Mwajuma was orphaned from a young age and lives with her grandmother and 13 siblings. She knows from experience what it's like to go hungry and is often forced to skip meals.

 

She's a passionate young campaigner for Save the Children and a journalist – determined to speak up for those who suffer from malnutrition and determined to work hard so that in the future her family doesn’t have to suffer.

 

Mwajuma came to DFID today to about her experiences on our Twitter and Facebook pages.

 

Find out more: www.gov.uk/government/news/young-tanzanian-campaigners-ta...

Question Mark. Aus der Serie „Satzzeichen“ 2014

Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht

Skulptur, Objekt, Video, Installation, Fotografie

Markus Wintersberger 2014

The Birth of Venus: Sony A7 R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3

 

45surf Hero's Odyssey Mythology Photography! & 45surf Hero's Odyssey Mythology Fine Art! :)

 

New Instagram! instagram.com/45surf

New Instagram!

instagram.com/johnnyrangermccoy

 

New blog celebrating my philosophy of photography with tips, insights, and tutorials!

45surf.wordpress.com

 

Ask me any questions! :)

 

Sony A7R RAW Photos of Pretty Blonde Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Blonde Hair!

 

And here're a couple of HD video movies I shot of the goddess with the 4K Sony:

vimeo.com/45surf

 

Enjoy! Be sure to watch in the full 1080P HD!

 

The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).

 

Follow me on facebook!

www.facebook.com/45surfAchillesOdysseyMythology

 

Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!

 

Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.

 

New 500px!

500px.com/herosodysseymythology

 

Pretty Swimsuit Bikini Model Goddess! :)

 

She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.

 

Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)

 

A laid-back,classic, socal lifestyle shoot!

 

May the 45surf goddesses inspire you along am artistic journey of your own making!

 

All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!

 

All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.

 

All the best on your Epic Hero's Odyssey from Johny Ranger McCoy!

 

Sony A7R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess in Laguna Beach! Victoria Beach! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3Sony A7R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess in Laguna Beach! Victoria Beach! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3

 

instagram.com/45surf

 

Fine art swimsuit model, ballerina, and ballet photography!

Puddling in the road at Wapanooca Wildlife Refuge.

I finally have to cave in. I took this shot in Bandon, Oregon in July - the most beautiful song was coming from this guy. I have been reluctant to put this shot on as it was beyond the capabilities of my lens and about as bad as it gets but I just have to know what bird this is?

 

PS: Not that this shot is going to get a lot of attention but, from now on, any group with huge icons will be ignored. This group thing is getting out of hand and starting to take up too much time, as well. I appreciate the appreciation, so to speak - but have decided to stay with the old trusted groups. I, on the other hand, will respond with faves and, occasionally, with one of the "old" awards.

 

A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV

Question: Raphael Perez Tell us about your work process as a naive painter?

Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.

 

Question: How do you give depth in your naive paintings?

Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.

A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.

 

Question: Raphael Perez What characterizes your naive painting?

Answer: Most naive paintings have the same characteristics

(Definition as it appears in Wikipedia)

• Tells a simple story to absorb from everyday life, usually with humans.

• The representation of the painter's idealization to reality - the mapping of reality.

• Failure to maintain perspective - especially details even in distant details.

• Extensive use of repeating patterns - many details.

• Warm and bright colors.

• Sometimes the emphasis is on outlines.

• Most of the characters are flat, lack volume

• No interest in texture, expression, correct proportions

• No interest in anatomy.

• There is not much use of light and shadow, the colors create a three-dimensional effect.

I find these definitions to be valid for all my naive paintings

 

Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?

Answer: I was born in Jerusalem, the capital city which I love very much and also paint,

I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one

Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.

 

Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem

Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today

In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs

 

Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings

Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:

In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,

 

In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more

 

I also created three paintings of the city of Haifa and one painting of Safed

In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city

 

Question: Have you created series of other cities from around the world?

Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings

Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments

I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city

 

O' my little strawberry!

 

- From where, how and why come to me?

 

The questions are the base of science, philosophy, and learning which inspire one to move ahead to the new world, in the ways make joy and development.

 

Before start development, sometimes question makes misunderstanding, suffering, struggle also, but should not stop asking questions.

The face is too tight and the neck is too loose; making this mask out of one peice of material is obviously not going to happen.

 

The hair works, though, even if it needs to be groomed a little. There's a clear suggestion of ears, even though there's not. I may still sculpt ears to stick outside the mask, but if I get the hair right, I may not need too.

Thought it was time to update you guys on what to expect from me in the future. I started my first year of college last month which means I had to move to another city. It's not super far from my parents home but it still means less time for lego than before and as it is right now I have no plans on bringing my lego to my apartment. This does not mean I will stop completely building lego and quite frankly I have not been so active overall the last year so maybe not a super big difference in the end.

 

I still have 3 more vehicles to post that I build during the summer (2 swedish military ones and 1 made up thing).

 

So now for the question. As I might be home at my parents like one weekend per month as most I would still be able to have some project going. I'm thinking of taking all my mocs appart (as you know I have slowly done that already) which would leave me with a huge amount of parts to work with. I'm therefor thinking of starting to build halo space ships either a couple of smaller ones scaled to each other or a big one with as much parts as possible.

 

This is just a thought and I wont promise anything but please post your opinions.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

At College and Spadina.

Times square, New-York - Octobre 2013

 

Voir l'album "New-York"

 

Voir l'album "Leica"

The confession of an artist

 

Sooner or later most of people come to the question: 'Why do I do it?'. Artists are not exception. But to be honest I want to change a question a little bit, let it be this way: 'Why do I create?'

 

Truly, why does Mari Nino create?

 

The pictures that I create are dedicated to the different aspects of life and themes that bother me. I am inclined to an order and any of my concept that you see was careful prepared beforehand. I am an ardent opponent of senselessness.

 

At first I create to show a story. Everyone of us has a unique experience, a story to be told. Every person is like a character from the book with certain traits of character, that brings something inimitable into the world. I love creating characters in progress. It is important to me that the viewer asks himself such questions as 'Who is this hero?', 'What does he do?', 'What is his story?'. Creating a series helps a lot in building up a character and showing his/her progress. The moment I got the camera and decided to show viewers concepts, I tried to create my first series. This is how series dedicated to the nature beginning in human appeared ('Forest obsession' www.flickr.com/photos/mariam_pic/sets/72157626945198054/) and a series dedicated to difficulties of a person in limited space ('Rooms' www.flickr.com/photos/mariam_pic/sets/72157626945206076/). Today's series 'England, 50s' conveys the spirit of past times and shows melancholic mood of a character.

 

I create to show beauty of the world and the creatures that live on it. My works are full of dreaminess, frankness and the highest degree of naivety.

 

I see the world philosophically and believe that everything I see is not that easy as it seems. In my pictures I ask the viewer questions and not always give my personal answers. I suggest the viewer to get into the topic personally and try to find the truth. My goal is to suggest an idea, to make someone think.

 

I can't tell if everything that I have written above is truth. It is the viewer who decides. I just want to say that I am ready to search for the truth together.

 

| blog

Mount Loretto Unique Area

 

mémoire2cité - A la fin des années 1930, sous le Front Populaire, s’amorce une démocratisation des loisirs et du sport. Cette massification des loisirs sportifs, et en particulier de la natation, s’intensifie après-guerre, grâce à la mise en place d’une véritable politique d’Etat en faveur du développement de la pratique sportive, accompagnée par la construction d’équipements de proximité. Cette politique conduit à redéfinir et à rationaliser la conception de la piscine, autant d’un point de vue architectural que fonctionnel.

 

I. Vers une étatisation des politiques sportives

 

1. Une idée en germe depuis les années 1930

 

Vers la fin des années 1920, le sport, et en particulier la question de l’équipement sportif, commence à s’imposer au niveau national, comme un objet incontournable de souci et d’action politique. La volonté de créer une structure institutionnelle chargée de concevoir et de contrôler cette politique publique relative au sport s’affirme de plus en plus. Cette idée est en germe depuis l’armistice, comme l’indique la réflexion d’Edouard Herriot, maire de Lyon : « Peut-être arriverons-nous ainsi peu à peu à la constitution d’un grand service central – ministère ou non – de l’Éducation physique » (Édouard Herriot, 1919).

