right now it's impossible. ^_^u I hafta go back home to ask new clothes to my mom. ^^
Take: How is that? You already look pretty with what you are wearing...
Akari: Well... I have a kind of date this Saturday and I want to look fine. ^^
/
Take: Oye, pues si necesitas un amigo para lo que sea, puedes contar conmigo. ^^
Akari: Jeje, pues muchas gracias! Que majo eres. ^^
Take: Me llamo Takefumi, pero puedes llamarme Take si quieres.
Akari: Encantada Take! :D
Take: #^__^# … Te... te apetece dar una vuelta?
Akari: Bueno... ahora mismo no puedo ^_^u Debería irme a casa porque tengo que hablar con mi madre para que me compre ropa nueva. ^^
Take: Y eso? Si estás preciosa con esta...
Akari: Bueno... es que este sábado tengo una cita y quiero estar guapa. ^^
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
高雄市玩美攝影協會 / 拍攝
『玩美是人生追求完美境界的過程，完美是生活過程中的成果，攝影人在乎過程中的進行。因此，玩美幾乎是攝影人所追求的程序，意即尚在進行中，永無止息，故取名之。』
協會會址:台灣 高雄市新興區尚信街29號
捷運O7文化站 1號出口(步行約1分鐘)
協會服務電話：07-2231345
E-mail：wm2231345@gmail.com
Todas las imágenes tienen Copyright © B.E.M.S.
Todos los derechos están reservados.
La copia, alteración, distribución o explotación de cualquiera de estas imágenes en su totalidad o parte sin el permiso por escrito de su autor está estrictamente prohibido por ley y constituye un delito.
--------------------------------------------------------------------------------
All images are copyrighted © B.E.M.S.
All Rights Reserved. Copying, altering, displaying, reproduction, redistribution or exploitation of any of these images whether in whole or in part without written permission from the artist is strictly prohibited by law.
Hilo de la Fotohistoria en Pullip .es: VALENTINE'S DAY (1 of 3): Lenn at Home! /
EL DÍA DE SAN VALENTÍN (1 de 3): Lenn en casa!
(Read in order, this is: SHOT/FOTO 01 of 40) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40.
FOTOSTORY: In English / En Español
Shin: C'mon, c'mon, c'moooon!!! Jump! Noooo! To the right! Damn it!! ò_ó
/
Shin: Venga, venga vengaaaa!! Salta!! Noooo!! Hacia la derecha joder! ò_ó
LINKS:
- Sheryl Photostories at Flickr
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Hilo de las Fotohistorias de Shin y Yashiro en el Foro de Pullips: Pullip .es
Hilo de la Fotohistoria en Pullip .es:
LENN HAS COMPANY(1 of 1) /
LENN TIENE VISITA (1 de 1)
(Read in order, this is: SHOT/FOTO 58 of 89) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89.
FOTOSTORY: In English / En Español
Lenn: The cover is not important baby, the important is the present inside.
/
Lenn: Lo importante no es el envoltorio nena, lo importante es el regalo que hay dentro.
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
- Hilo de las Fotohistorias de Lenn y Gwen en el Foro de Pullips: Pullip .es
Thomas Griffin
Fitters Labourer
April 12 1899
In a boiler explosion at Battersea Sugar Refinery was fatally scolded in returning to search for his mate.
According to Wikipedia:
Postman's Park is a small green memorial garden in the City of London. It is located between King Edward Street, Little Britain and Angel Street. It was created in 1880 from the churchyards of St Leonard, Foster Lane and St Botolph-without-Aldersgate together with the graveyard of Christ Church Greyfriars. St Leonard's had been a ruin since the Great Fire and was probably demolished at the time of the creation of the park. St Botolph's is still open and stands at the north east corner of the park. Christ Church was detached from its graveyard and is now a ruin on the other side of King Edward Street.
The park was the idea of the painter George Frederick Watts who wanted to celebrate people who may otherwise have been forgotten. Its name celebrates the postmen who work in the principal London post office and the former sorting office in King Edward Street.
A wall in the park has 34 hand-painted tiles paying tribute to everyday people who sacrificed their lives helping others. The hand-lettered tiles were made by Royal Doulton.
The park features in the film Closer - Natalie Portman's character takes her pseudonym 'Alice Ayres' from one of the painted tiles, as Jude Law's character discovers at the end of the film.
高雄市玩美攝影協會 / 拍攝
『玩美是人生追求完美境界的過程，完美是生活過程中的成果，攝影人在乎過程中的進行。因此，玩美幾乎是攝影人所追求的程序，意即尚在進行中，永無止息，故取名之。』
協會會址:台灣 高雄市新興區尚信街29號
捷運O7文化站 1號出口(步行約1分鐘)
協會服務電話：07-2231345
E-mail：wm2231345@gmail.com
Madrid (Spain).
ENGLISH
Lavapiés is a barrio of the city of Madrid, centred on Plaza de Lavapiés.
It was the Jewish quarter of the city until the expulsion of the Jews in 1492, the church of San Lorenzo being built on the former site of the synagogue. The name literally means "wash feet", and seems to refer to the ritual washing of one's feet before entering the temple, possibly in the fountain in Plaza de Lavapiés.
