View allAll Photos Tagged Protection,
So these pictures didn't make it into the 365 Project, but I'm still uploading them :]
Had a photo trip today with a couple friends. :) We went to the Vineyards on the way down to the coast. Stopped around Lincoln City, and Depoe Beach.
Kakadu National Park, Northern Territory, Australia
Kakadu National Park is a protected area in the Northern Territory of Australia, 171 km southeast of Darwin.
The park is located within the Alligator Rivers Region of the Northern Territory. It covers an area of 19,804 km2 (7,646 sq mi), extending nearly 200 kilometres from north to south and over 100 kilometres from east to west. It is the size of Slovenia, about one-third the size of Tasmania, or nearly half the size of Switzerland.
The name Kakadu may come from the mispronunciation of Gaagudju, which is the name of an Aboriginal language spoken in the northern part of the park. This name may derive from the Indonesian word kakatuwah, (via Dutch kaketoe and German Kakadu) subsequently Anglicised as "cockatoo”. Kakadu is ecologically and biologically diverse. The main natural features protected within the National Park include:
•four major river systems: the East Alligator River, the West Alligator River, the Wildman River; and the entire South Alligator River;
•six major landforms, estuaries and tidal flats, floodplains, lowlands, the stone country, the outliers; and
the southern hills and basins;
•a remarkable variety and concentration of wildlife; over 280 bird species, roughly 60 mammal species, over 50 freshwater species, over 10,000 insect species, over 1,600 plant species and some 117 species of reptiles
Aboriginal people have occupied the Kakadu area continuously for at least 40,000 years. Kakadu National Park is renowned for the richness of its Aboriginal cultural sites. There are more than 5,000 recorded art sites illustrating Aboriginal culture over thousands of years. The archaeological sites demonstrate Aboriginal occupation for at least 20,000 and possibly up to 60,000 years.
The cultural and natural values of Kakadu National Park were recognised internationally when the park was placed on the UNESCO World Heritage List. This is an international register of properties that are recognised as having outstanding cultural or natural values of international significance. Kakadu was listed in three stages: stage 1 in 1981, stage 2 in 1987, and the entire park in 1992.
Approximately half of the land in Kakadu is Aboriginal land under the Aboriginal Land Rights (Northern Territory) Act 1976, and most of the remaining land is currently under claim by Aboriginal people. The areas of the park that are owned by Aboriginal people are leased by the traditional owners to the Director of National Parks to be managed as a national park. The remaining area is Commonwealth land vested under the Director of National Parks. All of Kakadu is declared a national park under the Environment Protection and Biodiversity Conservation Act 1999.
The Aboriginal traditional owners of the park are descendants of various clan groups from the Kakadu area and have longstanding affiliations with this country. Their lifestyle has changed in recent years, but their traditional customs and beliefs remain very important. About 500 Aboriginal people live in the park, many of them are traditional owners. All of Kakadu is jointly managed by Aboriginal traditional owners and the Australian Government's Department of the Environment and Water Resources through a division known as Parks Australia. Park Management is directed by the Kakadu Board of Management.
From my most recent / still in process collection "The Golden Age".
more pictures here: juanpablotavera.blogspot.mx
I know you want to live yourself
But could you forgive yourself
If you left her just the way
You found her
I stand in front of you
I'll take the force of the blow
Protection
dedicated to S and J..
good luck to you both....................xxxx
Le titre de l'œuvre fait référence à la parabole du Christ adressée aux Pharisiens : « Laissez-les. Ce sont des aveugles qui guident des aveugles. Or, si un aveugle guide un aveugle, ils tomberont tous deux dans la fosse. » (Mt 15,14 ; Lc 6,39).
Conformément à la tradition médiévale, Bruegel choisit de représenter les aveugles comme des vagabonds vêtus de haillons et se livrant sans doute à la mendicité. La scène, subtil mélange de ridicule et d'effroi, rend l'inévitabilité de la chute par une gradation de la représentation. Tandis que le premier aveugle de cette étrange procession est déjà tombé, le second trébuche, le troisième va trébucher, le quatrième semble pressentir le danger et les deux derniers ne se doutent encore de rien. La gradation des postures physiques s'accompagne d'une gradation des sentiments, visible dans la physionomie des visages aux yeux caves. Dans cette œuvre tardive, l'émotion qui se dégage est moins due à une accumulation de détails horribles, comme dans Le Triomphe de la Mort, qu'au sentiment d'inévitable fatalité que la misère humaine engendre.
Ce tableau fit partie des œuvres conservées en Italie (à Naples) et spoliées par l'armée allemande pendant la Seconde Guerre mondiale, sous le couvert de leur protection par le principe établi du Kunstschutz. Elle a été restituée grâce aux actions menées pendant et après la guerre par Rodolfo Siviero.
Au musée du Louvre figure une copie exécutée par Pieter Bruegel le Jeune. La petite église de Sint-Anna-Pede, dont mention est déjà faite en 1259, est à l'arrière-plan de l'œuvre
The title of the work refers to Christ's parable to the Pharisees: "Leave them alone. They are blind people who guide the blind. But if a blind man guides a blind man, they will both fall into the pit. (Mt 15,14, Lk 6,39).