 

Parallèlement, des revendications sociales se font entendre pour une meilleure accessibilité au sport par la classe populaire. Ces requêtes sont entendues par le Front populaire, qui initie une politique de démocratisation de la culture sportive, s’appuyant sur l’invention de notions telles que temps libre et loisirs. Dans le but de diffuser et de mettre en oeuvre cette conception du sport pour tous, est créé en 1937 (à l’occasion d’un remaniement ministériel), un sous-secrétariat d’Etat aux Sports, aux Loisirs et à l’Education physique (rattaché au ministère de l’Education nationale dirigé par Jean Zay), à la tête duquel est placé Léo Lagrange. Ce dernier entreprend une série d’actions, à la fois concrètes et symboliques, comme l’aide à l’équipement communal (dont la nécessité est rendue évidente par les conclusions d’un inventaire national des installations existantes) ou la création d’un Brevet sportif populaire. Cette conception du sport de masse n’obtient cependant pas la faveur de tous. On note d’ailleurs, dans le mouvement sportif national, le rejet d’une politique d’intervention autoritaire des pouvoirs publics. Si les actions du Front Populaire sont stoppées par la déclaration de la guerre, elles ont toutefois conduit à une véritable prise de conscience de l’enjeu politique sportif au niveau national.

 

Sous le régime de Vichy (juin 1940-juin 1944), est créé un Commissariat Général à l’Education Générale et Sportive (CGEGS), qui s’appuie sur le sport pour diffuser l’idéologie du gouvernement, prônant des valeurs de discipline, de redressement moral, physique et intellectuel et de retour à l’ordre. Dans ces années, où le sport est surtout un outil de propagande, s’esquissent toutefois de nouvelles prescriptions concernant l’architecture des piscines (qui se doit d’être épurée et rationnelle), et la volonté de rattraper le retard de la France en matière d’équipement sportif par rapport aux autres pays européens.

 

2. Quelques réalisations remarquables des années 1950

 

Au sortir de la guerre, la question sportive n’est pas une priorité et la période 1945-1957 se caractérise par une faible intervention publique. Malgré les constructions réalisées grâce à des politiques municipales sociales et volontaristes dans les années 1930, le nombre d’équipements sportifs, et en particulier de piscines couvertes et chauffées, est encore très faible par rapport à la moyenne européenne. Ce sous-équipement va rapidement poser problème, d’autant plus que l’accroissement démographique est en plein essor, entraînant une augmentation de la jeunesse et donc une recrudescence de la pratique sportive, parallèlement à une forte urbanisation. Si l’effort est d’abord porté vers la reconstruction (du secteur industriel et du cadre de vie : logements, services administratifs, voirie, etc.), les questions de la jeunesse, du sport, de l’éducation populaire et du plein air travaillent les esprits du gouvernement.

 

Dans les Hauts-de-France, de nombreuses piscines ont subi des dégradations pendant la guerre et nécessitent une rénovation (une grande partie des piscines cheminotes par exemple).

 

Le stade nautique olympique de Tourcoing est complété, en 1951, d’un toit en partie ouvrant, une première du genre, amené à un grand développement dans les deux décennies suivantes. Faute de moyens financiers suffisants (il existe des subventions, mais les moyens alloués à la Jeunesse et aux Sports restent faibles) et d’une volonté politique forte, le nombre de constructions de piscines entre 1945 et 1958 demeure restreint. Ainsi, à Lens, suite à la destruction du stade nautique pendant la guerre, la construction d’une nouvelle piscine est projetée dès l’après-guerre, mais faute de financement, il faut attendre les années 1960 pour que le projet aboutisse.

 

Les quelques installations nautiques nouvelles qui sont réalisées au cours des 1950, sous l’impulsion d’initiatives locales, sont majoritairement découvertes et ne sont donc exploitables que quelques mois dans l’année. Si ces édifices sont aboutis au niveau technique et architectural, ils ne sont pas en mesure de satisfaire les besoins en matière de bassins éducatifs praticables pendant l’année scolaire. Ils répondent plus à une volonté d’offrir à la population un équipement de loisirs sportifs. Il s’agit souvent de la réalisation de projets municipaux d’avant-guerre, n’ayant pas eu l’occasion de voir le jour.

 

Dans ces piscines des années 1950, le double bassin est définitivement adopté et elles répondent aux nouvelles prescriptions édictées dans les années 1940 en matière d’architecture sportive, qui se doit avant tout d’être fonctionnelle et pratique, largement ouverte sur l’extérieur par des baies vitrées, sa beauté résidant essentiellement dans l’harmonie de ses proportions et l’agencement de lignes géométriques pures.

 

Ainsi, dans l’Oise, la ville de Compiègne décide en 1949 (sous le mandat de Jean Legendre), l’édification d’une piscine en bordure de l’Oise, rendue possible grâce aux indemnités des dommages de guerre et de la reconstruction, ainsi qu’à une subvention élevée de la part du Secrétariat d’Etat à l’Enseignement technique, à la Jeunesse et aux Sports. La piscine, conçue par l’architecte-urbaniste de la ville, J. Gossart, est inaugurée le 1er juin 1952. Des bains-douches sont aménagés dans les sous-sols. Il s’agit d’un grand bâtiment blanc rectangulaire en béton armé, inséré sur la berge boisée de l’Oise, s’ouvrant en son centre sur les deux bassins de plein-air de la piscine (25 x 12,5 m et 8 x 12,5 m), avec un plongeoir à double hauteur (3 et 5 mètres). Les baigneurs surplombent l’Oise et évoluent dans un cadre propice à la détente, correspondant bien aux prescriptions d’avant-guerres recommandant la construction d’équipements sportifs et de loisirs en plein air, dans un environnement naturel. Les gradins d’environ 800 places, font également face à l’Oise. L’architecture est simple et fonctionnelle, sans aucun décor ; elle obéit à un modernisme pur et efficace. Elle est remarquable du fait de sa situation en bord de rivière, comme l’était également la piscine découverte de l’Hôtel-Dieu à Pontoise (Val d’Oise) construite en 1961 par l’architecte Jean Letu et aujourd’hui détruite. La piscine de Compiègne, ouverte de mai à septembre, connaît un grand succès, qui ne cesse de croître d’année en année. Fermée dès 1985 car son bassin souffrait de fuites (et remplacée par la piscine Mercières, construite en 1988), elle est aujourd’hui à l’abandon.

 

A Caudry (Nord), le stade nautique municipal est construit en 1951-1952, sur les plans d'Edmond Lancelle (1898-1957), architecte du Cambrésis actif pendant les deux périodes de reconstruction, grâce à la volonté du maire Albert Dhélin (maire de 1947 à 1965). L’architecte est associé à Marc Revaux, ingénieur-conseil spécialisé en construction de piscines. Son architecture semble inspirée de la piscine de Bruay-en-Artois et est similaire à celle du Cateau-Cambrésis, reconstruite en 1954 par la même équipe d’architecte-ingénieur. Elle allie le style Paquebot de l’Art Déco (présence d’oculi en forme de hublots) aux codes du mouvement moderne international des années 1950. Les bassins sont entourés sur deux côtés par les bâtiments des vestiaires, et sur le deuxième grand côté par des gradins surplombés par une terrasse avec buvette (dans l’angle). La forme de U renversé de l’élégant plongeoir associée à la ligne courbe du toboggan qui lui fait face, animent l’orthogonalité des alignements de cabines. Le portique d’entrée, reprenant ces lignes courbes, s’ouvre sur un guichet vitré aux formes dynamiques et sculpturales. La piscine est dominée par une grande tour-horloge, rythmant les séances de natation. On retrouve cette tour-horloge marquant l’entrée de la piscine, à la piscine olympique de la Scarpe à Arras (1955) et au stade nautique de Bapaume (Pas-de-Calais). A Bapaume, le bâtiment abritant l’accueil et les vestiaires est largement vitré et s’ouvre sur les bassins, entourés d’un portique. Son architecte, Emile Cauwet, est spécialiste de l’architecture scolaire (groupe scolaire Ferdinand-Buisson à Boulogne-Billancourt), industrielle et sportive, et prône une esthétique moderniste et fonctionnelle.

 

A Boulogne-sur-Mer (Pas-de-Calais), une piscine municipale est judicieusement intégrée au nouveau casino, bâtiment monumental, manifeste de l’architecture des années 1950, conçu par les architectes Sonrel et Bonhomme, et situé derrière la plage de la station balnéaire. La piscine, localisée au rez-de-chaussée, est vitrée sur deux côtés et donne vue sur la plage. Le bâtiment en béton armé, monté sur pilotis (rappelant l’architecture de Le Corbusier), est décoré sur ses façades extérieures de mosaïques réalisées par l’artiste Françoise Lelong. La façade côté plage s’ouvre par un portique avec terrasse.