It has long been a neglected area of the city. An inscription on a fountain in Plaza de Cabestreros is the only monument to the Spanish Republic in Madrid, such mentions having been systematically removed elsewhere during the Franco regime. The ruins of Escuelas Pías, a religious school, were left to stand for many years after it was burned down by supporters of the Popular Front in 1936. Only in 2002 the ruins were converted into a university library.
In the late 1980s and 1990s, Lavapiés had acquired a reputation as a "vertical slum", with its tenement blocks either empty or occupied by older people paying low rents. As a result, it became the most important location for okupación, or squatting, in Madrid.
More recently, it has become the focal point for immigrant populations, particularly Chinese, Arabs and people from the Indian subcontinent. It has been estimated that around 50% of the population is of foreign origin.
More info: en.wikipedia.org/wiki/Lavapi%c3%a9s
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CASTELLANO
Lavapiés es el nombre de una plaza del centro de Madrid (España). Ha dado nombre también a una calle, un barrio y una estación de metro.
En su origen Lavapiés fue la judería o barrio judío de la ciudad. La actual Iglesia de San Lorenzo ocupa el solar que antaño ocupaba la sinagoga, que se comunicaba con la plaza de Lavapiés a través de la calle que hoy se llama de la Fe, llamada entonces calle de la Sinagoga. A partir de 1391 se reconstruyó la aljama y, por orden de los Reyes Católicos, fue rodeada de una muralla que cerraba sus puertas al anochecer. El motivo, según los historiadores, era proteger a sus habitantes más que aislarlos, pues la relación entre la judería y el concejo era por entonces excelente.
Muchas familias judías vivieron en el barrio de Lavapiés hasta los días de la expulsión, en 1492. Sólo algunos judíos madrileños notables (especialmente los médicos) estaban autorizados a vivir fuera de Lavapiés, para que pudiesen auxiliar a sus enfermos durante la noche. La expulsión decretada por los Reyes Católicos dejó a Lavapiés y a Madrid sin judíos. Muchos años después, llegarían de nuevo algunos judíos de Lisboa, Egipto, Túnez y otros lugares de África.
Cerca de la calle del Salitre, en la ladera de Buena Vista, mirando al Santuario de Atocha, aparecieron vestigios de lo que pudo ser un cementerio hebreo (ya que no se encontraron en él objetos cristianos) previo a la expulsión de 1492.
Parece que el nombre de Lavapiés podría proceder de una fuente que había en la plaza, donde se hacía el lavado ritual de las extremidades inferiores antes de acudir al templo. En cualquier caso, sí es cierto que en la plaza hubo una importante fuente hasta finales del siglo XIX. Lavapiés es el nombre original del barrio: la denominación El Avapiés, antigua, es en realidad una ultracorrección de Lavapiés, nombre más antiguo que el anterior.
La denominación manolo y manola que se da a los castizos madrileños procede de Lavapiés, y se dice que tiene su origen en la profusión del nombre Manuel, con el que se bautizaron muchos judíos para escapar a la expulsión en 1492. Los manolos rivalizaban con los chulapos y chulapas, procedentes éstos del barrio de Malasaña. Hoy en día se suelen emplear ambos términos indistintamente para referirse a la gente vestida con el atuendo tradicional madrileño.
A finales de los años 1980 Lavapiés era un barrio habitado exclusivamente por gente mayor, típicamente en casas viejas y de pequeñas dimensiones construidas alrededor de un patio (lo que se llama corrala, aunque su denominación correcta es la de casa de corredor). Por eso se ha hablado de chabolismo vertical. La abundancia de casas abandonadas y de viviendas de renta baja atrajo en los años 80 y 90 a multitud de jóvenes con pocos recursos, entre ellos numerosos okupas: Lavapiés ha sido, probablemente, la zona de Madrid con mayor densidad de casas ocupadas, y en ella tuvieron lugar las primeras experiencias de ocupación de la capital. Hoy en día la okupación casi ha desaparecido, pero sigue siendo el barrio con mayor cantidad de asociaciones y movimiento vecinal de Madrid.
En una segunda oleada, y por las mismas razones, acudieron al barrio centenares de inmigrantes. Se calcula que alrededor del 50% de la población del barrio es de origen no español. De hecho, eventos como el año nuevo chino o el ramadán tienen casi más resonancia en Lavapiés que, por ejemplo, la navidad.
Más info: es.wikipedia.org/wiki/Lavapi%c3%a9s
Pannenhoef bos
Korte beschrijving
Van de veertiende tot de zeventiende eeuw werd in dit deel van Brabant de hele laag hoogveen afgegraven tot de zandondergrond. Er ontwikkelde zich moerasheide waar weinigen een bestaansgrond vonden. Vanaf 1800 werden de onafzienbare heidevelden geleidelijk ontgonnen tot cultuurland en bos. Van 1900 tot 1940 verhevigde de ontginningsintensiteit. In het kader van de werkverschaffing werden de vennen en overige lage delen opgehoogd met zand van hoge koppen als de Lokkerberg.
