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A protest to the proposed new flickr layout - January 5, 2014 "I Love flickr Day"
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Vladimir Tatlin was a Russian artist and architect. After the 1917 Revolution, V.I.Lenin tasked him with replacing Tsarist monuments with ones expressing revolutionary ideals.
Tatlin’s proposed tower was an abstract iron and glass sculpture 400m tall (Eiffel tower is 300m). The tower's axis tilted parallel to that of Earth's.
The monument was to be the headquarters of the Comintern, the international grouping of Communist parties. A lower glass cube housing the Legislature would revolve once a year. Above that was the Executive in a pyramid rotating once a month. Above that, a cylinder would hold press and communications and revolve daily. The entire edifice was to straddle the Neva in Petrograd (St Petersburg).
One prescient feature was the surrounding double helix – Tatlin’s radial struts could almost represent its canonical amino acid bases! Had the existence and structure of DNA – the key to life – been known to Tatlin it would have been of immense symbolic importance.
Tatlin’s constructivist monument in one sense harks back to the 1890s of Eiffel’s France. In another it looks far forward to the twisted and otherwise non-rectilinear steel and glass postures of almost any present-day city finance quarters.
Tatlin’s Tower was never realised although he and students made a 4.2m high mostly wooden model in 1920.
The model pictured here is 1/42 scale and was erected in 2011 at the London Royal Academy. It was subsequently moved to the UEA Sainsbury Centre for Visual Arts, Norwich. The Sainsbury Centre is in the foreground at right.
So I’m forcing you to really look. And this process of looking, it’s like a new set of ideas that are being proposed to you :-)
Gilles Peress
HBW!! Justice Matters! No one is above the law!
prunus mume, white japanese flowering apricot, 'Big Joe', j c raulston arboretum, ncsu, raleigh, north carolina
L’ART POUR SE RECONNECTER À LA NATURE
Dans cette exposition proposée au cœur du 9e arrondissement de Paris, les sculptures
monumentales d’ours et de gorilles de Michel Bassompierre se font les représentants
emblématiques des espèces en danger de disparition. Les nombreuses menaces qui pèsent sur ces espèces révèlent leur extrême fragilité. Leurs habitats, forêts et banquise, sont mis à mal par la pression du changement climatique et celle des humains. Lorsque les populations de ces « animaux totémiques » déclinent, c'est que
déjà la survie des milliers d'espèces végétales et animales qui composent leurs écosystèmes est compromise
.
La Fraterie n°1A
Passé Maître dans l’Art de représenter les animaux, Michel Bassompierre est le plus
talentueux sculpteur animalier contemporain. L’artiste transcende le bronze et le marbre pour créer ses ours et ses gorilles tout en courbes et en rondeurs.
Si ses œuvres sont le plus souvent réalisées en bronze ou en marbre de Carrare, certaines de ses pièces monumentales peuvent être en résine.
Michel BASSOMPIERRE est l’un des artistes les plus importants dans le champ de la sculpture animalière contemporaine.
Ses ours, chevaux, éléphants et autres gorilles peuplent son atelier, les galeries et les collections du monde entier.
Séduisante et attachante, son œuvre a parcouru le monde, laissant échapper son bestiaire de marbre et de bronze aux quatre coins du globe.
Michel BASSOMPIERRE a su générer une œuvre puissante témoignant d’une maitrise exceptionnelle du dessin, d’une compréhension parfaite des volumes, d’une approche de la lumière où jamais la lumière ne vient heurter l'ombre.
Michel BASSOMPIERRE se débarrasse de l’anecdote pour aller à l’essentiel : une forme pure, des courbes délicates, une lumière enveloppante qui souligne la rondeur des masses dont émanent tendresse et poésie.
(english follow)
GÉNÉRATION
En hommage à Florence, ma petite-fille, qui m’a spontanément proposé le titre de cette image.
__________
Sur ces rivages bordés d’infini, un père initie son jeune fils à l’art de la pêche en eau peu profonde. Au premier abord, on pourrait croire qu’il s’agit d’une simple scène de pêche, pourtant…
Dans nos sociétés, l’idée de génération est souvent réduite à une opposition statique entre le passé et l’avenir, entre l’ancien et le nouveau. Je crois plutôt qu’il faut y voir un mouvement, un mouvement continu de transmission et d’évolution des connaissances et des mentalités humaines. En somme, cette transmission, notamment par la filiation, permets à l’originel de rester original et de poursuivre l’aventure humaine. * Ce que nous appelons « l’avenir » est, en fait, le résultat de l’interaction et de la transmission par toutes les générations. **
_________
Ici, sur ces rivages bien en retrait des mondes utopiques qui alimentent la fureur de nos sociétés, le père et le fils renouent avec la patience et la modestie fondamentale de l’existence des êtres. Et aussi avec l’enchantement originel devant la beauté et le mystère de notre monde.
La pêche aura été un bon prétexte pour cela.
Patrice
* Charles Coutel, philosophe français.
** Tim Inglold, anthropologue britannique
_______________________________
GENERATION
In honor of Florence, my granddaughter, who spontaneously suggested the title of this image.
__________
On these shores bordered by infinity, a father introduces his young son to the art of shallow-water fishing. At first glance, one might think this is a simple fishing scene, yet...
In our societies, the idea of generation is often reduced to a static opposition between past and future, between old and new. Instead, it should be seen as a movement, a continuous movement of transfer and evolution of knowledge and human mentalities. In short, this transfer, particularly through filiations (kinship), allows the original to remain original and to continue the human adventure.* What we call the future is, in fact, the result of all these generations interacting.
._________
Here, on these shores far removed from the utopian worlds that fuel the fury of our societies, father and son reconnect with the patience and fundamental modesty of being. Also with the original enchantment in front of the beauty and mystery of our world.
Fishing was a good excuse for this.
Patrice
* Charles Coutel, a French philosopher.
