life is going in the right direction, we thank God for that.

January 2012 felt a lot worse than it appears to have been. I started the month off saying I would not do another 365 project. Then my daughter convinced me to do the project again with her. Then we failed to do a joint photograph after four days. Then LSU not only lost, they were humilated. Next, the Saints were out of the play-offs. I read books on photography. I watched Zack's film, Transform over and again as I tried to reinvent myself as a photographer. As I flailed about using the same old themes again, I felt like a failure. I put a fish on my head.

 

I ordered another LP160 and 36" Softlighter II and a set of batteries and a charger. I wanted a full complement of portable strobist gear because I plan to take my show on the road. Early in the month, I did just that, photographing a friend in his gun and antique store. I have made plans to photograph a triathelete and lifeguard. Then a local businessman who is the face of local society and culture. The prospect of taking my equipment on site is exciting. I began to scout and record new locations to shoot in natutral light. The studio remained the place to get a quick image when I needed to make it happen, but as the days grow longer and the weather warms up, I look forward to leaving it behind.

  

1. Bench Monday..... On Sunday, 2. Fighter, 3. Paparazzi at Disneyland, 4. Letterman, 5. Photographer and Muse, 6. Momento Morte', 7. Ritratto con la macchina fotografica, due riscaldatori, un giocattolo e Merle Haggard, 8. John and Peggy Dunn of Old Town Guns & Gifts, 9. My Favorite Things, 10. “People are like stained-glass windows. They sparkle and shine when the sun is out, but when the darkness sets in, their true beauty is revealed only if there is a light from within.” ~ Elisabeth Kubler-Ross, 11. Saturday Sun, 12. Realizations of Exclusion, 13. Toupée, 14. This is Reality, 15. Got my Mojo Working, 16. Digital Reload, 17. Austin, 18. Friends, 19. The not so easy feeling that you might not have ordered shirts in the correct sizes for everyone who is due to arrive shortly., 20. Aodh, 21. Annabeth, 22. Inside Willie's BBQ, 23. The Ruins of Howard Griffin, 24. Portrait of Man with Bison, 25. Photographer

Because of us, environment is changing ... arn't we creating our own grave!

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Sun Enters Capricorn -The Solstice (December 21, 2015)

Apotheosis

  

The Sacred Path, the Pathway to Perfection…

  

These are the Four Sacred Directions:

  

You Rise in the East, as Aries,

  

You Turn to the South, in Cancer,

  

You Bow in the West, through Libra…

  

And so now you will take this Fourth Way,

  

Look to the North as you enter Capricorn.

  

The Twelve Signs of the Zodiac are the Living Waters of Life-Consciousness-Spirit.

These Four of the Twelve are the Realms of Awareness-Action, they are the Signs of Identity:

  

Aries is your Self-Awareness; Libra your Awareness of the Other.

Cancer is your Sacred Center; and Capricorn is your Destiny.

  

These four corners form the Cross of Purpose; this is the Axis that leads to Apotheosis. In Aries you are Inspired by the Flame of Spirit of being a “one”, you are Self-Aware. In Libra you Know by Mindful Air, you are for one another, you are Inter-Dependent. In Cancer you Feel through the Waters of Life, you are centered and anchored by your Source. In Capricorn you are made Manifest by Earth, you assume your responsibilities as you seek to fulfill your Destiny.

  

These Sacred Four form what is known as the Cardinal Cross; held together they are the whirling wheel that creates the Sacred Path-Way of Praxis. For this is “the Way”, that by this Integral Path that combines Inspiration, Thought, Feeling made Real, it is by this that your wondrous Journey of the Divine-that-is-the-Self-Becoming is made manifest.

  

For you are an Immortal moving through mortal realms and forms. You move into Worlds, Bodies and Lives, but forever and ever you will always “walk on” through and beyond any one world, body or life. You are the self-becoming more and more of what you will be as you unfold the Spark of the Divine that resides at the Core of you in each and every life.

  

And in each life you will grow and become what you are meant to be through “Trial & Error”. You will succeed at times, and you must and will also stumble. For it is by these “failures” and your adjustments that you climb the spiral path of conscious redemption. And, it is by this that you will come to understand, accept and become more of what you are here to be…a fully conscious co-creator of this Cosmos.

  

Yes you are climbing, higher and higher, and at each turning you face again the ancient questions and fundamental truths that were there at the beginning…oh so long ago.