Door het verbreden en verdiepen van het beekje de Bijloop werd het gebied ontwaterd. Op de drooggevallen venbodem van De Lokker ontwikkelde zich natte heide, rietland, gagelstruweel en moerasbos van wilgen, elzen en berken. Door het plaatsen van stuwen in de Bijloop steeg het waterpeil van deze beek aanzienlijk. De kalk- en ijzerrijke kwel van de hogere gronden werd niet langer door de beek 'weggevangen'. Het verzuurde moeras van De Lokker werd er weer mee gevoed, wat zorgde voor een herstel van de amfibienstand en een uitbreiding van planten als wateraardbei, moeraswederik en moerasviooltje. Sinds enkele jaren vliegen er weer weide- en bosbeekjuffers boven de Bijloop. Zomertaling, blauwborst, waterral en roodborsttapuit broeden er.
Toen Brabants landschap het landgoed in 1970 kon verwerven, was nog maar circa 100 hectare woeste grond over. Door geleidelijk aan landbouwgronden uit de pacht te nemen, konden wij vanaf 1995 verscheidene verdwenen vennen opnieuw uitgraven. De afgelopen 12 jaar zijn maar liefst 11 vennen uit de dood herrezen. Vele zeldzame planten keerden weer terug uit de ondergrondse zaadbank: blauwe knoop, teer guichelheil, moerashertshooi, heidekartelblad en pilvaren zijn slechts enkele voorbeelden.
Om de bijzondere plantengroei blijvend te behouden wordt er kleinschalig geplagd en begrazen Schotse hooglanders en laaglanders (Galloways) en IJslandse pony's het gebied het jaar rond. Boven de hernieuwde vennen vliegen veel libellen, waaronder bloedrode en bruinrode heidelibel. Typische heidebewoners als levendbarende hagedis, heideblauwtje en bont dikkopje kunnen weer migreren en hun populaties voorzien van 'vers bloed'.
Het hoge, droge deel van de Pannenhoef bestaat grotendeels uit bos dat qua soortensamenstelling en leeftijdsopbouw gevarieerd is en veel dood hout kent. Dat vertaalt zich in een hoge broeddichtheid van zangvogels en spechten.
Het open weidegebied het Rondgors moet een verbindingsschakel worden tussen de Pannenhoef en de Vloeiweide. Bij piekafvoeren krijgt het tevens een waterbergingsfunctie. De voormalige gemeentebossen van Etten-Leur vormen een belangrijke droge verbindingsschakel tussen beide landgoederen.
Depuis le 3 Octobre, plus de 200 familles dorment dans la rue de la Banque pour protester contre l'absence de logements décents. Français ou immigrés en situation régulière, tous travaillent mais vivent dans des conditions déplorables: le plus souvent à l'hôtel, ou dans des appartements minuscules, parfois menacés d'expulsion.
Malgré la pluie, les mal logés ont l'interdiction d'installer des tentes sur les trottoirs (elles ont de toute façon été confisquées lors des précédentes évacuations par les forces de l'ordre). Les cartons et les bâches sont plus ou moins tolérés, selon les jours, notamment sur le trottoir du Ministère de la Crise du Logement (mais pas en face !), mais peuvent très bien résulter en une intervention policière.
Après les pluies particulièrement violentes des derniers jours début Novembre, accompagnées de forts coups de vent, des bâches ont été accrochées à la façade pour créer une sorte d'auvent, un abri de fortune qui a déjà été démonté samedi 10 novembre par les forces de l'ordre et remonté dimanche par les militants. Depuis le départ des policiers le 13, des bâches sont installées des 2 côtés de la rue de la Banque (contre le Ministère de la Crise du Logement et contre l'AFP en face).
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
By Catedrales e Iglesias
© Álbum 0527
By Catedrales e Iglesias
Arquidiócesis de Morelia
Sitio Oficial de la Arquidiócesis de Morelia
www.arquidiocesismorelia.com.mx/inicio.php
Santa Iglesia Catedral
Av Madero Poniente
Col Centro
Apdo Postal 17
C.P.58000
Morelia,Estado de Michoacán
(443) 312-29-36
La Catedral de Morelia es un recinto religioso sede de la Arquidiócesis de Morelia de la Iglesia católica en México. Se encuentra ubicada como su nombre propiamente lo dice en la ciudad de Morelia, capital del estado de Michoacán, México. La catedral se localiza en el primer cuadro de la ciudad, conformando la traza del Centro Histórico de Morelia. El edificio fue construido en el siglo XVIII en la época de la Colonia Española, es de estilo barroco y esta realizado en cantera rosada que le da un color peculiar y característico.
# Arquitectónicamente la Catedral de Morelia comparándose con otras Catedrales de México, es similar a la Catedral Metropolitana de la Ciudad de México, Catedral de Puebla, e inclusive en su interior a la Catedral de Guadalajara.
# La catedral es la edificación más emblemática y representativa de Morelia dada su altura, ya que cuenta con dos altas torres, que se divisan por todo el valle de la ciudad. Por su altura, las torres de la Catedral de Morelia (66.8 m) son las cuartas más altas de México, después de las torres del Santuario Guadalupano (Catedral Inconclusa) en Zamora de Hidalgo (105 m), de la catedral de Villahermosa (80 m) y del Santuario de Guadalupe, en San Luis Potosí (68 m).