** Tim Ingold, British anthropologist.
68 Main Event : maps.secondlife.com/secondlife/Chop%20Zuey/127/212/4002
TB Maison : Halloweenie Wicked Tree @ 68 Main Event
Mainstore : maps.secondlife.com/secondlife/MacLintons/100/30/22
Zibska : Alais @ 68 Main Event
Mainstore : maps.secondlife.com/secondlife/Deep%20Chill/128/126/2001
Chop Zuey : Shadow of Iris Set - Texture Change @ 68 Main Event
Mainstore : maps.secondlife.com/secondlife/Chop%20Zuey/65/134/26
ProPose : Charlotte
Mainstore : maps.secondlife.com/secondlife/VOODOO%20CITY/229/75/1002
Blog : ombrebleue.wordpress.com/2017/10/19/chop-zuey-tb-maison-p...
Blog : ombrebleuewinsmore.simplesite.com/434049666/5237378/posti...
Facebook : www.facebook.com/ombrebleue.winsmore
Flickr : www.flickr.com/photos/88507343@N05/
Please join the campaign, if you do not like the proposed new flickr layout.
Please download a picture ( you can download it from www.flickr.com/photos/110293295@N04/11451922214/ ) and upload it to your stream on Sunday, January 5, 2014. You can also make your own picture with the text as seen in this picture ( or of similar nature, but make sure to emphasize the boycott ), in any language of your choice. Please circulate it and remember to upload it on Sunday, January 5, 2014 ( or before, if you know you'll be away on January 5 )
River Place Marina, Hawthorne Bridge , Willamette River
Hawthorne Bridge - NRHP #12000932
The Hawthorne Bridge is a truss bridge with a vertical lift that spans the Willamette River in Portland, Oregon, joining Hawthorne Boulevard and Madison Street. It is the oldest vertical-lift bridge in operation in the United States and the oldest highway bridge in Portland. It is also the busiest bicycle and transit bridge in Oregon, with over 8,000 cyclists and 800 TriMet buses (carrying about 17,400 riders) daily. It was added to the National Register of Historic Places in November 2012. (#12000932)
Statistics
The bridge consists of five fixed spans and one 244-foot-long (74 m) vertical-lift span. It is 1,382 feet (421 m) in total length. The bridge was originally 63 feet (19 m) wide, including two five-foot sidewalks, but the sidewalks were widened to 10 feet in 1998, increasing the structure's overall width to 73 feet (22 m). The 880,000-pound (400,000 kg) counterweights are suspended from the two 165-foot-tall (50 m) towers. It is operated by a pair of 150-horsepower motors. On average, the lift span is raised for river traffic 120 times per month. While the river is at low level, the bridge is 49 feet (15 m) above the water, causing it to be raised an average of 200 times per month. The bridge was designed by Waddell & Harrington, which also designed the Steel and Interstate bridges. John Alexander Low Waddell invented the modern-day vertical-lift bridge.
History
The current bridge was built to replace the second Madison Street Bridge, a wooden bridge built in 1900. It cost $511,000 to build and was opened on December 19, 1910. Hawthorne Boulevard (and thus the bridge) was named after Dr. J.C. Hawthorne, the cofounder of Oregon's first mental hospital and early proponent for the first Morrison Bridge.
The streetcar tracks across the bridge were originally in the outer lanes, but were relocated to the center lanes in 1931. The deck was changed from wood to steel grating in 1945.
In 1985 the lift span sheaves, the grooved wheels that guide the counterweight cables, were replaced. The bridge went through a $21 million renovation from 1998 to 1999, which included replacing the steel grated deck and repainting. The original lead-based paint was completely removed and replaced with 3 layers of new paint that is estimated to last 30 years. During this upgrade the sidewalks were widened to 10 feet (3.0 m), making it a thoroughfare for bicycle commuters. Due to the replacement of the steel deck during this project, the channels which used to carry the rails for streetcars and interurban trains were also removed. The bridge was closed for one year to permit the renovation to be carried out.
The original color of the bridge was black, lasting until 1964, when it was repainted yellow ochre. During the 1998–99 renovation, the color was changed to green with red trim.
In 2001, the sidewalks were connected to the Eastbank Esplanade. In 2005, the estimated cost to replace the bridge was $189.3 million.
The 2003 film, The Hunted, included a scene set on MAX on the Hawthorne Bridge. Since MAX does not cross the bridge, the movie company connected two articulated buses remodeled to resemble a MAX train, complete with fake overhead lines and a sprinkler system to simulate rain. Light-rail (interurban) service did cross the Hawthorne Bridge until 1956.
The new deck put in place in the outer lanes during the 1998–99 renovation was designed to be strong enough for possible use by modern, heavier streetcars or light rail trains in the future, which was proposed at that time, and TriMet was still considering a Hawthorne Bridge routing for its future MAX Orange Line, to Milwaukie, in 2002. However, following the transit agency's later decision to build the Tilikum Crossing for the Milwaukie MAX line, which bridge could also be used by the Portland Streetcar, it became unlikely that rail cars will ever again cross the Hawthorne Bridge.
The bridge was added to the National Register of Historic Places in November 2012.
(Wikipedia)
À 20 minutes de Rouen, le Centre d’art contemporain de la Matmut - Daniel Havis propose 4 expositions par an d’artistes d’envergure nationale et internationale.
Avec la volonté de rendre accessible l’art et la culture au public le plus large, le Groupe Matmut développe depuis plusieurs années une politique d'action culturelle dynamique, notamment grâce au centre d'art. Elle accompagne et cherche à promouvoir des artistes et structures dans leur démarche de création et de diffusion. Chaque exposition de trois mois environ est accompagnée d’une édition et d’une programmation culturelle (visites commentées, ateliers pour enfants et scolaires, partenariats avec différentes structures, événements) à destination des petits et des grands.
À l’intérieur d’un château néo-Louis XIII du XIXème siècle, le Centre d’art contemporain - Daniel Havis vous invite à découvrir l’histoire et l’architecture de ce lieu. Vous pourrez ainsi apprécier à l’extérieur l’ouvrage de l’architecte Lucien Lefort, les ferronneries de Ferdinand Marrou ou la taille de pierre d’Edmond Bonet. Le château de style néo-classique arbore fièrement sur son fronton la devise « Omnia pro arte » (Tout pour l’art) inscrite par son bâtisseur Gaston Le Breton et aujourd’hui plus que jamais vivante grâce au Groupe Matmut.