 

Ainsi les piscines des années 1950, souvent d’une grande sobriété correspondant aux préceptes architecturaux du mouvement moderne, s’inscrivent dans la continuité des piscines de la fin des années 1930. Il faut attendre les années 1960 pour qu’une nouvelle impulsion soit donnée à l’innovation architecturale dans le domaine des piscines, grâce à la mise en place d’une véritable politique interventionniste de l’Etat en faveur de l’équipement sportif sous la Ve République, dans le cadre de trois lois de programme planifiant la construction d’équipements sportifs et socio-éducatifs. Ce nouveau cadre législatif se traduit par une "mise en administration" du bâti sportif par l’État1.

 

II. Les mesures mises en place entre 1961 et 1976 par l’Etat en faveur de la construction des piscines

 

A partir de la Ve République, le sport et la construction sportive sont désormais perçus comme un service d’intérêt public du ressort de l’Etat. Déterminé, l’Etat entreprend une série de mesures incitatives visant à créer un maillage de piscines publiques praticables en toutes saisons (la plupart des piscines étaient alors découvertes et non chauffées) sur l’ensemble du territoire national. L’objectif principal est que tous les enfants aient accès à un bassin pour apprendre à nager, et qu’ainsi soit enfin mis en application l’apprentissage obligatoire de la natation à l’école (dans les programmes depuis la fin du 19e siècle). La priorité des piscines des années 1960-1970 est donc portée vers la jeunesse et l’éducation.

 

1. Les lois programmes : une nouvelle politique économique en faveur de l’équipement sportif

 

Lors de l’instauration du premier gouvernement de la Ve République, est créé un Haut-commissariat (puis Secrétariat d’Etat) à la Jeunesse et aux Sports (rattaché au ministère de l’Education Nationale), dirigé par Maurice Herzog. Ce dernier souhaite impulser de manière urgente une politique de construction afin de combler le sous-équipement en matière d’édifices à destination de la jeunesse : "Notre objectif, notre seul objectif est de mettre à la disposition de notre jeunesse, les moyens de s’exprimer plus complètement. Nous voulons que des millions de jeunes Français puissent aller au stade, à la piscine, se rencontrer dans les Maisons de Jeunes" (Equipements pour la jeunesse et les sports, 1962). Cette volonté se concrétise le 28 juillet 1961, avec la promulgation, dans le cadre du IVe plan, de la première loi de programme, qui instaure, sur une durée de quatre ans (1962-1965), un plan assurant un financement national durable et concret en faveur des équipements sportifs et socio-éducatifs. Ce plan prend la forme de subventions élevées (représentant généralement entre 20 et 50% du coût total) destinées à aider de nombreuses collectivités locales dans leur projet de constructions sportives. Ces aides se poursuivent et sont même revalorisées lors de la deuxième loi de programme d’équipements sportifs (1966-1970), votée le 2 juillet 1965. La troisième loi (1971-1975), votée le 13 juillet 1971, montre une détermination encore plus forte de l’Etat à augmenter massivement le nombre d’équipements à grande échelle, en particulier dans les nouvelles zones urbaines, et à former des éducateurs, ceci pour favoriser le sport de masse pour tous. Ces années marquent en revanche le début du désengagement financier de l’État, que l’on discerne par la baisse progressive des montants des subventions accordées. Ces subventions sont bien sûr soumises à certaines conditions. Et, pour assurer et contrôler la qualité technique et le respect des normes des piscines construites, les municipalités doivent en faire valider les avant-projets par l’Etat.

 

Certains dossiers de subventions conservés aux Archives nationales montrent que de nombreuses municipalités des Hauts-de-France bénéficient de cette aide dès les années 1960 (par exemple les piscines de Lomme, de Noyon, de Chantilly, de Lens, etc.).

 

Ces lois de programmes d’équipements ne se résument toutefois pas à ces aides financières : l’Etat développe également des mesures permettant d’inciter plus efficacement les collectivités à entreprendre la construction d’une piscine, en facilitant leurs démarches administratives et en réduisant les coûts de construction.

 

2. L’agrément de modèles de piscines : normaliser, encadrer et faciliter la construction

 

Suite à l’application de la première loi de programme, le Haut-Commissariat à la Jeunesse et aux Sports, constate que les prix de revient des équipements sportifs sont fréquemment trop élevés et que les architectes municipaux chargés de ces constructions ne sont la plupart du temps pas qualifiés pour ce type de constructions complexes et techniques. D’où la volonté de normaliser et de rationaliser les équipements sportifs, notamment les piscines, et de contrôler les projets proposés par de plus en plus d’entreprises, de constructeurs ou de bureaux d’études aux collectivités. Dans ce but est créée le 25 mai 1963 une commission spéciale dont la mission est d’agréer, sur le plan technique, des projets-types d’équipements susceptibles d’être réalisés dans toute la France. La commission est composée de treize sièges et se réunit plusieurs fois dans l’année pour donner son avis sur les projets d’architecture présentés à l’agrément. Pour ce faire, elle se base sur les qualités techniques du projet, sur les possibilités d’adaptation de l’architecture aux terrains divers, ainsi que sur les qualifications professionnelles des candidats à l’agrément. A partir de 1967, la commission se montre plus exigeante sur l’esthétique, l’harmonie, et l’originalité architecturale.

 

L’objectif principal de cette commission était de pouvoir proposer aux collectivités un panel de modèles de piscines variées et conformes aux caractéristiques définies par l’Etat, livrables clefs en mains et ayant des prix fixes. Cette procédure de normalisation devait de cette façon, assurer la qualité des équipements construits en France ainsi qu’une plus grande rapidité de réalisation. Le premier numéro de la revue Piscines informations résume avec enthousiasme tous les avantages que présente pour les municipalités le choix d’un projet-type agréé, se faisant ainsi le relais des services de l’Etat : "Plus que jamais, ces projets-types agréés sont la solution simple et économique. Prix plafonnés, projets clairement déterminés, normes parfaitement respectées, marché de gré à gré, financements faciles et par conséquent, réalisations rapides, tels sont les principaux avantages que permet d’obtenir le choix d’une exécution conforme à un projet-type agréé". Tout est mis en oeuvre pour inciter les collectivités à s’orienter de préférence vers un projet-type. Une documentation fournie permet en outre d’aider les maîtres d’ouvrages à choisir un programme (nombre et taille des bassins, piscine couverte ou non, etc.) adapté aux besoins de leur commune, notamment en fonction du nombre d’habitants.

 

Il faut attendre 1966 pour que les premiers projets-types soient validés par la commission d’agrément, qui est alors placée sous la responsabilité du nouveau ministère de Jeunesse et des Sports, créé en janvier 1966. La procédure d’agrément est un succès auprès des constructeurs, ingénieurs et architectes. Ils sont ravis de pouvoir bénéficier de ce moyen permettant d’officialiser leurs projets, et mettent à profit leur savoir-faire et leurs idées au service de l’élaboration d’une nouvelle architecture des piscines. Ainsi, parmi les 134 projets-types validés par la commission d’agrément entre 1966 et 1971 (date de mise en arrêt de la procédure), on compte 64 modèles de piscines. La plupart de ces projets présentent des programmes simples et polyvalents, avec un ou plusieurs bassins susceptibles de s’adapter à différents besoins. Avant le lancement de la procédure, toujours dans le but de promouvoir l’apprentissage de la natation, le secrétariat d’Etat avait également agréé trois modèles de piscines-écoles, bassins de natation découverts ou couverts. Ces piscines scolaires, en matériaux préfabriqués, sont constituées d’un bassin métallique suspendu sous lequel sont situées les cabines de change et les installations techniques. Une carte postale montre un de ces bassins découverts (type PF) construit à Barlin (Pas-de-Calais).