# Cuenta con una Iluminación escénica de singular belleza colocada por la empresa que iluminó la Torre Eiffel de París. Los fines de semana la catedral ofrece un espectáculo de luz y sonido con esta iluminación.
# La catedral está dedicada a la Transfiguración y en su interior alberga dos imágenes muy veneradas, Sagrado Corazón de Jesús que es el santo patrono de la ciudad, y el Señor de la Sacristía un Cristo muy antiguo realizado en pasta de caña de maíz. El cual es muy visitado y querido por la feligresía.
# Su belleza arquitectónica y su historia son otras razones por las cuales se ha convertido en un icono de la ciudad.
# En su interior este recinto dada su belleza, sonorización acústica y espaciosidad, figura como escenario de diversos eventos artísticos y culturales como el Festival Internacional de Órgano de Morelia, y el Festival Internacional de Música de Morelia.
La actual catedral de Morelia no ha sido la única catedral que ha tenido la ciudad, ya que en 1580, cuando los poderes civiles y eclesiásticos de Michoacán fueron trasladados de Pátzcuaro a Valladolid (anterior nombre de Morelia), se inauguró una catedral, muy inferior a la actual en tamaño y valor artístico. Esa construcción se ubicaba en la esquina de las actuales calles de Corregidora y Abasolo. Sin embargo, debido al crecimiento que experimentó la ciudad a finales del s. XVI e inicios del XVII, así como por causa de un incendio que en 1584 afectó severamente el anterior edificio catedralicio, se hizo necesario pensar en otro templo, más grande, sólido e importante. Por ello es que a inicios del s. XVII el cabildo catedralicio comenzó las gestiones para la construcción de la nueva catedral.
Muchos proyectos fueron propuestos, pero hasta mediados de ese siglo fue aceptado el proyecto del arquitecto italiano Vicenzo Barrochio, también conocido como Vicente Barroso de la Escayola por parte del Virrey Francisco Fernández de la Cueva, Duque de Alburquerque el 22 de marzo de 1660 concluyendo continuos trámites y proyectos de construcción durante un largo período de casi 80 años.
El día 6 de mayo de 1660 la primera piedra de la construcción fue colocada por el obispo Fray Marcos Ramírez del Prado. La construcción estuvo a cargo del propio Vicenzo Barrochio hasta el año de su muerte, acaecida en 1692, razón por la cual el gran arquitecto no pudo ver concluida su obra monumental. Sin embargo, solo 52 años después del deceso del maestro, sus discípulos lograron terminar la titánica tarea arquitectónica, por lo que la magnífica obra fue concluida en 1744.
La catedral sufrió diversos saqueos por parte del ejército independentista, en el año de 1810. Hacia fines del siglo XIX se construyó la reja perimetral que delimita el atrio. A finales de los años 90 del siglo XX se efectuaron diversas obras de restauración exteriores e interiores, con lo cual se preservó mejor la belleza del edificio. También, en los primeros años del siglo XXI, se inauguró la nueva iluminación escénica de esta catedral de Morelia.
The Cathedral of Morelia is a religious compound headquarters of the Archdiocese of Morelia of the Catholic Church in Mexico. It is located as the name itself says it in the city of Morelia, capital of Michoacan, Mexico. The cathedral is located on the first frame of the city, forming the trace of the Historic Center of Morelia. The building was built in the eighteenth century the Spanish colonial times, is in Baroque style and is made of pink quarry which gives it a distinctive and characteristic color.
# Architecturally, the Cathedral of Morelia compared against other Cathedrals in Mexico is similar to the Metropolitan Cathedral in Mexico City, Puebla Cathedral, and even inside the Cathedral of Guadalajara.
# The cathedral is the most emblematic and representative buildings of Morelia given their height, since it has two tall towers that can be seen throughout the valley of the city. For his height, the towers of the Catedral de Morelia (66.8 m) are the fourth highest in Mexico after the towers of the Sanctuary of Guadalupe (Cathedral Unfinished) in Zamora de Hidalgo (105 m) of the cathedral in Villahermosa (80 m) and the Sanctuary of Guadalupe, San Luis Potosi (68 m).
# Has a unique scenic beauty lighting placed by the company that lit the Eiffel Tower in Paris. On weekends, the cathedral offers a sound and light show with this lighting.
# The cathedral is dedicated to the Transfiguration and its interior houses two highly venerated image, Sacred Heart of Jesus who is the patron saint of the city, and the Lord of the Sacristy a Christ very old paste made of cornstalks. Which is much visited and loved by the congregation.
# Its beautiful architecture and history are other reasons why it has become an icon of the city.
# Inside this enclosure because of its beauty, sound and spacious sound, set for a variety of artistic and cultural events as the International Organ Festival in Morelia, and the International Music Festival of Morelia.
The current cathedral of Morelia was not the only cathedral in the city has had since 1580, when civil and ecclesiastical powers were transferred from Patzcuaro Michoacan to Valladolid (Morelia previous name), opened a cathedral, much lower the current size and artistic value. That building was located on the corner of the present streets of Corregidor and Abasolo. However, due to growth experienced by the city at the end of s. Sixteenth and early seventeenth centuries, and because of a fire in 1584 severely affected the former cathedral building, it became necessary to think of another temple, larger, robust and important. That is why at the beginning of s. XVII the cathedral chapter began efforts to build the new cathedral.