Le château se situe dans un parc de 6 hectares avec des univers différents qui évoluent au rythme des saisons : jardin à la française, jardin japonais, jardin de l’Evolution, jardin du Dédale, arboretum, la roseraie, le tout peuplé de sculptures monumentales de célèbres artistes (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar...).
20 minutes from Rouen, the Matmut Contemporary Art Center - Daniel Havis offers 4 exhibitions per year by artists of national and international stature.
With the aim of making art and culture accessible to the widest possible audience, the Matmut Group has been developing a dynamic cultural action policy for several years, particularly through the art center. It supports and seeks to promote artists and organizations in their creative and dissemination efforts. Each exhibition of approximately three months is accompanied by an edition and a cultural program (guided tours, workshops for children and schools, partnerships with different organizations, events) for young and old.
Inside a 19th century neo-Louis XIII castle, the Contemporary Art Center - Daniel Havis invites you to discover the history and architecture of this place. Outside, you can appreciate the work of the architect Lucien Lefort, the ironwork of Ferdinand Marrou or the stone cutting of Edmond Bonet. The neoclassical style castle proudly displays on its pediment the motto "Omnia pro arte" (Everything for art) inscribed by its builder Gaston Le Breton and today more alive than ever thanks to the Matmut Group. The castle is located in a 6-hectare park with different universes that evolve with the seasons: French garden, Japanese garden, Evolution garden, Dédale garden, arboretum, rose garden, all populated with monumental sculptures by famous artists (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar...).
Seagull and views from Portmeirion looking to Talsarnau and Ynys.
In 1925, Welsh architect Clough Williams-Ellis acquired the site which was to become Portmeirion. He had been searching for a suitable site for his proposed ideal village for several years and when he heard that the Aber Iâ estate near Penrhyndeudraeth was for sale, he did not hesitate to make an offer.
He wanted to show how a naturally beautiful location could be developed without spoiling it, and that one could actually enhance the natural background through sympathetic development. The Aber Iâ estate had everything he had hoped for as a site for his architectural experiment: steep cliffs overlooking a wide sandy estuary, woods, streams and a nucleus of old buildings.
But the history of Portmeirion started long before 1925. The construction of Castell Deudraeth was recorded in 1188 by Gerald of Wales, who wrote: "We crossed the Traeth mawr and the Traeth Bychan. These are two arms of the sea, one large and one small. Two stone castles have been built there recently. The one called Castell Deudraeth belongs to the sons of Cynan and is situated in the Eifionydd area, facing the northern Mountains."
Castell Deudraeth was referenced again by the 17th century philologist, geologist, natural historian and keeper of the Ashmolean Museum in Oxford, Edward Lhuyd in 1700. Lhuyd recorded the name as Aber Iâ, stating " The Castle of Aber Iâ yet stood in ruined form overlooking the south western extremity of the peninsula".
In 1861, Richard Richards wrote a description: "Neither man nor woman was there, only a number of foreign water-fowl on a tiny pond, and two monkeys, which by their cries evidently regarded me as an unwelcome intruder. The garden itself was a very fine one, the walls of which were netted all over with fruit trees...Aber Iâ, then, gentle reader, is a beautiful mansion on the shore of Traeth Bach, in Merionethshire."
When Williams-Ellis acquired the land in 1925 he wrote, "a neglected wilderness - long abandoned by those romantics who had realised the unique appeal and possibilities of this favoured promontory but who had been carried away by their grandiose landscaping...into sorrowful bankruptcy." Clough immediately changed the name from Aber Iâ (Glacial Estuary) to Portmeirion; Port because of the coastal location and Meirion as this is Welsh for Merioneth, the county in which it lay.
His first job was to extend and convert the old house on the shore into a grand hotel. The concept of a tightly grouped coastal village had already formed in Clough's mind some years before he found the perfect site and he had quite a well-defined vision for the village from the outset.
Portmeirion was built in two stages: from 1925 to 1939 the site was 'pegged-out' and its most distinctive buildings were erected. From 1954-76 he filled in the details. The second period was typically classical or Palladian in style in contrast to the Arts and Crafts style of his earlier work. Several buildings were salvaged from demolition sites, giving rise to Clough's description of the place as "a home for fallen buildings".
"An architect has strange pleasures," Clough wrote in 1924. "He will lie awake listening to the storm in the night and think how the rain is beating on his roofs, he will see the sun return and will think that it was for just such sunshine that his shadow-throwing mouldings were made."
The first article about Portmeirion appeared in The Architects' Journal (January 6 1926) with photographs of scale models and preliminary designs prepared by Clough to impress potential investors. In this article, John Rothenstein writes: "On the sea-coast of North Wales, quite near his own old home, Plas Brondanw, he has acquired what he believes to be an ideal site, and he is engaged upon plans and models for the laying out of an entire small township. The results of his scheme will be significant and should do much to shake the current notion that although houses must be designed with due care, towns may grow up by chance."
The Hotel Portmeirion officially opened for the Easter Weekend, on 2nd April 1926. The last building, the Tollgate, was built in Clough's 93rd year.
Taken at the bank of the Rio de laPlata
in Colonia (Uruguay)
I thought it was and is a very picturesque and photogenic town
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Available for free during the ProPosers Hunt 1/15/11 - 2/15/11. proposerssecondlife.blogspot.com/
European Parliament. As the legislative body of the European Union, the European Parliament has officially had its headquarters in Strasbourg since 1999, although sessions have been held there since 1952. This is the only international institution whose members are elected by direct universal suffrage. Along with the Council of the European Union, it participates in drafting community legislation, putting forward its opinions concerning proposed texts submitted to it by the European Commission. The building you see here was built in 1998.
Rattlesnake Lake. December 2009. son is not aware i'm shooting, i'm too far away. bad ISO: i forgot to put the camera back to auto.
100-400 f4.5-5.6 L
- It was a different day this time at Rattlesnake. no more snow, no more frost. all was gone. a pretty sharp cold, but nothing unbearable. in one area, there is a whole serie of these trunks, they all have "eyes", and they're getting out of the water. it's so evocative when you think about it. still a lot to shoot around that lake.