 

Seuls certains de ces modèles agréés ont eu du succès et ont été sélectionnés à plusieurs reprises par les municipalités mais ils n’ont pas véritablement été construits à grande échelle. Pour "vendre" leurs piscines, les constructeurs n’hésitent pas à vanter les avantages de leurs projets agréés à travers de nombreuses publicités diffusées dans la presse spécialisée2, ou grâce à des brochures publicitaires envoyées aux municipalités. Dans les Hauts-de-France, on dénombre onze modèles adoptés une ou plusieurs fois par les communes, conduisant à la construction de vingt-trois piscines couvertes. Certains modèles de piscines sont construits avant que les architectes en demandent l’agrément : par exemple la piscine S.5 de l’architecte Michel Denisse, qu’il met en oeuvre dans sa ville natale, Hénin-Liétard, et pour le district urbain de Montreuil-sur-Mer en 1966, alors qu’il n’obtient l’agrément qu’en 1967. C’est le cas également pour la piscine couverte de Cambrai, inaugurée en 1964, qui sert de prototype à Pierre Prod’homme et René Lancelle (architectes à Cambrai) avant de proposer à l’agrément un modèle de piscine.

 

On relève toutefois que, si la commission privilégie l’agrément de piscines couvertes ou transformables (c’est-à-dire pouvant s’ouvrir aux beaux-jours), en ne validant qu’un seul modèle de piscine de plein-air, c’est encore ce type qui est majoritairement construit en France, en raison de son faible coût de fabrication.

 

Ainsi les résultats de la procédure d’agrément sont plutôt satisfaisants mais pas suffisants pour l’Etat qui souhaite intensifier davantage l’implantation de piscines publiques exploitables toute l’année en France, en particulier dans les petites et moyennes communes, ou les quartiers populaires de grandes agglomérations, dont les budgets sont très modestes et qui n’ont pas pu bénéficier de l’élan de construction des décennies précédentes. Pour ce faire, le ministère de la Jeunesse et des Sports, lance, suite à l’organisation de plusieurs concours d’architecture sur le thème des piscines économiques et transformables, une opération nommée « Mille piscines » visant à une répartition uniforme et égalitaire des piscines sur tout le territoire, afin que désormais tous les enfants puissent apprendre à nager. La création d’un réseau d’équipements natatoire apparaît d’autant plus nécessaire depuis la décentralisation de l’enseignement du second degré en 1964 et la création de collèges d’enseignement secondaires (CES) dans des petites villes.

 

3. L’opération "Mille piscines" : une industrialisation totale des piscines pour équiper le territoire à grande échelle

 

Mise en place de l’opération Mille piscines

 

La troisième loi de programme prévoit, en 1971, la réalisation prioritaire, entre autres équipements, d’un millier de piscines (dont 850 industrialisées et 150 destinées à la compétition) en quatre ans (1972-1976). Cette opération, appelée "Mille piscines", entre dans la continuité des volontés étatiques édictées depuis le début de la Ve République en matière d’équipement natatoire, mais elle est également motivée par deux évènements qui ont frappé l’opinion publique à l’été 1968 : la noyade de 150 personnes, dont une majorité d’enfants, suite au naufrage d’un bateau de plaisance sur le lac Léman à moins de 50 mètres de la rive ; et les mauvaises performances des nageurs français aux jeux Olympiques de Mexico. Le général de Gaulle donne alors pour mission à Joseph Comiti, secrétaire d’Etat à la Jeunesse et aux Sports, d’équiper la France d’un maximum de piscines afin d’enseigner la natation à toute la jeunesse française.Devant l’importance de l’objectif à atteindre : mille piscines, pouvant s’adapter aux possibilités financières souvent limitées des petites et moyennes communes (de 8000 à 15000 habitants) et dont le programme doit concilier l’apprentissage de la natation, la détente et l’entraînement sportif quelle que soit la saison , le secrétariat d’Etat oriente résolument la recherche vers le développement de techniques de préfabrication et d’industrialisation totale de l’architecture, afin de pouvoir produire des piscines en grande série à moindre coût (le prix de revient doit être situé autour de 1 200 000 francs). Pour augmenter l’efficacité et la rapidité de l’opération, l’Etat centralise et facilite le processus administratif (conception et passage des marchés), assure le suivi des réalisations et des travaux, devenant ainsi le maître d’ouvrage des opérations, dont il subventionne largement le coût auprès des villes qui se portent acquéreurs. Les municipalités doivent seulement fournir le terrain et se décider pour un modèle de piscine parmi ceux proposés. A noter que l’Etat se réserve toutefois de refuser ce choix et d’attribuer un autre modèle à la commune, compte tenu des obligations liés aux marchés de série. Pour aider à choisir et expliquer les démarches à mettre en oeuvre, le secrétariat d’Etat diffuse auprès des communes intéressées une documentation abondante et incitative (dépliants, brochures, albums techniques, etc.). Ce système très rationalisé laisse donc peu de marge de manoeuvre aux petites communes qui, si elles souhaitent s’équiper rapidement d’une piscine, sont quasiment obligées de passer par ce système. Ainsi, il s’agit, selon Patrick Facon (2006), de "construire plus vite, moins cher, sans viser d’emblée la perfection – mais en donnant des outils même rudimentaires dans les meilleurs délais".

 

Dès 1970, l’Etat amorce le lancement de cette opération avec la création de 50 "bassins d’apprentissage mobiles" (B.A.M.), dont la fabrication, la conception, le montage et la mise en service sont réalisés par deux entreprises sélectionnées sur concours en 1969 : Walrvae Nausicaa et la société Techniques et Loisirs. Ces bassins de 12,5 x 6 m, peu onéreux et facilement mis en oeuvre, en service d’avril à septembre, sont à affectés par roulement à des communes ne possédant pas d’établissement natatoire. Ils ont pour but de faire patienter les municipalités pendant l’avancée de l’opération "Mille piscines", et de sensibiliser, en attendant, les futurs usagers des piscines industrialisées et ainsi amorcer le développement de la pratique massive de la natation à l’école. Ce service rencontre un grand succès et le secrétariat passe une deuxième commande de 45 B.A.M. en 1972. Ces installations ont été mises en service dans plus de 700 communes jusqu’en 1976 (date fin de l’opération "Mille piscines").

  

Les concours nationaux d’idées de 1969

 

Précédant le lancement de cette opération, l’Etat avait organisé en 1969 et 1971 des séries de concours d’architecture nationaux sur le thème de la piscine, qui devaient conduire à une sélection de modèles de piscines facilement industrialisables. Les deux premiers concours sont lancés le 22 mai 1969 et ont pour objectif de recenser et de comparer toutes les idées nouvelles en matière de piscine. Ces concours sont avant tout ouverts aux architectes, contrairement aux agréments qui mobilisent plutôt des entreprises.

 

Le premier concours porte sur les "piscines transformables", confirmant l’orientation voulue par le ministère de favoriser la construction d’équipements conciliant, en un seul équipement, les bénéfices d’une installation de plein-air et d’une piscine couverte. Les architectes doivent imaginer une piscine ouverte aux beaux-jours, destinée aux agglomérations moyennes et aux quartiers de grandes villes et comportant les équipements suivant : un bassin sportif de 25 m sur 15 m équipé d’un plongeoir, un bassin d’apprentissage de 15 sur 12,5 m, une pataugeoire de 30 m2 et des annexes fonctionnelles et techniques.

 

Le second concours concerne les "piscines économiques". Le programme, plus dépouillé, visant à l’économie tant du point de vue de la construction que de la gestion, correspond aux besoins des petites villes : un bassin mixte de 25 m sur 10 m (dont la profondeur varie de 0,7 à 2 m) permettant de nombreuses activités (baignade familiale, entraînement sportif, apprentissage, compétition, détente) et des annexes fonctionnelles et techniques. Comme pour le premier concours, la façade ou la toiture doit être largement ouvrable. L’architecte doit également prévoir la possibilité d’extensions par l’ajout de bassins de plein air.