Many projects were proposed, but until mid-century the project was accepted by the Italian architect Vincenzo Barrochio, also known as the Plaster Vicente Barroso by the Viceroy Francisco Fernandez de la Cueva, Duke of Albuquerque on March 22, 1660 concluding continuous procedures and construction projects over a long period of almost 80 years.
On May 6, 1660 the first stone of the building was laid by Bishop Fray Marcos Ramírez del Prado. The building itself was given by Vicenzo Barrochio until his death in 1692, why the great architect could not see completed his monumental work. However, only 52 years after the death of the teacher, his pupils got through the daunting task of architecture, so that the magnificent work was completed in 1744.
The cathedral suffered several raids by the army for independence, in the year 1810. By the end of the nineteenth century built the perimeter fence that marks the atrium. In the late 90s of the twentieth century restoration work carried out various internal and external, thereby better preserved the beauty of the building. Also, in the early twenty-first century, opened the new stage lighting of the cathedral of Morelia.
> cambiar
De Nieuwe Kerk (1649) in Haarlem geldt als een van de meest bijzondere kerkgebouwen die na de reformatie voor de protestantse eredienst zijn gebouwd in de Republiek der Nederlanden. Het strenge, classicistische ontwerp is van Jacob van Campen, die in opdracht van het Haarlemse stadsbestuur een kerkgebouw maakte ter vervanging van de bouwvallige en krappe gotische Sint Annakapel. De toren (1613), opgetrokken in de decoratieve stijl van de Hollandse renaissance door stadsbouwmeester Lieven de Key, moest blijven staan.
The first church in Haarlem specifically built for protestant services replaced the older former St. Anna church on the same location, of which it inherited the tower. This tower is the real eye-catcher of this church. It was designed by town architect Lieven de Key and is in his typical Renaissance style and often considered his best work. The rest of the church is much simpler. Compared to the much more prestigious protestant churches other cities, towns and villages built in the same period it is rather modest, as it is also compared to some of Van Campen's other churches. It's an almost square building of three aisles wide and three traves long. Behind the tower and at the back of the building are rectangular facades which are taller than the actual building. The roof consists of several parts; one saddle roof covers the central aisle, with seperate roofs square on it covering each trave of the side-aisles. Outside are the typical buttresses Van Campen also used on his previous churches. These, and in fact the building as a whole, were meant as a symbolic reference to the temple of Jerusalem, a popular theme in those days when the Dutch protestants often thought of themselves as the new Israel. Apart from these the church shows very little decorations. Despite its modesty, or perhaps even because of it, this church is often considered one of Van Campen's best works.
Van Campen, who had studied in Italy and was influenced by the Renaissance classicism of Andrea Palladio and Vincenzo Scamozzi is crediting with introducing a classical revival style in Dutch Baroque architecture.
The night herons are medium-sized herons in the genera Nycticorax, Nyctanassa and Gorsachius. The genus name Nycticorax derives from the Greek for “night raven” and refers to the largely nocturnal feeding habits of this group of birds, and the croaking crow-like call of the best known species, the Black-crowned Night Heron.
Adults are short-necked, short-legged and stout herons with a primarily brown or grey plumage, and, in most, a black crown. Young birds are brown, flecked with white. At least some of the extinct Mascarenes taxa appear to have retained this juvenile plumage in adult birds.
Night herons nest alone or in colonies on platforms of sticks in a group of trees, or on the ground in protected locations such as islands or reedbeds. 3-8 eggs are laid.
Night herons stand still at the water's edge, and wait to ambush prey, mainly at night. They primarily eat small fish, crustaceans, frogs, aquatic insects, and small mammals. During the day they rest in trees or bushes. There are seven extant species.
I photographed this beautiful bird at the Santa Barbara Zoo. I should add that it is not a part of the zoo collection but rather a local shore bird that likes to hang out at the round picnic tables near the zoo entrance along with several large ravens. I assume this is because there are some humans that feed them or they are scavenging what's been left as garbage. It is not a good idea to feed these beautiful birds as they become dependent and lazy. Neither of these species appear to be afraid of humans. This bird was sitting no more than five feet away from me as I took numerous photographs and the bird never flinched or moved. See the images below for more of this beautiful bird (including a strip collage of the head in profile). A companion Night Heron did fly into one of the open exhibition areas.
© Lawrence Goldman 2012, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Mount Hagen - Highlands - Coffeeplantation - koffieplantage
Western Highlands is a province of Papua New Guinea. The provincial capital is Mount Hagen. The province covers an area of 8,500 km², and there are 440,025 inhabitants (2000 census), making the Western Highlands one of the most densely populated provinces. Tea and coffee are grown in the Western Highlands. Mount Wilhelm, the tallest mountain in Papua New Guinea, is on the border of the Western Highlands.
en.wikipedia.org/wiki/Western_Highlands_(Papua_New_Guinea)
Simbu, also known as (and officially named) Chimbu, is a Highlands Region province in Papua New Guinea.