Sculpture by: Jun-Jin Noh
Artist statement: Propose symbolises eternal love through two turtles. Facing each other they embody unwavering devotion, while glass beads evoke trust and purity. Crafted from enduring granite, it mirrors the unbreakable bond between souls.
À 20 minutes de Rouen, le Centre d’art contemporain de la Matmut - Daniel Havis propose 4 expositions par an d’artistes d’envergure nationale et internationale.
Avec la volonté de rendre accessible l’art et la culture au public le plus large, le Groupe Matmut développe depuis plusieurs années une politique d'action culturelle dynamique, notamment grâce au centre d'art. Elle accompagne et cherche à promouvoir des artistes et structures dans leur démarche de création et de diffusion. Chaque exposition de trois mois environ est accompagnée d’une édition et d’une programmation culturelle (visites commentées, ateliers pour enfants et scolaires, partenariats avec différentes structures, événements) à destination des petits et des grands.
À l’intérieur d’un château néo-Louis XIII du XIXème siècle, le Centre d’art contemporain - Daniel Havis vous invite à découvrir l’histoire et l’architecture de ce lieu. Vous pourrez ainsi apprécier à l’extérieur l’ouvrage de l’architecte Lucien Lefort, les ferronneries de Ferdinand Marrou ou la taille de pierre d’Edmond Bonet. Le château de style néo-classique arbore fièrement sur son fronton la devise « Omnia pro arte » (Tout pour l’art) inscrite par son bâtisseur Gaston Le Breton et aujourd’hui plus que jamais vivante grâce au Groupe Matmut.
Le château se situe dans un parc de 6 hectares avec des univers différents qui évoluent au rythme des saisons : jardin à la française, jardin japonais, jardin de l’Evolution, jardin du Dédale, arboretum, la roseraie, le tout peuplé de sculptures monumentales de célèbres artistes (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar...).
20 minutes from Rouen, the Matmut Contemporary Art Center - Daniel Havis offers 4 exhibitions per year by artists of national and international stature.
With the aim of making art and culture accessible to the widest possible audience, the Matmut Group has been developing a dynamic cultural action policy for several years, particularly through the art center. It supports and seeks to promote artists and organizations in their creative and dissemination efforts. Each exhibition of approximately three months is accompanied by an edition and a cultural program (guided tours, workshops for children and schools, partnerships with different organizations, events) for young and old.
Inside a 19th century neo-Louis XIII castle, the Contemporary Art Center - Daniel Havis invites you to discover the history and architecture of this place. Outside, you can appreciate the work of the architect Lucien Lefort, the ironwork of Ferdinand Marrou or the stone cutting of Edmond Bonet. The neoclassical style castle proudly displays on its pediment the motto "Omnia pro arte" (Everything for art) inscribed by its builder Gaston Le Breton and today more alive than ever thanks to the Matmut Group. The castle is located in a 6-hectare park with different universes that evolve with the seasons: French garden, Japanese garden, Evolution garden, Dédale garden, arboretum, rose garden, all populated with monumental sculptures by famous artists (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar...).
181c 2012 08 13 file
2012 Artist concept drawing depicted on sign at location of
proposed Market Lofts. Currently listed on web site as opening this year (2017). concept photo on web site shows some changes to the
final plans.
Site Location: Overland Park, KS
Cette photo a été proposée au jeu : Quel est ce lieu?
Il s'agit de deviner le lieu (nom et localité) où a été prise la photo
Le lieu de la photo est exclusivement situé en France métropole + DOM-TOM. Seul celui ou celle qui aura trouvé ce lieu pourra poster la photo suivante
Si vous voulez participer, inscrivez-vous dans le groupe
www.flickr.com/groups/2062971@N24/pool/with/40039889551/
Vous êtes les bienvenus ;-)
At a cafe where I like to meet my friend, Erebus, I had to tell him (and you), about this story I heard.
If the Trump administration has its way, the tip you leave your waiter or waitress could end up in the pocket of the restaurant owner instead of the person who served you.
This week, Trump’s Labor Department proposed rescinding an Obama-era rule that made the logical point that tips are the property of the servers and cannot be taken by the restaurant owner.
The administration’s proposal would allow restaurant owners, who pay their wait staff as little as $7.25 per hour, to collect all the tips left by patrons and do whatever they want with them—regardless of what diners intended.
Restaurant owners could even keep all the tips for themselves, without telling diners.
(For more about this story.)
www.newsweek.com/trump-wants-you-tip-restaurant-owners-no...
Les églises du Serrablo sont un ensemble d'églises de la région du Serrablo, correspondant à une partie du bassin supérieur de la rivière Gállego (comarque de l'Alto Gállego, en Aragon, Espagne). Elles se trouvent pour la plupart sur la rive gauche de cette dernière, et ont été construites entre le Xe siècle et le XIe siècle selon les diverses hypothèses proposées.
En fonction des hypothèses portant sur la période de construction de ces églises, elles sont considérées comme mozarabes, construites par des communautés chrétiennes sous domination islamique (points de vue d'Antonio Durán Gudiol et de l'association Amis de Serrablo) ; ou bien (selon d'autres historiens de l'art de l'université de Saragosse) préromanes ou d'un premier roman qui émerge aux premiers temps du royaume d'Aragon. Ce serait dans ce cas une architecture d'une époque précoce de l'art roman, avec des éléments d'art mozarabe empruntés à l'architecture islamique, avec des influences du roman lombard.
HMS Hood seen here on 9th January 1920 at the East Wharf of John Brown & Company, Clydebank, shortly before she left the yard for Rosyth
Note the two covering plates over the torpedo tubes. Also because of delays in her completion, and then urgency in getting her to Rosyth, Hood never received her final coat of paint at Clydebank as this photograph documents.
The shipyard diary for November and December 1919 states;
7th November 1919;
Progress on all outside work during this past month has been seriously impeded owing to the most unusual severity of the weather for a full fortnight in the middle of this month, for not only was there heavy snow but the thermometer frequently registered in the middle of the day from 15 to 19 degrees of frost.
On Hood, the third barbette and guns are now erected on board, and the fourth barbette has just been delivered and a commencement has been made with the erection of same. Satisfactory progress is being made with all internal work, especially electrical work and ventilation. The rigging of masts and derricks is making good progress.