  

Today, as Winter begins, when the shadows have stretched to their greatest extent, and the light seems to be fading away, it is now that you and the world will hold your breath…and you will pray. It is time once again, to face the darkness and believe, that Light and Truth and Goodness will not fade away. It is time to remember who you are, where you came from, who is before you, and why you are here…it is time once again to have a living faith in your destiny.

  

For though it may seem that your world is falling into shadows, that your life and world is in dire peril…you will find a way through. As the familiar forms of self-realization are cracking and crumbling, whether in the realms of Religion, or Government, or Education or the Economy…you will come to know that this is merely the wheel of life turning again, for an old world is passing so that a new and better one shall rise…as it has done many, many times before.

  

And this change, this re-birth, does not come from on high, it will not come by Fiat or by the will of the temporal holders of Power. No, the change in every world, form and life starts in the center of each and every one of you, from within each and every individual heart that hears the “Wind of the Spirit” and answers to the angels of our better nature. It is the "Voice of the Silence", your Higher Self abiding in the Intuitive Knowing that a better world is coming to be…and that you must be its Creator.

  

Each year, at this time of Capricorn, you are asked to examine quite simply this one question, “What is the Responsible thing to do, what is my Responsibility?" To understand this you need but turn that word around. Your responsibility is always and forever about your “ability to respond”. To what, you might ask. What or to who are you responding? How can you know? How?

  

Know Thyself!

  

You are a Spark of the Divine, moving now through this Kingdom of being Human. It is in this time of your Spiritual Education that you are to learn what is “the good”, for you are endowed with the gift of choice, (and angels and those greater than they envy you this choice). You are given this gift so that you might learn to choose what is good, or better or loving. So that you can become a conscious, loving co-creator of creation.

  

For today, in this time, you are here to respond to the needs of yourself, your family, your friends and to all of those with whom you journey. For you have come far and learned much, and you are only here now because you have taken care of one another, helped one another, and loved one another so as to create and form these living-loving spaces for one another that can preserve, protect and promote Life-Consciousness-Spirit. Remain focused upon this, and you will keep to the pathway of Spirit.

  

There is much work to do when a world is passing away and another is coming into being. Your responsibility is great, but so is your reward. Preserve what you can, for many lives and loves fashioned this world and much in it is good. Be guided by your heart and know that the changes you must face and make should be guided always by the fundamental truth that you are here for one another, you are made by one another, and to harm any other inevitably means that you injure yourself equally too.

  

Today you need remember, that even in the darkest hour, there remains a Light that will not go out, a Love that will not fail, and a Promise that will be Fulfilled. And this is so because you stand within a shining Hierarchy of Light that stretches from the Heart of Creation to the furthest reaches of this Cosmos. Every being within this Company of Brave Souls is slowly awakening to the truth, that all are sparks of the Divine, and in the heart of each soul there is found the Alignment and Attunement to one another. All of Creation is of the One, and every particle, life, planet, star and galaxy are At-Onement through and by the Love of the One, and by your love for one another too.

  

At each and every turning, you will face your destiny. It is right, proper and good to align yourself with those like you who seek to bring about a better tomorrow. As we move from one world into the next, keep in your heart the Great Invocation:

  

THE GREAT INVOCATION

  

From the point of light within the Mind of God

  

Let Light stream forth into our minds

  

Let LIGHT descend on Earth.

  

From the point of love within the Heart of God

  

Let Love stream forth into our hearts

  

May LOVE increase on Earth.

  

From the center where the Will of God is known

  

Let purpose guide our wills

  

The PURPOSE which the masters know and serve.

  

From the center which we call Humanity

  

Let the Plan of Love and Light work out

  

And may it seal the door

  

where evil dwells.

  

Let Light and Love and Power restore the Plan on Earth.

R[̲̅ə̲̅٨̲̅٥̲̅٦̲̅]UTI​ON Join Us and Invest in Freedom! www.mayorgalvan.com

Fuck Hillary Clinton ! Arrest that god-damn White-Trash Protestant Piece of Shit Murderer and Traitor and sentence her to hang for treason and crimes against humanity. I am James Partsch-Galvan from Houston, Texas USA and the 2016 Green Party Candidate for US House of Representatives CD 29 in Texas.