Une clairière sur la montagne - A clearing on the mountain. This is a clearing in the woods and between two main lakes, Lac Seigneurial and Lac du Moulin, on Mont-Saint-Bruno mountain. I was on a trail that crosses this area before arriving at Lac du Moulin to the right. The road on the left circles Lac Seigneurial to the left to reach about fifteen private lake-side homes. These homes are mostly behind the trees at left and some to the right. See the orange area on the map below with little black squares (houses). PS: I am not sure clearing is the appropriate term for such a large space but it seemed perfect to me. C'est une clairière le bois et entre deux lacs, Lac Seigneurial and Lac du Moulin, sur le Mont-Saint-Bruno. J'étais sur un sentier qui traverse cet endroit avant d'arriver au Lac du Moulin à la droite. La route à gauche fait le tour du Lac Seigneurial à la gauche et rejoint environ une quinzaine de maisons privées au bord du lac. Les maisons sont situées principalement derrière les arbres à gauche et un peu à la droite. Voir la section orange sur la carte avec les petits carrés noirs (maisons). PS: Je ne suis pas certaine que clairière est le terme approprié pour un si grand espace mais il me semblait parfait. Set Parc National du Mont-Saint-Bruno
Hundreds of dogs and puppies, purebred and mixed breeds fill in the cages of shelters nation wide. Pets deserve so much better than what they are given. Although living in cage at an animal shelter is not the worst thing that can happen to this pup, it shouldn't have to even need to be here. If people who bred dogs for the fun of it or the financial gain truly understood what hundreds of homeless but well deserving dogs have to go through, I wonder if they'd stop?
Unless you are breeding for top-quality show/pet animals, breeding should not be taken lightly! There are many things to consider when breeding for the health of the babies and parents. Responsible breeders don't just stick two pure bred dogs together then sell the pups to the first person that wants one. They go through extensive genetics testing to ensure the overall and lifelong health of their puppies. They want their pups to live long and healthy lives. They interview their potential adopters extensively and educate them about the breed. Many will require you sign a contract along with a spay/neuter contract. They consider their pups as part of their family and don't give their dogs away to just any body. They go through this process to prevent their puppies from ever ending up as a homeless pet.
Although this guy found safety at this animal shelter and an adoptive home there are many others that aren't so lucky. Over 300 adoptable yet homeless animals are euthanized weekly in San Antonio, TX alone. Please be a responsible pet owner and help end pet over population one animal at a time- Spay/neuter your pet. Not only does it greatly help with pet over population but it increases your pets health and well being. It reduces risk of cancer, relieves your pet of the urge to breed, reduces aggression tendencies and can help to keep your pet wondering off to find a mate.
Als Gast in der Glashütte Eisch arbeitete Mare Saare im Rahmen des „Artist in Residence“-Programms vier Wochen in Frauenau. Während dieser Zeit konnte sie alle Möglichkeiten der Hütte für die Herstellung ihrer Kunstwerke nutzen. Hier entstanden Objekte, die, neben aktuellen Werken aus Ihrem Atelier in Tallinn, vom 19. August bis 7. November 2009 in der Galerie am Museum in Frauenau gezeigt werden.
Als „Tor zwischen Ost und West“ wurde die Estin Mare Saare von ihrer belgischen Kollegin Sandra De Clerck auf der Vernissage zur aktuellen Frauenauer Ausstellung vorgestellt; und tatsächlich ist der Name der vielgereisten und vielseitigen Glasprofessorin von der Kunstakademie in Tallinn fest verknüpft mit dem Ankommen der facettenreichen estländischen und baltischen Glaskunst in der Internationalen Studiobewegung.
Mare Saares Arbeiten öffnen dabei nicht nur den Blick auf eine fern gerückte Glas- und Kunstszene, sondern vor allem auf den flüchtigen Zauber der Ostseelandschaft, und auf eine Persönlichkeit, in der Vitalität und Verwundbarkeit zusammen wirken.
Das Glas, seine Fragilität und seine Herkunft aus körnigem, leicht verwehtem Sand benutzt sie mit genialer Virtuosität: Ein vielfarbiger, schwingender Kelch entspringt einem noch zerbrechlicher wirkenden Grund aus körnig verschmolzenem Glas, er nährt sich von ihm, bis dieser gleichsam bröckelt und schließlich inexistent, zu Sand wird.
Die in Frauenau ausgestellten, blumenartigen Objekte der Serie „Fragile Circuit“, gearbeitet in pâte de verre-Technik, stehen für einen zerbrechlichen Kreislauf, der gleichwohl ewig ist wie Ebbe und Flut. Sand ist bei Mare Saare nicht nur ein künstlerisches Bild für Erneuerung und Wiederkehr, sondern dient – neben gemahlenem und gekröseltem Glas – tatsächlich auch als technisches Ausgangsmaterial und als immer wieder verwendbare Auflage im Formprozess der zarten Objekte.
Ihr individuelles Herstellungsverfahren für diese Objekte verwendet Sand als technische Hilfe, als Form und Auflage im Schmelzprozess. Sand ist unendlich wiederverwendbar und steht auch dadurch für die Idee der Erneuerung und Ewigkeit. Der Boden der Arbeiten wird in Glas gegossen, der Blütenkelch ist aus verschmolzenen Glaskröseln in pâte de verre-Technik hergestellt.