Due to the weights being on board, the machinery has now been entirely set up and it is proposed to have a basin trial on 9th December.
A conference is being arranged for Friday 28th November as to whether the fitting of guns and other parts of the armament will admit of the ship leaving this yard on 9th January.
18 December 1919;
The fourth barbette with guns and gun shields is now erected on board. The basin trial of the engines took place on 9 and 19 December and it is now being officially arranged that the vessel shall leave Clydebank dock at mid-day on Friday 9th January.
The community board meeting took place in order to discuss the proposed mosque to be built next to ground zero. While the project is usually referred to as the “mosque at ground zero”, the project’s official name is the Cordoba Initiative. The Imam and the developers were in attendance to present the project, and many politicians (or rather their representatives) were on hand, along with many of those in favor or opposed.
First spoke the elected officials, who—in the typical New York political elitist fashion— slandered and insulted their opposition. Councilwoman Margaret Chin spoke before a single opponent of the mosque ever came up to the microphone to state their position, but that didn’t stop her from accusing those against it of “bigotry”.
And while Margaret Chin chose to offend the opposition to the mosque (most of whom present were families of 9-11 victims and first responders) in person, other local figures sent their cronies. A representative of Scott Stringer, President of the Borough of Manhattan, handed out a letter to everyone prior to the meeting in which he refers to the mosque as a “multi-faith community and cultural center” and claims that this “center has been the subject of bigoted attacks that contain a strain of religious and racial hatred more extreme than anything we have seen in NYC for some time.” I guess an attempt to kill hundreds of New Yorkers and tourists at Times Square by an Islamist Faisal Shahzad less than a month prior was not extreme enough for Stringer and, instead of jihadism, Stringer seems to have identified the enemy as a TEA Party leader whom he rips apart throughout this unsolicited letter. While the TEA Party’s opposition is referred to as a “bigoted agenda”, the mosque itself is referred to as a “vibrant and world-class facility in NYC which will promote tolerance and pluralism”. Of course he fails to provide any example of mosques in NYC or in the world that have EVER promoted tolerance or pluralism, but perhaps he didn’t think that any attendee would dare question his superior judgment in the matter. Please be sure to read his disgusting letter
After the political cronies spoke, Feisal Abdul Rauf', the Imam in charge of this “community center” was given time to present his proposal. He started his speech with “for many years I’ve had a dream…” (I wonder what Dr. King would have thought of a ‘grand wizard’ proposing to build a “community center” at the site of the bombed 16th Street Baptist Church in Birmingham, Alabama). The Imam also claimed that this “community center” would promote multi-culturalism; he was so sure of it that his speech was sprinkled throughout with that deceiving phrase. But his presentation brought with it an unexpected turning point. Not because of anything he planned to share with us in his carefully prepared PC jargoned speech, but because of a question by one of the board members who wanted to know if the proposed “community center” would hold prayer. The Imam said “yes”, to which the board member replied, “then it is a house of worship, not a community center”.
Without any objection to that by the Imam or speakers that followed, the term “community center” began to very gradually disappear. But don’t think that anyone’s opinion actually changed as a result. The supporters of the project “formerly” known as a “community center” still believed that it was somehow related to diversity and that it would in no way be an insult to those who died due to Islamist ideology, nor would it serve as a monument of jihadist victory.
But neither the councilwoman nor the Imam were the most offensive or distasteful of the proponents of the mosque. Daisy Khan of the American Society for Muslim Advancement, who also happens to be Imam’s wife, blew their insults and lies out of the water. (I don’t recall her being introduced as Rauf’s wife at the meeting, but I can’t be sure.) She lectured and she yelled – yes, yelled – at the families of victims, the first responders, and her fellow New Yorkers. She yelled that she is “tired of bearing the cross [and will do so] no longer” because apparently she and the Muslim community were the real victims of the 9-11 attacks—not the families who lost their loved ones, not the cities that lost their monuments, and not the country that lost its feeling of security.
Without a single mosque destroyed and with very few anti-Muslim incidents, hearing from this woman about her supposed victimization in that auditorium was absolutely sickening. It didn’t help when for weeks after (and prior) she dominated the time on television appearing calm and together and claiming among other nonsense – I kid you not – that the reason they chose the ground zero site to build a mosque is to provide a “blow to the extremists”. I’m sure radical Muslims would just hate it if New York built a mosque on the ground where American buildings were destroyed and thousands of Americans were murdered by jihadists … right? READ HER RIDICULOUS QUOTE AGAIN. Now listen to it for yourself from the horse’s mouth because I wouldn’t have believed it either. (starts at 1:10) www.youtube.com/watch?v=q7WbTv_gsx4&playnext_from=TL&...
Other supporters of the mosque included two priests and a rabbi (no, it isn’t a start to a joke – although I wish it was) of the leftist “co-exist” variety all of whom supported the mosque. And while there were some clergy present that (judging by applause and reactions) opposed the mosque, they did not come up to the microphone. The supporting clergy seemed to have gone to the same rhetoric school as the Imam, using terms like “multi-culturalism”, “tolerance”, “community relations and understanding”, and other jargon that had no actual relevance to the topic.
There was also a Caucasian woman with a baby who introduced herself as someone who had converted to Islam … in 2006, if I’m not mistaken. She lied about how difficult it is to find information and resources on Islam in NY. I say she lied not only because there are hundreds of mosques in the 5 boroughs, but also because as a recent convert she is a prime example of someone who was able to find and act on this information. Of course, she didn’t specify why ground zero is a better location than any other for this apparently “valuable to the city” information about the religion all 911 hijackers belonged to.
Now that I have gone on and on about the supporters of the mosque (aka “community center”) and the temple’s money changers, let me talk about the opponents of a mosque being build at ground zero ... Not a single one of them opposed a mosque being built; the prevailing request was simply “build it somewhere else”.
First opponent to speak was the celebrated publisher, editor, and columnist Pamela Geller. She was the one to point out what Cordoba means to the Muslim world. Cordoba is a city in Spain that was the first major city to fall to Muslim conquerors and become an Islamic caliphate and a symbol of Islamic conquest of the West. She also called the mosque “a shrine to the very ideology that inspired 9-11”. Sure seems a lot more plausible than Daisy’s explanation for why the mosque has to overlook ground zero.