 

Ces deux concours connaissent un grand succès : d’après Joseph Comiti, 400 architectes s’y sont intéressés et 150 projets ont été reçus. Neuf avant-projets de piscines transformables sont retenus et quatre pour les piscines économiques. Ces projets, d’une grande originalité, présentent tous des systèmes inédits de toitures ou de façades escamotables permettant l’ouverture complète de la piscine sur l’extérieur. La piscine Tournesol de Bernard Schoeller remporte le premier prix aux deux concours. Robert Hirt gagne le deuxième prix pour les piscines transformables, tandis que le deuxième prix pour les piscines économiques est attribué à la piscine Caneton de Jean-Paul Aigrot, Franc Charras et Alain Charvier. Tous les avant-projets primés doivent normalement faire l’objet d’un prototype en vue d’étudier les possibilités concrètes d’une industrialisation. Mais au final, peu de projets s’y prêtent véritablement. Quelques projets du premier concours sont construits à titre expérimental, et seuls les deux premiers projets lauréats au concours des piscines économiques (Tournesol et Caneton) sont retenus en février 1970 par le secrétariat d’Etat pour la poursuite des études techniques en vue d’une construction en série. Les architectes sont mis en contact avec le bureau d’études SERI-Renault pour approfondir leur projet, puis un appel d’offres international pour les différents lots (tous les éléments doivent être préfabriqués en usine) est lancé en août 1971 pour la construction de prototypes. Pour la réalisation de la coque de la piscine Tournesol, c’est la proposition de la société Durafour qui est retenue, et l’entreprise générale GBA pour la piscine Caneton. Les prototypes primés sont construits à Nangis (Seine-et-Marne) pour la piscine Tournesol et à Salbris (Loir-et-Cher) pour la piscine Caneton. Après une année d’observation et de fonctionnement, les marchés en série sont conclus en décembre 1972 et les premières piscines Tournesol et Caneton sont construites sur tout le territoire national à partir de 1973. Il est prévu de construire 250 exemplaires de chaque piscine. En réalité, 183 piscines Tournesol ont été réalisées en France, et 196 piscines Caneton.

 

inventaire.hautsdefrance.fr/dossier/les-piscines-des-tren... -

 

les Piscines TOURNESOL En réalité, 183 piscines Tournesol ont été réalisées en France, et 196 piscines Caneton.

 

inventaire.hautsdefrance.fr/dossier/les-piscines-des-tren... - @ les pisçines Tournesol ↑ a et b Dossier sur la piscine de Carros

 

↑ Notice de la piscine de Bonneveine [archive], sur le site de la DRAC de PACA.

 

↑ Notice de la piscine de Carros-le-Neuf [archive], sur le site de la DRAC de PACA.

 

↑ Bilan 2011-2012 : Patrimoine architectural du xxe siècle, édifices « labellisés », édifices « labellisés » inscrits ou classés [archive], sur le site du ministère de la Culture.

 

↑ Christine Lescoutte-Gardent, « La piscine en travaux », Sud Ouest,‎ 9 février 2013 (lire en ligne [archive]).

 

↑ Marc Gaillard, Architectures des sports, Éditions du Moniteur, coll. « Architecture / Les bâtiments », 1981 (ISBN 2-281-00014-1), p. 54.

 

↑ « Piscine de Carros » [archive], 2006 (consulté le 9 décembre 2017)

 

↑ « Les piscines Tournesol de Monsieur Schoeller » [archive], sur archipostcard.blogspot.fr (consulté le 9 décembre 2017)

 

↑ www.pss-archi.eu/immeubles/FR-50129-19686.html [archive]

 

↑ « Piscine du bois du château à Lorient » [archive], sur guide-piscine.fr, 1er juin 2016 (consulté le 21 août 2016)

 

↑ « Piscine de Baud » [archive], sur guide-piscine.fr, 28 juin 2016 (consulté le 21 août 2016)

 

↑ a et b « La piscine Tournesol en phase de démolition » [archive], sur ouest-france.fr, Ouest France, 27 novembre 2015 (consulté le 21 août 2016)

 

↑ « Démolition de la piscine communautaire | CCB – Communauté de Communes du Bouzonvillois » [archive] (consulté le 29 août 2016)

 

↑ « Lille : la piscine tournesol de la rue françois coppee, c'est déja fini » [archive], sur www.lavoixdunord.fr/ [archive], 26 avril 2016 (consulté le 9 janvier 2017)

 

↑ « Fermeture définitive de la piscine Tournesol à Louvroil » [archive], sur Agglo Maubeuge-Val de Sambre, 24 mars 2016 (consulté le 9 janvier 2017)

 

↑ Dixième anniversaire de la piscine Atlantis. [archive]

 

↑ « Sa démolition a débuté : la piscine à ventre ouvert ! » [archive], sur lavoixdunord.fr, 19 décembre 2012 (consulté le 9 janvier 2017)

 

↑ Emmanuel Delahaye, « La piscine Tournesol a vécu », L'Alsace,‎ 5 février 2016 (lire en ligne [archive])

 

↑ « La piscine a été démolie », L'Alsace,‎ 12 janvier 2014 (lire en ligne [archive])

 

↑ CMS Anan6, « Communauté de Communes du Sud-Ouest Amiénois | Piscine communautaire » [archive], sur www.ccsoa.fr (consulté le 9 janvier 2017)

 

↑ Schoeller, Bernard, Piscine tournesol, plans de projet M 1:100, Archives Commune de Larochette, Paris, 1974.

 

↑ Galerie d'architecture moderne [archive], sur citedechaillot.fr.

 

↑ [PDF] Plein air, Beauvais, Diaphane, 2008 (ISBN 978-2-9530799-1-3, lire en ligne [archive]), chap. 15 (« Jurisprudence, dénomination, botanique »), p. 40–41.

 

Bernard Schoeller et Secrétariat d'État à la Jeunesse et aux Sports, Projet Tournesol : Opération 1000 piscines, dossier technique de présentation, Paris, R. Lacer, 1972, 31 p. (OCLC 1505704, notice BnF no FRBNF35900611, LCCN 75503940)

 

Gérard Monnier (dir.), L'architecture moderne en France, vol. 3 : De la croissance à la compétition : 1967-1999, Paris, Picard, coll. « Librairie de l'architecture et de la ville », 2000, 311 p. (ISBN 2-7084-0571-3), « Les piscines Tournesol », p. 16–18

 

Patrick Facon, « Les piscines Tournesol », dans Gérard Monnier (dir.) et Richard Klein (dir.), Les années ZUP : Architectures de la croissance, 1960-1973, Paris, Picard, 2002, 301 p. (ISBN 2-7084-0629-9), p. 91–110

 

« Remise à neuf de la coupole d'une piscine 'Tournesol' », Les Cahiers techniques du bâtiment, no 279,‎ mai 2008, p. 32–34 (ISSN 0241-6794)

 

Odile Fillion, « Volumes d'eau », D'A. D'Architectures, no 104,‎ août-septembre 2000, p. 36–51

 

fr.wikipedia.org/wiki/Piscine_Tournesol

Brighton Language College.

Silver denarius

Minted after Nero's accession, the second coin presents mother and son facing each other. Only Agrippina's names and titles appear on the front, stressing her continued pre-eminence.

[British Museum]

 

Nero: the Man Behind the Myth

(May - Oct 2021)

 

Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.

The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.

Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.

Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?

 

Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.

Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.

Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.

He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.

Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.

In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.

Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.

Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.

When Claudius died in AD 54, Nero became emperor just two months before turning 17.

As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.

The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.

Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.

Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.

It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.

Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.

In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.

Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.

The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.

Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.

No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.

On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.

Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.

Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.

Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.

Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.

Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.

Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.

Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.

According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.

The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule

In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.

It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.

Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.

After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.

[Francesca Bologna, curator, for British Museum]

 

Taken in the British Museum

2013 Discovering Meadows event, Duke Farms

🇬🇧The common question is: “Why I need to use social media on daily basic?”

1. you grow up by writting down your thought

2. you will find new friends

3. you will see your thought front of you

4. you get new clients

5. you get new colleagues

6. you earn money

7. you gets new ideas

8. you will learn patience

9. you will be friend with new world

.

.

🇸🇰najčastejšia otázka je: “prečo mám používať sociálne média každý deň?”

1. osobnostný rast, tým že píšeš svoje myšlienky

2. nájdeš nových kamošov

3. uvidiíš svoje myšlienky pred sebou

4. budeš mať nových klientov

5. budeš mať nových kolegov

6. zarobíš peniaze

7. dostaneš nové myšlienky

8. naučíš sa trpezlivosti

9. skamarátiš sa s novým svetom.

Sole passed today's experiment with flying colours.

 

Sole can be feisty ... no question about it ... but he's also keen to try new things like taking a bath. Today he surprised me when, after a little fuss and a little reassurance, he took to his harness like a pro. I had to draw in each of the two adjustable places to their maximum and and then the harness fit Sole quite well. He wore it for less than 5 minutes and, hopefully, remembers the experience in a positive way.

 

I think Tessa is beyond her introduction-to-harness-and-leash window of opportunity.

 

I bet Sole could also learn to poop in the toilet but it's not so easy with Tessa still using her old fashion kitty elimination station.

 

Little Sole's harness looks good on black.