Die Künstlerin selbst beschreibt Ihre Werke so:
„Meine Arbeiten sind oft extrem zerbrechliche, offene Tellerformen. Ich arbeite gerne mit Farben, selten aber mit völliger Transparenz. Ich versuche das Zerbrechliche, Zarte, das Verletzliche und das Flüchtige im Glas zu vereinigen, indem ich farbige Glaspulver in Formen aus Sand fuse.“
Here is my third imaginary gallery, this time with selected Modernist, Expressionist works, both figurative and abstract.
Left to right: Giacometti, City Square (La Place), 1948, MOMA, New York City; Beckmann, Departure, 1932-33, MOMA, New York; Henry Moore, Falling Warrior, 1956-57, Hirshhorn Gallery, Washington, DC; Willem de Kooning, Excavation, 1950, Art Institute, Chicago; Francis Bacon, Figure with Meat, 1954, Art Institute, Chicago.
Photo of Gallery space--here stripped empty, flipped by me, and reinstalled virtually--is derived from this work: www.archdaily.com/284/grand-rapids-art-museum-leed-gold-c... showing a gallery space within the Grand Rapids Art Museum, Michigan. On www.archdaily.com 's webpage for the Grand Rapids Art Museum, the photographs are not individually credited, but the whole suite of superb photographs of this fine new art building are credited as follows: Photos: Steve Hall, Scott McDonald & Chris Barret.
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La costumbre de reunirse en bandos, muy extendida en invierno, desaparece al llegar la época de cría, cuando las parejas de calandrias se reparten para anidar en campos abiertos, cultivados o baldíos, así como en pastizales o entre plantas halófilas. Allí los machos se elevan a veces a considerable altura y vuelan en círculos emitiendo un canto parecido al de la Alondra Común, pero fuerte y con frecuencia imitativo, que dura varios minutos, tras lo cual se lanzan a tierra con un vuelo en picado. El reclamo es un grito nasal característico. El nido está situado en una depresión del suelo, generalmente oculto por una planta. Realizada la cría de los cuatro a seis pollos, cuando éstos pueden volar, se reúnen con los adultos en bandos más o menos numerosos. La Calandria Común es una especie característica del Mediterráneo, y aunque su área se extiende por el este hasta las regiones del Caspio y Aral, falta en las Baleares, donde ha sido observada, al parecer, rarísima vez. En cambio, en la Península es bastante común en terrenos apropiados, faltando en una ancha franja norteña y en Galicia. Identificación: Es la mayor de las alaúdidas; macho: robusto pico pardo-amarillento; por encima, pardo negruzco con bordes posteriores de las alas pardo-grisáceos; por debajo, blancuzco, con pecho ocráceo algo listado de pardo, y una gran mancha negra en forma de cuerno a cada lado de la base del cuello; en la hembra, manchas más pequeñas. Nidificación: Nido, de hierbas secas, en tierra, junto a alguna planta, en sembrados de cereal o barbechos; puesta, de abril a junio, de 4 a 6 huevos blanco sucio, muy manchados de pardo y de gris; incubación, por la hembra, de unos 16 días; los pollos vuelan tras unos 12 días; a veces dos crías. Alimentación: Especialmente hierbecillas; también insectos, como coleópteros y dípteros. Hábitat: Matorrales y campos baldíos
Am Südwestrand des Berges befindet sich die Hauptburg. Der Hof wird vom so genannten Pfaffenstöckl und dem Doppelturmtor, der später baulich verändert wurde, dem Schloßpflegerhaus, dem Bergfried, der Wittelsbacher Turm genannt wird, dem Fürstenbau, dem ehemaligen Palas, dem italienischen Anbau, der Kapelle, dem Dürnitzbau, dem Söller und Damenstock umgrenzt. Im Süden und Südwesten erstreckt sich ein Zwinger mit Türmen. Die Vorburg mit dem Hofstallgebäude und dem Kellereigebäude ist im Osten vorgelagert. Im Südosten der Vorburg ist ein Torzwinger, der früher vier Burgtore aufwies.
Am 21. Oktober 1961 brannte der Fürstenbau aus. Dem Brand zum Opfer gefallen sind fast alle Wandmalereien, die Möbel und Ausstattung des Palas, sowie die prunkvollen Räumlichkeiten, die König Ludwig II. einrichten ließ. Erhalten geblieben sind die Narrentreppe im italienischen Anbau und die Georgskapelle. Im neu wiederaufgebauten Fürstenbau der Burg befindet sich heute das Staatsarchiv Landshut.
Von der Altstadt aus führt zum äußeren Burghof die so genannte Fürstentreppe herauf, im Volksmund auch Ochsenklavier genannt. Dies ist ein Weg aus Backsteinen mit gemauerten Querstreben, der gebaut wurde, damit Pferde den Berg hinaufgehen konnten[5].
Im restaurierten Damenstock ist seit September 2004 die „Kunst- und Wunderkammer Burg Trausnitz“ als neues Zweigmuseum des Bayerischen Nationalmuseums zu sehen. In rekonstruierter Form zeigt sie die Sammlung von Herzog Albrecht V., die sich ursprünglich in München im 2. Stock des Marstallgebäudes befand und vor allem Repräsentationszwecken diente.