A gentleman who lost his brother in WTC and represents the largest ‘families of victims of 9-11’ groups introduced some of those present who lost loved ones at ground zero. He protested the lectures and the labels that were bestowed on these families for their “legitimate, legal opposition to this Muslim ‘multi-cultural center’”. He pointed out that while there is proposed building of this mosque at ground zero, the committees have refused to allow monuments to the tragedy of 9-11, including the WTC sphere which was heavily damaged during the terrorist attack and has become an iconic symbol of the tragedy. At this time the sphere is temporarily housed at Battery Park. “If we should honor multi-culturalism and diversity at ground zero, we should honor and remember victims of 9-11,” he concluded.
Tim Brown, a former NYC firefighter who lost dozens of his friends and colleagues, fellow first responders, to the jihadist terrorist attack, has been a tireless voice for memories of victims and their loved ones. He questioned where the money for the mosque was coming from. He had received “5 different answers on 5 different occasions from them”, which included my favorite “we don’t have to tell you, talk to our lawyers”, as well as “three different organizations, but [the Imam] refused to name them” and “from American taxpayers”. Mr. Brown also pointed out that Cordoba Initiative has been very deceiving in other ways, such as removing the word “mosque” from their web site despite the fact that they explicitly wrote initially that there will be a mosque at the top of the building (overlooking ground zero).
Questions were also raised about the Imam Rauf, his public statements, and his pro-Sharia stance as described in his publications and interviews. His travels to countries that openly support terrorism and forced Islamization of the West were also questioned and may indicate where funding from the mosque could be coming from.
Follow up note: Listening to the Imam Rauf speak to various news organizations in the days following the meeting, he offered even more non-specific answers to where the money comes from, such as it comes from people who “want to see peace between Muslims and non-Muslims”. Again, nice politically savvy keywords… but no actual answer to a rather direct question he obviously knows the answer to. Trying to hide something, Faisal Abdul?
One of the many victim’s families present was a woman with a photo of her son who was murdered by the Islamic terrorists. She didn’t yell like Daisy, the Imam’s wife, and she did not dish out insults like Congresswoman Chin. Her voice trembled as she mentioned her son’s name and held his photo towards the committee, “this is my son”, she said, “this is firefighter George Kane.” She held back tears as she spoke. She said that “the location [of the mosque] is insensitive to families. It is also insensitive to the voiceless victims the possibility that anyone who supports Islamic extremism could walk on graves of the victims … [it is] an outrage.”
Another woman spoke with a similar shaking voice about her 23-year-old son who “was murdered on September 11th”. She also wasn’t a bigot, but wanted to know “why are you suggesting that it be two blocks from ground zero?”
Mrs. Kane and the others who spoke through tears and with photos of their murdered children in their trembling hands, made me think of what they were being asked to do. Nine years later, they were being asked to “move on” or “heal”, as mosque supporters were suggesting. I can’t even begin to imagine what that ignorant request could do to an eternally grieving mother.
A sweet elderly couple’s last conversation with their son was via cell phone while he was on a hijacked plane… just before he was murdered. They mentioned that there were 20 mosques that located around the area where they lived, and that they would be ok with another one being built close to them, but they also asked for “understanding and sensitivity” when it comes to building one near ground zero.
Yet from the comments of NYC politicians and supporters of the mosque, we know that understanding and sensitivity will not be shown to the victims’ families nor reflect the wishes of voting New Yorkers. They will instead be shown to others who are apparently deemed more – not even equally but more – crucial to the future of NYC and the memories of those who perished in the terrorist attacks.
Here are a few youtube links on regarding this meeting:
Pamela Geller's full 2 minute speech from the meeting
a firefighter and first responder Tim Brown speaks A MUST SEE
A sight we won't be seeing for quite a while and a photo I took during Edinburgh's Festival in August. This large island 'platform' is one of the proposed places where the trams will stop in 2014 when the project is now scheduled to be completed.
On tv and radio news programmes we hear every day of severe congestion on the outskirts of Edinburgh at places like Sherrifhall, Straiton, Hermiston Gait and on the Bigger Road, the A702, on the A7 Galashiels road, at Newbridge on the M8 to Glasgow and of course at the Forth Road Bridge. But do we ever hear of real congestion in the centre of Edinburgh - in Princes Street perhaps? Eh no.....this is mid-day during the week and does anyone really believe we need trams running along here to 'relieve congestion'? What congestion I ask!
I think the trams should be running on all the above routes to the edge of the city where our first class bus service can take passengers into town. Ah well, it'll be nice when it's finished I suppose!
Dennis Dart SLF, Plaxton Pointer SPD, number 191 (Y191 CFS) was new in 2001 and is now among the oldest buses running in normal service for Lothian. And there aren't too many now with registration plate and fleet number matching - a great tradition in Edinburgh between 1954 and 2001.
It's nice to have a nostalgic look again at Princes Street although note the naughty driver of that car behind the Dart - cars have been prohibited from this part of Princes Street for several years now. Must be a visitor!