  

? and The Mysterians at Great Jones Cafe, NYC

Dr. Albert Blumberg (left) and his wife Dorothy Rose are shown seated at a hearing by the House Un American Activities Committee (HUA C) in Washington D.C. March 29, 1940.

 

Both refused to answer any questions by the committee.

 

Blumberg defiantly declined “to answer any questions about any individual except myself” and “refused to answer questions with regard” to Communist Party records seized in the Baltimore CP office “for they were unlawfully unconstitutionally taken.”

 

Agents from HUAC raided the Baltimore office March 29th seizing records, membership lists and a banner.

 

Albert Blumberg presided over the Maryland-DC Communist Party during its period of largest growth and perhaps greatest influence during the “popular front” era of the party.

 

He served as head of the local organization from 1937 to 1943 when he left to become legislative director of the national party.

 

His wife Dorothy Rose served unofficially as party organizer and insured that the organization functioned smoothly.

 

Albert Blumberg was educated at Yale, the Sorbonne and the University of Vienna and worked as a philosophy professor at Johns Hopkins University in Baltimore, Maryland when he became active in the party in 1933.

 

He inherited a party built by his predecessor Earl Reno. Reno built the party through good working class organizers like Patrick Whalen in the maritime trades, Michael Howard in steel and George Meyers in textile that effectively controlled the Baltimore and Maryland Congress of Industrial Organizations (CIO).

 

Blumberg and Dorothy Rose led the party to help spearhead integration of the defense industry—particularly at the huge Martin’s aircraft plant outside of Baltimore and in the shipyards and steel mills. They joined with other civil rights groups to picket Baltimore theaters and demand open housing.

 

He led the successful fight to gain ballot access for the Communist Party in Maryland in 1940, winning despite persecution of the party for allegedly fraudulently obtaining ballot petition signatures. His wife was later convicted on this charge.

 

Blumberg and his wife were persecuted first in 1940 by the U.S. House of Representatives “Dies Committee” and Blumberg became one of the first persons convicted under the “Smith Act” that essentially made it a crime to be a member of the Communist Party USA.

 

In 1951 his wife Dorothy was arrested for violating the “Smith Act” which made it a crime to be a member of the Communist Party. She went to jail in 1953 and served three years.

 

Albert Blumberg was arrested in 1954 in New York City and convicted in 1956 under the Smith Act. However, the U.S. Supreme Court voided the act in 1957 while Blumberg’s case was under appeal and he did not have to serve his prison sentence.

 

For his communist beliefs, he was beaten in Atlanta Penitentiary during one of his jailings and lost most of his sight in one eye.

 

Ostracized, he was unable to obtain employment as a professor until 1965.

 

Sometime in the late 1950s, the Blumbergs left the Communist Party but remained activists, Albert becoming a Democratic Party district leader in Manhattan.

 

For more information and related images, see flic.kr/s/aHskAr2KCx

 

The photographer is unknown. The image is an Associated Press photograph housed at the D.C. Library Washington Star Collection.

Kamera: Nikon FE2

Linse: Nikkor-S Auto 55mm f1.2 (1970)

Film: Kodak 5222 @ ISO 400 -1EV

Kjemi: Xtol (stock / 9 min. @ 20°C)

 

Wikipedia: ICJ case on Israel's occupation of the Palestinian territories

 

United Nations: International Court of Justice - Israel’s Continued Occupation of Palestinian Territory is Unlawful (19 July 2024) [Full delivery of the Court's Advisory Opinion]

 

Press release:

 

Legal Consequences arising from the Policies and Practices of Israel in the Occupied Palestinian Territory, including East Jerusalem

 

The Court gives its Advisory Opinion and responds to the questions posed by the General Assembly

 

THE HAGUE, 19 July 2024. The International Court of Justice has today given its Advisory Opinion in respect of the Legal Consequences arising from the Policies and Practices of Israel in the Occupied Palestinian Territory, including East Jerusalem.

 

It is recalled that, on 30 December 2022, the General Assembly of the United Nations adopted resolution A/RES/77/247 in which, referring to Article 65 of the Statute of the Court, it requested the International Court of Justice to give an advisory opinion on the following questions:

 

“(a) What are the legal consequences arising from the ongoing violation by Israel of the right of the Palestinian people to self-determination, from its prolonged occupation, settlement and annexation of the Palestinian territory occupied since 1967, including measures aimed at altering the demographic composition, character and status of the Holy City of Jerusalem, and from its adoption of related discriminatory legislation and measures?

 

(b) How do the policies and practices of Israel referred to . . . above affect the legal status of the occupation, and what are the legal consequences that arise for all States and the United Nations from this status?”

 

In its Advisory Opinion, the Court responds to the questions posed by the General Assembly by concluding that:

 

* the State of Israel’s continued presence in the Occupied Palestinian Territory is unlawful;

 

* the State of Israel is under an obligation to bring to an end its unlawful presence in the Occupied Palestinian Territory as rapidly as possible;

 

* the State of Israel is under an obligation to cease immediately all new settlement activities, and to evacuate all settlers from the Occupied Palestinian Territory;

 

* the State of Israel has the obligation to make reparation for the damage caused to all the natural or legal persons concerned in the Occupied Palestinian Territory;

 

* all States are under an obligation not to recognize as legal the situation arising from the unlawful presence of the State of Israel in the Occupied Palestinian Territory and not to render aid or assistance in maintaining the situation created by the continued presence of the State of Israel in the Occupied Palestinian Territory;

 

* international organizations, including the United Nations, are under an obligation not to recognize as legal the situation arising from the unlawful presence of the State of Israel in the Occupied Palestinian Territory; and

 

* the United Nations, and especially the General Assembly, which requested the opinion, and the Security Council, should consider the precise modalities and further action required to bring to an end as rapidly as possible the unlawful presence of the State of Israel in the Occupied Palestinian Territory.

  

Reasoning of the Court

 

After concluding that it has jurisdiction to render the requested opinion and that there are no compelling reasons for it to decline to give an opinion (paras. 22-50), the Court recalls the general context of the case (paras. 51-71) and addresses the scope and meaning of the two questions posed by the General Assembly (paras. 72-83).

 

The Court then assesses the conformity of Israel’s policies and practices in the Occupied Palestinian Territory, as identified in question (a), with its obligations under international law. In particular, the Court’s analysis examines, in turn, the questions of the prolonged occupation, Israel’s policy of settlement, the question of the annexation of the Palestinian territory occupied since 1967, and Israel’s adoption of related legislation and measures that are allegedly discriminatory (paras. 103-243).

 

With regard to the question of the prolonged occupation of the Occupied Palestinian Territory, which has lasted for more than 57 years (paras. 104-110), the Court observes that, by virtue of its status as an occupying Power, a State assumes a set of powers and duties with respect to the territory over which it exercises effective control. The nature and scope of these powers and duties are always premised on the same assumption: that occupation is a temporary situation to respond to military necessity, and it cannot transfer title of sovereignty to the occupying Power.

 

In the Court’s view, the fact that an occupation is prolonged does not in itself change its legal status under international humanitarian law. Although premised on the temporary character of the occupation, the law of occupation does not set temporal limits that would, as such, alter the legal status of the occupation. Occupation consists of the exercise by a State of effective control in foreign territory. In order to be permissible, therefore, such exercise of effective control must at all times be consistent with the rules concerning the prohibition of the threat or use of force, including the prohibition of territorial acquisition resulting from the threat or use of force, as well as with the right to self‐determination. Therefore, the fact that an occupation is prolonged may have a bearing on the justification under international law of the occupying Power’s continued presence in the occupied territory.

 

As regards Israel’s settlement policy (paras. 111-156), the Court reaffirms what it stated in its Advisory Opinion on the Legal Consequences of the Construction of a Wall in the Occupied Palestinian Territory of 9 July 2004, that the Israeli settlements in the West Bank and East Jerusalem, and the régime associated with them, have been established and are being maintained in violation of international law. The Court notes with grave concern reports that Israel’s settlement policy has been expanding since the Court’s 2004 Advisory Opinion.

 

As regards the question of the annexation of the Occupied Palestinian Territory (paras. 157-179), it is the view of the Court that to seek to acquire sovereignty over an occupied territory, as shown by the policies and practices adopted by Israel in East Jerusalem and the West Bank, is contrary to the prohibition of the use of force in international relations and its corollary principle of the non-acquisition of territory by force.