In accordance with medieval tradition, Bruegel chose to portray the blind as vagrants dressed in rags and no doubt begging for begging. The scene, subtle mixture of ridicule and fright, makes the inevitability of the fall by a gradation of representation. While the first blind man of this strange procession has already fallen, the second stumbles, the third stumbles, the fourth seems to sense the danger, and the last two still do not suspect anything. The gradation of the physical postures is accompanied by a gradation of the feelings, visible in the face of the faces with the cellar eyes. In this late work, the emotion that emerges is less due to an accumulation of horrible details, as in The Triumph of Death, than to the inevitable feeling of inevitability that human misery engenders.
This painting was part of the works kept in Italy (in Naples) and despoiled by the German army during the Second World War, under cover of their protection by the established principle of Kunstschutz. It was restored thanks to the actions carried out during and after the war by Rodolfo Siviero.
The Louvre Museum features a copy by Pieter Bruegel the Younger. The small church of Sint-Anna-Pede, whose mention is already made in 1259, is in the background of the work..
Made a big mistake on letting the CraZy Gang watch the late night movie, The Godfather last night.....And now look......We have Vito Corleone .....Michael Corleone .....Sonny Corleone ......Tom Hagen....(I let you decide on who is who)........Holding court and demanding protection money for my trusty guitar.....And if i don’t pay and agree to stop playing it late into the night.......I have been told the guitar will finish up in the concrete mix helping support one of the bridges being built for the new HS2 train service (This is a new train line about to be built here in the UK that is going to run all the way from Scotland to London......Stopping nowhere on route apart from Birmingham central .....Ummmm....You really could not make that up if you tried......Only the UK politicians could make a train schedule like that....... and then argue that there are too many cars on the roads!!!!!) .......... But back to the main story line.......As I start to realise that I am standing on very thin ice here......As there are allegations that have started too surface, about the treat fund being used as a beer fund yet again....(As if things are not bad enough for me already)......which could lead to me joining the guitar in the concrete mix......But worry not dear reader......For I have yet to play my last roll of the dice........ By promising a pub lunch at the Dogs welcome pub just down the road all Paid for with the beer fund...... (Yes I know that might be stretching the truth a bit ....As I will be using the treat fund to cover any short falls.... ....But don’t tell the Shelties that for goodness sake)..... And then for afters...... we can all settle down and watch the Godfather 2 tonight.....As for that look Duffy The Bear is giving......it’s a look that says, as far as he is concerned......It’s a done deal..... And he is all ready to be on his way.....as are we all
BITH'S JUKEBOX #139
MASSIVE ATTACK "PROTECTION"
Drop a coin in the slot to hear Tracey Thorn (EBTG) live on Top Of The Pops.
www.youtube.com/watch?v=BFhICIUBlCk
Massive Attack make their fourth appearance on The Jukebox.
This space vehicle is a Small Class Armoured Rover decked out in Classic Space livery.
Named Moon Cat, it's mainly used as a mobile research laboratory and is equipped with only one weapon, a machine gun on top (not much used actually.).
The canopy opens to expose a detailed little interior with such an assortment of retro-tech computers and equipment.
The design of the Moon Cat is neat and retro-tech at the same time.
I'm especially satisfied of the usage of the crutches as lamps protection bar. If I'm not wrong they have never been used in that way before (NPU).
I built it more than a year ago but only recently I take good pictures.
Thanks for stopping by.
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Royalty protection Unmarked Volkswagen Transport. Seen Here Heading out of the Siemens Factory In Hull During the Queens Visit to the Area.
258/365
Sorry for the lack of uploads lately everyone! Again, I have become distracted and busy with the life happening around me and it's interfering with the artistic process. :D In other words, too many people in town visiting and not enough time to play with my camera.
New Year's pact with myself= marketing
So, shall we be facebook friends?? Please see the above link. There could be a print give away coming up soon. ;D
<3
Light design outdoor in nature, long exposure, some candles & lanterns.
Ref. S.Mart3 034. No retouching nor editing,only watermarked
©WhiteAngel Photography. All rights reserved.
Paxson, Chas., -1880,, photographer.
"Our protection"
[New York] : [Charles Paxson], [1864]
1 photograph : albumen print on card mount ; mount 11 x 7 cm (carte de visite format)
Notes:
Photograph shows freed slave children Rosina Downs, Charles Taylor, and Rebecca Huger, each wrapped in a portion of the U.S. flag.
Photographer's and children's names from another copy processed as LOT 14022, no. 139. DLC
Title from item.
Printed on verso: "The nett [sic] proceeds from the sale of these photographs will be devoted to the education of colored people in the Department of the Gulf, now under the command of Maj. Gen Banks" ; "All orders must be addressed to H.N. Bent, Station D, New York." DLC
Tax stamp on verso. DLC
Gift; Tom Liljenquist; 2016; (DLC/PP-2017:171, formerly deposit D072)
Forms part of: Liljenquist Family Collection of Civil War Photographs (Library of Congress).
Subjects:
African Americans--Children--1860-1870.
Freedmen--Louisiana--New Orleans--1860-1870.
Girls--1860-1870.
Boys--1860-1870.
Flags--American--1860-1870.
Format: Albumen prints--1860-1870.
Portrait photographs--1860-1870.
Group portraits--1860-1870.
Cartes de visite--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Liljenquist Family collection (Library of Congress) (DLC) 2010650519
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsca.41752
Call Number: LOT 14043-2, no. 187