Hilo de la Fotohistoria en Pullip .es:
LENN HAS COMPANY(1 of 1) /
LENN TIENE VISITA (1 de 1)
(Read in order, this is: SHOT/FOTO 05 of 89) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89.
FOTOSTORY: In English / En Español
Cien: That was not the treat. You are trying to fool me again.
Lenn: What are you talking about?? When did I fool you?
Cíen: ¬¬ Better ask, when didn't you...
/
Cien: No fue así como quedamos. Ya me estás intentando timar.
Lenn: Pero que hablas?? Cuando te he timado yo a ti?
Cíen: ¬¬ Mejor di, cuando no me has timado...
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
- Hilo de las Fotohistorias de Lenn y Gwen en el Foro de Pullips: Pullip .es
www.youtube.com/watch?v=W_u6l7EsQMc&feature=channel
I want love, but it's impossible
A (wo) man like me, so irresponsible
A (wo)man like me is dead in places
Other (wo)men feel liberated
I can't love, shot full of holes
Don't feel nothing, I just feel cold
Don't feel nothing, just old scars
Toughening up around my heart
chorus
But I want love, just a different kind
I want love, won't break me down
Won't brick me up, won't fence me in
I want a love, that don't mean a thing
That's the love I want, I want love
I want love on my own terms
After everything I've ever learned
Me, I carry too much baggage
Oh man I've seen so much traffic
So bring it on, I've been bruised
Don't give me love that's clean and smooth
I'm ready for the rougher stuff
No sweet romance, I've had enough
A (wo)man like me is dead in places
Other (wo)men feel liberated
Bourbon Coffee Cafe bourboncoffeeusa.com/index.php opened just 6 days before the evening of our visit, last week... "Bourbon Coffee's vision is to stand as a symbol of new era in African economic development, one in which African nations rise to participate directly in the global marketplace." The new location is in the bustling Union Square area, great colour scheme, and is a very inviting comfortable place to enjoy a great cup of coffee!!! AJ Sealy is one of several fabulous barista that works at Bourbon Cafe, as well as studying Social Sciences as a major at the College of New Rochelle (Brooklyn Campus) www.cnr.edu/SchoolofNewResources/BrooklynCampus for a MSW to become a Social Worker after he graduates. AJ's genteel, quiet, caring demeanor will be very effective in the field of Social Services. I noticed they all had on hats, and was told they had to wear hats for santitation purposes, so they all chose their individual fashion statement! Thank you AJ, for being my #17 Perfect Stranger!
"This picture is #17 in my 100 Strangers Project. Find out more about the project and see pictures taken by other photographers at www.100Strangers.com"
This is a submission for the flickr group Macro Mondays, where the weekly theme was "Mailboxes." The treatment I chose was similar to what I did in this picture for an earlier challenge. I enjoyed that exercise and so I wanted to return to the idea. I spend most of my working time at the computer, so I was thinking of the Outlook mailbox but I'm more fond of Thunderbird.
I've been busy with work and moving recently and have been in lurker mode. Being able to submit a picture to the challenge is like a return to normalcy.
Snapped with a Pentax K10D using a 21mm Extension Tube. With this setup, I practically had the edge of the lens touching the screen. I played with angles and DOF until I settled on the current view. Unmodified, this image is straight out of the camera. The part I like the most is where the arrow reflects off the trim at the edge of the monitor. It appears as if the desktop is expanding beyond the screen.
I was tempted to clean up the icon list. In the end, I figured that if others could figure them out, it would be a mini-challenge within the picture...
Comments welcome!
It's empty and cold without you here, too many people to ache over
I see my vision burn, I feel my memories fade with time
But I'm too young to worry
These streets we travel on will undergo our same lost past
I found you here, now please just stay for a while
I can move on with you around
I hand you my mortal life, but will it be forever?
I'd do anything for a smile, holding you 'til our time is done
We both know the day will come, but I don't want to leave you
I see my vision burn, I feel my memories fade with time
But I'm too young to worry (a melody, a memory, or just one picture)
Seize the day or die regretting the time you lost
It's empty and cold without you here, too many people to ache over
Newborn life replacing all of us, changing this fable we live in
No longer needed here so where do we go?
Will you take a journey tonight, follow me past the walls of death?
But girl, what if there is no eternal life?
I see my vision burn, I feel my memories fade with time
But I'm too young to worry (a melody, a memory, or just one picture)
Seize the day or die regretting the time you lost
It's empty and cold without you here, too many people to ache over
Trials in life, questions of us existing here, don't wanna die alone without you here
Please tell me what we have is real
So, what if I never hold you, yeah, or kiss your lips again?
Woooaaah, so I never want to leave you and the memories of us to see
I beg don't leave me
Seize the day or die regretting the time you lost
It's empty and cold without you here, too many people to ache over
Trials in life, questions of us existing here, don't wanna die alone without you here
Please tell me what we have is real
Silence you lost me, no chance for one more day [x2 then continues in the background]
I stand here alone
Falling away from you, no chance to get back home
I stand here alone
Falling away from you, no chance to get back home
Seize the Day by Avenged Sevenfold
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH: TOOLS FOR LIVING
142 Wooster Street
New York, NY 10012
Phone: 212.471.0280
Hours:
Monday-Saturday 11am-7pm
Sunday noon-6pm