Chaco Culture National Historical Park is a United States National Historical Park in the American Southwest hosting a concentration of pueblos. The park is located in northwestern New Mexico, between Albuquerque and Farmington, in a remote canyon cut by the Chaco Wash. Containing the most sweeping collection of ancient ruins north of Mexico, the park preserves one of the most important pre-Columbian cultural and historical areas in the United States.[2]
Between AD 900 and 1150, Chaco Canyon was a major center of culture for the Ancestral Puebloans.[a] Chacoans quarried sandstone blocks and hauled timber from great distances, assembling fifteen major complexes that remained the largest buildings ever built in North America until the 19th century.[2][4] Evidence of archaeoastronomy at Chaco has been proposed, with the "Sun Dagger" petroglyph at Fajada Butte a popular example. Many Chacoan buildings may have been aligned to capture the solar and lunar cycles,[5] requiring generations of astronomical observations and centuries of skillfully coordinated construction.[6] Climate change is thought to have led to the emigration of Chacoans and the eventual abandonment of the canyon, beginning with a fifty-year drought commencing in 1130.[7]
A UNESCO World Heritage Site located in the arid and sparsely populated Four Corners region, the Chacoan cultural sites are fragile—concerns of erosion caused by tourists have led to the closure of Fajada Butte to the public. The sites are considered sacred ancestral homelands by the Hopi and Pueblo people, who maintain oral accounts of their historical migration from Chaco and their spiritual relationship to the land.[8][9] Although park preservation efforts can conflict with native religious beliefs, tribal representatives work closely with the National Park Service to share their knowledge and respect the heritage of the Chacoan culture.[10]
The park is on the Trails of the Ancients Byway, one of the designated New Mexico Scenic Byways.[11]
This is by far the most wonderful Indian ruin I have ever been to. I love exploring old Indian ruins and got it from my Dad. He not only explored Indian ruins all of his life but had extensive collections of Indian artifacts and has donated them to a college in our hometown and a local museum. The American southwest is full of artifacts all over the country side and is a great pastime and a whole lot of fun :)
www.youtube.com/watch?v=y4MzmmcDTcY
Send Me the Pillow that you Dream On - Johnny Tillotson
www.youtube.com/watch?v=PaHel2mR8Hs
Mountain of Love - Johnny Rivers
www.youtube.com/watch?v=LIxHJpmvg7E
Poor Little Fool - Ricky Nelson
www.youtube.com/watch?v=huqbQjm7lsY
Never be Anyone but else but you - Ricky Nelson
Instead of uploading all the photos I took to make this question, I'll show the finished composite.
The letters are from around my campus. I proposed two weeks ago (sorry, it's been a while since I've been on Flickr), and Ginger did say "yes." :)
L’ART POUR SE RECONNECTER À LA NATURE
Dans cette exposition proposée au cœur du 9e arrondissement de Paris, les sculptures
monumentales d’ours et de gorilles de Michel Bassompierre se font les représentants
emblématiques des espèces en danger de disparition. Les nombreuses menaces qui pèsent sur ces espèces révèlent leur extrême fragilité. Leurs habitats, forêts et banquise, sont mis à mal par la pression du changement climatique et celle des humains. Lorsque les populations de ces « animaux totémiques » déclinent, c'est que
déjà la survie des milliers d'espèces végétales et animales qui composent leurs écosystèmes est compromise
.
La Banquise n°2
Passé Maître dans l’Art de représenter les animaux, Michel Bassompierre est le plus
talentueux sculpteur animalier contemporain. L’artiste transcende le bronze et le marbre pour créer ses ours et ses gorilles tout en courbes et en rondeurs.
Si ses œuvres sont le plus souvent réalisées en bronze ou en marbre de Carrare, certaines de ses pièces monumentales peuvent être en résine.
Michel BASSOMPIERRE est l’un des artistes les plus importants dans le champ de la sculpture animalière contemporaine.
Ses ours, chevaux, éléphants et autres gorilles peuplent son atelier, les galeries et les collections du monde entier.
Séduisante et attachante, son œuvre a parcouru le monde, laissant échapper son bestiaire de marbre et de bronze aux quatre coins du globe.
Michel BASSOMPIERRE a su générer une œuvre puissante témoignant d’une maitrise exceptionnelle du dessin, d’une compréhension parfaite des volumes, d’une approche de la lumière où jamais la lumière ne vient heurter l'ombre.
Michel BASSOMPIERRE se débarrasse de l’anecdote pour aller à l’essentiel : une forme pure, des courbes délicates, une lumière enveloppante qui souligne la rondeur des masses dont émanent tendresse et poésie.
Proposing Poisons.
Revelando os olhos furiosos da profecia perseguindo os santos dispostos a pilhagem do exército engolindo os corações Ações hostis disfarçadas de problemas,
общие иллюзии поэтические годы возвышенные слова регрессия дела быстрые правила хромые законы меланхолия окружающая среда научные напитки поданы,
détections dîners science moderne opinions erronées ingrédients déroutants résultats du compositeur efforts spéciaux conçus questions émotions fortes,
skakar hänsynslösa röster intima hemligheter kraftfulla händer allvarliga sinnen olyckor chockerande slipande sidor tårar hämnas tilltalande blinda ansikten,
عواقب فورية الصراعات المجنونة التي تواجه الأسود إرشاد الأضواء المذبوحة الأشغال المظلمة مذكرات القتال بالأسلحة,
遠征軍は即座に影響を及ぼし、決定的な考えの戦いは有名であると仮定して真実を拡大します。真実の拡大部門が物語の根底にある質問に情報を与えたと仮定すると、勝利の複雑な栄光が勝ちました勝利の複雑な栄光の勝利.
Steve.D.Hammond.
This application proposes the retention of the existing 4-storey heritage designated building at 187 King Street East and the demolition of a heritage-listed building at 65 George Street to construct a 17-storey residential condominium building. A total of 16 units and 20 residential parking spaces are proposed..
Luxury Condominium Tower Proposed at King and George
As developable land becomes more scarce in Downtown Toronto, new developments are being proposed for increasingly small and restricted plots of land. The latest of these proposals is an interesting plan submitted to the City of Toronto a few days ago on behalf of property owner York London Holdings, proposing a slender residential tower tucked behind a heritage property at 187 King Street East.
The luxury condominium development—to be known by the address 65 George Street—would rise behind the heritage 4-storey circa 1879-1880 building, originally known as the Little York Hotel. Designed by Core Architects, the 17-storey, 72-metre-tall condominium tower would contain just 16 units, with each level housing just one full-floor 2-bedroom + den suite, each with direct elevator access, and with either a private outdoor terrace or balcony.
Please join the campaign, if you do not like the proposed new flickr layout.
You can also make your own picture with the text as seen in this picture ( or of similar nature, but make sure to emphasize the boycott ), in any language of your choice. Please circulate it and remember to upload it on Sunday, January 5, 2014 ( or before, if you know you'll be away on January 5 ).
Thank you. I LOVE FLICKR - JANUARY 5TH 2014 ! ! ! !