 

The Court then examines the question of the legal consequences arising from Israel’s adoption of related discriminatory legislation and measures (paras. 180-229). It concludes that a broad array of legislation adopted and measures taken by Israel in its capacity as an occupying Power treat Palestinians differently on grounds specified by international law. The Court notes that this differentiation of treatment cannot be justified with reference to reasonable and objective criteria nor to a legitimate public aim. Accordingly, the Court is of the view that the régime of comprehensive restrictions imposed by Israel on Palestinians in the Occupied Palestinian Territory constitutes systemic discrimination based on, inter alia, race, religion or ethnic origin, in violation of Articles 2, paragraph 1, and 26 of the International Covenant on Civil and Political Rights, Article 2, paragraph 2, of the International Covenant on Economic, Social and Cultural Rights, and Article 2 of the International Convention on the Elimination of All Forms of Racial Discrimination.

 

The Court then turns to the aspect of question (a) that enquires as to the effects of Israel’s policies and practices on the exercise of the Palestinian people’s right to self‐determination (paras. 230-243). In this regard, the Court is of the view that, as a consequence of Israel’s policies and practices, which span decades, the Palestinian people has been deprived of its right to self‐determination over a long period, and further prolongation of these policies and practices undermines the exercise of this right in the future. For these reasons, the Court considers that Israel’s unlawful policies and practices are in breach of Israel’s obligation to respect the right of the Palestinian people to self‐determination.

 

Turning to the first part of question (b), the Court examines whether and, if so, how the policies and practices of Israel have affected the legal status of the occupation in light of the relevant rules and principles of international law (paras. 244-264).

 

In this respect, the Court first considers that the first part of question (b) is not whether the policies and practices of Israel affect the legal status of the occupation as such. Rather, the Court is of the view that the scope of the first part of the second question concerns the manner in which Israel’s policies and practices affect the legal status of the occupation, and thereby the legality of the continued presence of Israel, as an occupying Power, in the Occupied Palestinian Territory. This legality is to be determined under the rules and principles of general international law, including those of the Charter of the United Nations.

 

In this context, the Court is of the view that Israel’s assertion of sovereignty and its annexation of certain parts of the territory constitute a violation of the prohibition of the acquisition of territory by force. This violation has a direct impact on the legality of Israel’s continued presence, as an occupying Power, in the Occupied Palestinian Territory. The Court considers that Israel is not entitled to sovereignty over or to exercise sovereign powers in any part of the Occupied Palestinian Territory on account of its occupation. Nor can Israel’s security concerns override the principle of the prohibition of the acquisition of territory by force.

 

The Court further observes that the effects of Israel’s policies and practices, and its exercise of sovereignty over certain parts of the Occupied Palestinian Territory, constitute an obstruction to the exercise by the Palestinian people of its right to self-determination. The effects of these policies and practices include Israel’s annexation of parts of the Occupied Palestinian Territory, the fragmentation of this territory, undermining its integrity, the deprivation of the Palestinian people of the enjoyment of the natural resources of the territory and its impairment of the Palestinian people’s right to pursue its economic, social and cultural development.

 

The Court is of the view that the above-described effects of Israel’s policies and practices, resulting, inter alia, in the prolonged deprivation of the Palestinian people of its right to self-determination, constitute a breach of this fundamental right. This breach has a direct impact on the legality of Israel’s presence, as an occupying Power, in the Occupied Palestinian Territory. The Court is of the view that occupation cannot be used in such a manner as to leave indefinitely the occupied population in a state of suspension and uncertainty, denying them their right to self- determination while integrating parts of their territory into the occupying Power’s own territory.

 

In light of the foregoing, the Court turns to the examination of the legality of the continued presence of Israel in the Occupied Palestinian Territory (paras. 259-264).

 

The Court considers that the violations by Israel of the prohibition of the acquisition of territory by force and of the Palestinian people’s right to self-determination have a direct impact on the legality of the continued presence of Israel, as an occupying Power, in the Occupied Palestinian Territory. The sustained abuse by Israel of its position as an occupying Power, through annexation and an assertion of permanent control over the Occupied Palestinian Territory and continued frustration of the right of the Palestinian people to self-determination, violates fundamental principles of international law and renders Israel’s presence in the Occupied Palestinian Territory unlawful.

 

This illegality relates to the entirety of the Palestinian territory occupied by Israel in 1967. This is the territorial unit across which Israel has imposed policies and practices to fragment and frustrate the ability of the Palestinian people to exercise its right to self‐determination, and over large swathes of which it has extended Israeli sovereignty in violation of international law. The entirety of the Occupied Palestinian Territory is also the territory in relation to which the Palestinian people should be able to exercise its right to self-determination, the integrity of which must be respected.

 

***

 

The Court has found that Israel’s policies and practices referred to in question (a) are in breach of international law. The maintenance of these policies and practices is an unlawful act of a continuing character entailing Israel’s international responsibility.

 

The Court has also found in reply to the first part of question (b) that the continued presence of Israel in the Occupied Palestinian Territory is illegal. The Court therefore addresses the legal consequences arising from Israel’s policies and practices referred to in question (a) for Israel, together with those arising from the illegality of Israel’s continued presence in the Occupied Palestinian Territory under question (b), for Israel, for other States and for the United Nations (paras. 267-281).

 

President Nawaf SALAM (b. 1953, Lebanon) appends a declaration to the Advisory Opinion of the Court; Vice- President Julia SEBUTINDE (b. 1954, Uganda) appends a dissenting opinion to the Advisory Opinion of the Court; Judge Peter TOMKA (b. 1956, Slovakia) appends a declaration to the Advisory Opinion of the Court; Judges Peter TOMKA (b. 1956, Slovakia), Ronny ABRAHAM (b. 1951, France) and Bogdan AURESCU (b. 1973, Romania) append a joint opinion to the Advisory Opinion of the Court; Judge Abdulqawi YUSUF (Somalia) appends a separate opinion to the Advisory Opinion of the Court; Judge Hanqin XUE (b. 1955, China) appends a declaration to the Advisory Opinion of the Court; Judges Yuji IWASAWA (b. 1954, Japan) and Georg NOLTE (b. 1959, Germany) append separate opinions to the Advisory Opinion of the Court; Judges Georg NOLTE (b. 1959, Germany) and Sarah CLEVELAND (b. 1965, USA) append a joint declaration to the Advisory Opinion of the Court; Judges Hilary CHARLESWORTH (b. 1955, Australia) and Leonardo Nemer Caldeira BRANT (b. 1966, Brazil) append declarations to the Advisory Opinion of the Court; Judges GÓMEZ ROBLEDO (Mexico) and Sarah CLEVELAND (b. 1965, USA) append separate opinions to the Advisory Opinion of the Court; Judge Dire TLADI (b. 1975, South Africa) appends a declaration to the Advisory Opinion of the Court.

___________

 

A full summary of the Advisory Opinion appears in the document entitled “Summary 2024/8”, to which summaries of the declarations and opinions are annexed. This summary and the full text of the Advisory Opinion are available on the case page on the Court’s website.

___________

 

Earlier press releases relating to this case are also available on the website.

___________

 

Note: The Court’s press releases are prepared by its Registry for information purposes only and do not constitute official documents.

___________

 

The International Court of Justice (ICJ) is the principal judicial organ of the United Nations. It was established by the United Nations Charter in June 1945 and began its activities in April 1946. The Court is composed of 15 judges elected for a nine-year term by the General Assembly and the Security Council of the United Nations. The seat of the Court is at the Peace Palace in The Hague (Netherlands). The Court has a twofold role: first, to settle, in accordance with international law, legal disputes submitted to it by States; and, second, to give advisory opinions on legal questions referred to it by duly authorized United Nations organs and agencies of the system.

___________

 

Information Department:

Ms Monique Legerman, First Secretary of the Court, Head of Department: +31 (0)70 302 2336 Ms Joanne Moore, Information Officer: +31 (0)70 302 2337

Email: info@icj-cij.org

 

If you have any questions or would like to contribute to this archive, please visit tigerjams.art/ and contact me on Twitter DM or Telegram ♥

I'm looking for someone willing to do my ads for me, or at least the photos for me. They wouldn't be over edited (just fixing of the face and hairs) I just want them to be nice, with shadows and such. Of course nothing over the top that would falsely advertise the item or anything. And being able to obviously tell what item is for sale is a must.

 

I won't be paying in Ls for the photos but rather you get everything made in my store and all future releases for FREE. I will pay for the upload of the ads so you don't lose any money.