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Pages with BETA
www.flickr.com/photos/110293295@N04/11461406716/in/photos...
www.flickr.com/photos/110293295@N04/11461406746/in/photos...
More Information
www.flickr.com/photos/110293295@N04/11325078084/in/photos...
Now my Poster in Beta
www.flickr.com/photos/annajames006/11675245583/in/photost...
www.flickr.com/photos/annajames006/11675366884/in/photost...
bottom of page and finished (is all).
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YOU CAN DOWNLOAD THIS IMAGES & UPLOAD IN YOUR PHOTOSTREAM BEFORE 5TH JANUARY 2014
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Français :
J'aime Flickr
J'aime Flickr jour - 5 janvier 2014
Les changements proposés vont ruiner Flickr.
Si la nouvelle photo expérience de est mis en œuvre sans option, je vais déciderai à boycotter et appel également tous mes amis et les famille à boycotter toutes les marques / produits qui affichent des publicités sur Yahoo.
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Deutsch :
Ich liebe Flickr !
Ich liebe Flickr -Tag am 5. Januar 2014
Die geplanten Änderungen werden Flickr ruinieren.
Wenn die neue Gestaltung von Flickr ohne Wahlmöglichkeit verpflichtend eingeführt wird, werde ich boykottieren und an alle meine Freunde, Kontakte und Familienmtglieder appelieren, in Zukunft alle Marken/Produkte zu boykottieren, die bei Yahoo werben.
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Spanish : (apelacion para colocar debajo del cartel)
Por favor únase a la campaña, si no te gusta el diseño de la nueva propuesta flickr.
Descargue la imagen y subirla a su galeria el domingo 5 de enero de 2014. Usted puede hacer su propia imagen tambien con el texto como se ve en esta imagen (o de naturaleza similar, el objetivo de hacer un uso seguro enfatizar el boicot), en cualquier idioma de su elección. Ejemplo si la nueva experiencia fotográfica se realiza sin opcion , voy a decidir boicotear y también llamar a todos mis amigos y familiares a boicotear todas las marcas / productos que muestran anuncios en Yahoo .
Por favor, distribuirlo y recordar a subirlo a Domingo, 05 de enero 2014 (o antes, si usted sabe que va a estar fuera el 5 de enero)
Si usted desea hacer su propio cartel :
Me encanta Flickr
Amo día Flickr - 05 de enero 2014
Los cambios que se proponen arruinaran Flickr.
Yo decidiré boicotear y también apelar a todos mis amigos y familiares a boicotear, también a todas las marcas / productos que muestran anuncios en YAHOO
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In Italian :
Che amo Flickr
Amo giorno Flickr - 5 GENNAIO 2014
Le modifiche proposte rovinare Flickr .
Se la nuova esperienza foto è attuato senza l'opzione , deciderò di boicottare e anche chiamare tutti i miei amici e la famiglia di boicottare tutti i marchi / prodotti che visualizzano gli annunci su Yahoo .
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In Portugues
Eu amo Flickr
Eu amo Flickr dia - 05 de janeiro de 2014
As alterações propostas não estragar Flickr.
Se a nova experiência foto é implementado sem a opção, vou decidir boicotar e também chamar todos os meus amigos e família para boicotar todas as marcas / produtos que exibem anúncios no Yahoo.
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Greek :
(really thank you Tania my dear friend for your clarification ), I put here
"I love Flickr day - January 5, 2014" .
We might use the word "υποστηρίζω" which means "support" in English...
I 'll try to translate now the text...
Option 1 : "Αγαπώ το Flickr.
Υποστηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014.
Οι προτεινόμενες αλλαγές πρόκειται να καταστρέψουν το Flickr.
Εάν η νέα παρουσίαση/εμπειρία εφαρμοστεί χωρίς να δίνεται η
δυνατότητα εναλλακτικής επιλογής, θα αποφασίσω να μποϊκοτάρω
όλες τις μάρκες / προϊόντα που εμφανίζουν διαφημίσεις στη Yahoo
και θα καλέσω τους φίλους και την οικογένειά μου να πράξουν το ίδιο."
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Another clarification of my friend Tania
Instead of the word "Υποστηριζω", it would fit better the word "Στηρίζω".
So the new phrase is this:
"Στηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014."
Option 2 : "Αγαπώ το Flickr.
Στηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014.
Οι προτεινόμενες αλλαγές πρόκειται να καταστρέψουν το Flickr.
Εάν η νέα παρουσίαση/εμπειρία εφαρμοστεί χωρίς να δίνεται η
δυνατότητα εναλλακτικής επιλογής, θα αποφασίσω να μποϊκοτάρω
όλες τις μάρκες / προϊόντα που εμφανίζουν διαφημίσεις στη Yahoo
και θα καλέσω τους φίλους και την οικογένειά μου να πράξουν το ίδιο."
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All these translations are made to me, except the Greek and Portuguez that my friends who have made it.
And all were checked, also for my friends to different countries
** Thank you very much again
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Since in these days I've no time, today I propose an old photo already published but is for donation.
The group flowerotica is asking for a donation of flower image for a book called "Flowers against Cancer"...here is link to the thread...
Group Flowerotica www.flickr.com/groups/flowerotica/discuss/721576133214433...
this is my contribution for the "Flowers against Cancer" with the hope that they can contribute to advancing research... and can give hope to everybody!
If you want to see my Best Flickr photos on black
If you want to see my Recent photos on black
Hi everyone, i propose again this fateful duel inspired from the universe of WH40K.
My previous version didn\'t satisfy me completely because the characters were too static, in melee combat and you were not able to notice detail quite well...
Moreover, enderkaiser has pointed out to me that the armor of Ezekyle Abaddon did not match pre heresy period. So I decided to rebuild completely the scene, creating a wider and irregular base, full of debris and rubble, more like a battlefield.
Characters are now more dynamic and it seems that Abaddon attacks with a stroke of the sword his opponent! The other character, who I modified by adding a dark red cloak, even if it isn\'t the right color (and is wearing a black helmet), could remember his opponent Garviel Loken.
This time I took inspiration directly from the miniatures of the Horus Heresy (Forge World), looking at this www.forgeworld.co.uk/en-IT/Abaddon-and-Loken.