 

Interested in doing this for me?

 

Send me a FLICKR MAIL.

 

Please include a example or link me to an example of how you would show off an item or edit an ad. If you are willing, try and edit one wearing one of my items! If not, you can always do it with an item from another store. Just make sure this is included somewhere in the ad;

 

-Name of item

-Permissions

-if appliers are included, add that as well.

 

Again, I'm only taking applications through FLICKR MAIL. Name the message "Ataxia Ad Editor Application"

 

And btw Im aiming to release an item a week, plus any events I participate in. And my goal release date is Friday AROUND 4-6pm SLT

Fin de la pause "Salon de la photo 2014"

_________________

2014-11-14 19-34-54 _DSF1546-Modifié

Question Mark. Aus der Serie „Satzzeichen“ 2014

Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht

Skulptur, Objekt, Video, Installation, Fotografie

Markus Wintersberger 2014

Press the "L" key to view large on black.

 

Olympus OM2n, 50mm Zuiko Lens, T-Max, Minolta Scan Multi Pro Scanner

 

© All rights reserved.

Operating the inaugural Qatar Airways Doha to Dublin service, Airbus A350 A7--ALE heads towards the terminal.

The daily service operates using their dreamliner 787's, but for the first day, this A350 was used, this type of aircraft still very rare in Dublin.

Qatar had been rumored to be coming to Dublin for years, following in the footsteps of Emirates & Etihad, so today, questions were answered.

Which is important intent or content ?

In nature photography is nature the artist or the photographer ?

Is photography art of choosing or art of seeing ?

Do we fill objects in our frame or remove emptiness ?

Un cimetière militaire allemand à Solers pose question et

faire un historique sur son origine fait partie du devoir de

mémoire.

Quittant leur zone de débarquement en Normandie les 1er

et 2 août 1944 après la trouée d ‘Avranches, les alliés acculèrent d’abord l’adversaire à la Loire pour pivoter ensuite vers

le nord-est. Du 20 au 25 août, ils atteignirent la Seine entre Le

Havre et Troyes ; par endroits, des têtes de pont avaient déjà

été formées sur la rive est de la Seine. Le 25 août, le gouverneur militaire de Paris, le Général de l’infanterie von Choltitz,

signa la capitulation.

Vers le 25 août, les alliés - britanniques et canadiens sur la

gauche, américains sur la droite - passèrent à l’attaque sur

toute la largeur du front entre Le Havre et Troyes, au nordest. Dans ces manœuvres, le 7ème corps d’armée américain

avança vers Soissons, entre Paris et Fontainebleau, en livrant

bataille aux forces de la 1ère armée et de la 5ème armée blindée allemandes.

C’est dans ces combats que furent tués les soldats allemands

inhumés à Solers.

Le 30 août 1944, la 1ère armée américaine commençait la

création d’un cimetière provisoire sur une étendue de terrain

située à l’ouest de Solers, où elle inhuma tant les corps de

ses propres soldats que ceux de l’armée allemande. A gauche

de la route menant à Soignolles-en-Brie, elle enterra environ

2000 de ses morts et, à droite, un nombre à peu près égal de

soldats allemands. Il s’agissait presque exclusivement de victimes de combats très durs qui se déroulèrent au cours de la

seconde quinzaine d’août, en Marne inférieure, lors de la retraite du corps d’armée allemande, nommé Herresgruppe B.

Après la cessation des hostilités, les corps des soldats américains furent transférés au cimetière militaire d’Épinal, qui fut

aménagé de manière définitive, tandis que les pelouses allemandes passèrent sous l’administration des autorités françaises et furent agrandie par suite de l’addition de nombreuses

tombes provenant non seulement de la région avoisinante,

mais aussi de Troyes et de Chartres. C’est ainsi que les corps

des soldats allemands tués lors des combats de juin 1940

dans la région de la Marne furent transférés à Solers.

Dans le cadre de l’accord franco-allemand du 23 octobre

11954 concernant les tombes militaires, la nécropole de Solers

fut choisie pour devenir, après les travaux d’agrandissement

nécessaires, un des cimetières militaires allemands définitifs

en France.

L’Association Populaire Allemande pour l’Entretien des Sépultures Militaires, A. S. B.L, fut chargée, par le Gouvernement

Fédéral Allemand, de l’exécution des travaux de constructions et horticoles. Ceux-ci furent entrepris en avril 1960 et

terminés en juillet 1962. Aucune tombe ne fut plus ajoutée.

Les frais d’aménagements du cimetière ont été conjointement supportés par le Gouvernement Fédéral Allemand et

l’Association Populaire. Le 28 juillet 1962, le cimetière fut

inauguré solennellement en présence de nombreux parents

des disparus et il fut ensuite remis aux mains du public.

« Nous ne devrions pas quitter ce lieu sans nous pénétrer du

sacrifice de ceux qui reposent ici et sans emporter avec nous

leur muette exhortation : l’exhortation à la Paix. »

Tous les ans, le dimanche suivant le 11 novembre, à l’occasion du Jour de Deuil National Allemand, la commune s’associe aux cérémonies commémoratives.

Source : la revue allemande « Am Rande der Strassen »

I asked one of the wardens how many new Grey Seal recruits had been born to date this year and the reply was that at the last last count (at the weekend) there had been 1999. I'm sure more had been born since because there were signs of fresh afterbirth dotted about.

Female Grey Seals usually give birth to their pups in mid November at Donna Nook but, for some reason, this year the event has been approximately a week later than expected.

Splashes after red. Finished wall. Slide show

Question Mark. Aus der Serie „Satzzeichen“ 2014

Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht

Skulptur, Objekt, Video, Installation, Fotografie

Markus Wintersberger 2014

Front page from the Daily Mail, Saturday 30th June 2007. Later the same day a car stuffed with incendiary materials was deliberately driven at Terminal 1, Glasgow International Airport. Twenty four hours before a friend of ours had her car parked at almost the same spot...

 

Relevant blog post here.

 

The beggar who was at the door of the temple (and requested his photo not be taken) asked me why the temple doors are closed between 12pm and 5pm. Shouldn't God be accessible at least during the waking hours (5am to 9pm). What if people wanted to pray between 12pm and 5pm? Should they just go back home with a sad heart? I had no answer.

New blog celebrating my philosophy of photography with tips, insights, and tutorials!

45surf.wordpress.com

 

Ask me any questions! :)

 

Nikon D800E Fine Art! A Study of the Sunset at the San Clemente Pier! Dr. Elliot McGucken Fine Art Photography! Nikon AF-S Nikkor 28-300mm f/3.5-5.6G ED VR!

 

I think my hallmark/trademark might be that I see more beauty in things than others, and I can never pick my favorite shot! For instance, as the sun set over the San Clemente Pier, I loved all the light!

  

New Instagram!

instagram.com/45surf

 

Celebrating Dr. E's LAw of Moving Dimensions ^& Dynamic Dimensions Theory dx4/dt=ic which derives from Homer's Odyssey! "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them." --Homer's Odyssey! herosodysseyphysics.wordpress.com

 

Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!

 

And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!

 

The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)

 

Some (almost) final edits for my Los Angeles Gallery Show! Printing them on metallic paper at 13" x 19" and mounting and framing them on a 4mm 18x24 white mat and 2" dark wood frame. Also printing some 40" x 70" whihc is over three feet by five feet! Wish you all could come (and hang out with the goddesses)!

 

Let me know your favs.!

 

New Instagram!

instagram.com/45surf

 

Videos!

vimeo.com/45surf

 

I booked a major photography show at a major LA gallery in December! Will also be giving some lectures on the story--the Hero's Odyssey Mythology--behind the photography!

 

Follow me on facebook!

www.facebook.com/elliot.mcgucken

 

Preparing for some gallery shows this fall to celebrate 300,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D800E with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Odyssey Mythology Photography!

 

Epic Scenic HDR Landscapes Shot with Nikon D800E: Hero's Odyssey Mythology Photography!

 

Enjoy the Hero's Odyssey Mythology Photography, and all the best on a hero's odyssey of your own making!

  

All the best on your epic hero's odyssey!

 

New Instagram!

instagram.com/45surf

 

New blog! 45surf.wordpress.com Ask me anything! :)

Check out my review of the set on Eurobricks: www.eurobricks.com/forum/index.php?/forums/topic/187498-r...

The question is: WHAT is Maggie doing to Monica!