  

Wealth Inequality in America

R[̲̅ə̲̅٨̲̅٥̲̅٦̲̅]UTI​ON Join Us and Invest in Freedom! www.mayorgalvan.com

  

www.youtube.com/watch?v=QPKKQnijnsM GALVANISM, GALVANISM0, GALVANISME, GALVANISMUS Who would you like to invite into R[̲̅ə̲̅٨̲̅٥̲̅٦̲̅]UTI​ON? A Flickr member? You can invite any Flickr member to join a group, whether or not they are your contacts. You'll be able to select people and send them a customized invitation to join R[̲̅ə̲̅٨̲̅٥̲̅٦̲̅]UTI​ON. Invite a Flickr member? or... A friend who isn't a member yet? Inviting a friend to join a group is a good way to get them to join Flickr and get involved in a group they might be interested in. When you invite a new person to join up via a group, we set you up as contacts, and add them as a new member of R[̲̅ə̲̅٨̲̅٥̲̅٦̲̅]UTI​ON. Invite a new person to join Flickr? Galvan Name Meaning Spanish (Galván): from a medieval personal name. This is in origin the Latin name Galbanus (a derivative of the Roman family name Galba, of uncertain origin). However, it was used in a number of medieval romances as an equivalent of the Celtic name Gawain (see Gavin), and it is probably this association that was mainly responsible for its popularity in the Middle Ages.

  

• Location: Beaumont/Pt Arthur, College Station, Galveston, Houston, Huntsville

  

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Name: Urban Entertainment Centre

City: Almere

Architect(s): William Alsop (UK)

Realization: 2004

 

The Urban Entertainment Centre in Almere comprises of 16,000sqm of new buildings containing shopping, pop concert hall, disco, hotel, bicycle park and associated leisure, cafe and restaurant facilities. These elements are grouped together beside a new sunken square and form an edge to the southern limit of the existing town centre.

 

The 'polder city' of Almere, close to Amsterdam, has grown up as a low-rise development along the lines of the English garden cities. Although the residential areas of Almere are attractive, the settlement lacks a real 'heart' and the lack of local amenities encourages people to commute to Amsterdam for entertainment. Almere has, however, something of a tradition of encouraging bold and innovative architecture and this has underpinned moves to transform the central area.

 

In line with the development masterplan for Almere, which envisages a process of 'intensification' for the city centre, Alsop designed a 16,000sqm waterfront entertainment centre. The Centre consists of a family of buildings grouped around a new square and elevated four metres on a unifying podium, which covers a parking area. Varied in form, the buildings use a variety of materials to create a rich new urban landscape.

 

At the heart of the development is the Pop Zaal, its reinforced concrete structure clad in pre-weathered zinc and steel mesh. The scale of the structure is not apparent at first sight and cloaks the various internal functions of auditorium, disco, bar and ancillary spaces in a continuous metal skin.

 

The Almere Hotel is a 120 room 4-star hotel clad in cedar boarding. The hotel has a raised 'sleeping block' approximately 4,000sqm, that is lifted eight metres above street level. Below the ground plain is the car park with a direct connection to the lobby.

 

The 400sqm two-level entrance building is organic in shape and clad with brass. It houses the lobby, meeting rooms, a restaurant, a bar, offices, and storage spaces. Two elevators, a staircase and a services shaft connect the entrance bubble with the main accommodation component.

 

The square itself is a lively place, with cafes and restaurants, attractive in all seasons.

 

text: www.alsoparchitects.com

Can I just start off by saying how much I'm coming to the realization that I REALLY want to persue Fashion photography to the fullest. These past few days were filled with possibly the best shoots I've ever experienced. I felt totally comfortable and felt like I left each shoot learning something new.

 

As soon as this shoot began, my mind immedately visualizes a spread in Teen Vouge or Seventeen Magazine and that's where it seems to always take off for me. Allison was another one of my "Fall Fashionistas" for this year and completely rocked it out! How do these girls do it? Surely, I help pose them, but the attitude & passion are all theirs. Completely amazes me each and every time!

 

Check out the full set HERE!

 

5d mark ii+ 85 1.8

 

stephaniepanaphotography.com | facebook | blog | tumblr

this was another quicky.. was so exhausted last night and fell asleep early.

 

this past week has been really hard with my son's tantrums.. and we are trying to figure out how to help him work through his emotions and find some peace. so we have made some changes.. limiting tv time.. and making sure there is no violence in any programs.. my fault for not recognizing that 'kung fu panda' might have been too much for him. i feel so horribly for that because he really liked it..but it is majorly violent.

 

i believe that much of sickness and disease can come from not properly working through our emotions.. when we stuff things inside they can end up doing physical and emotional damage.. and with the little ones, they might not even know what they are feeling and many things are overwhelming. lesson learned but i feel like an idiot!

:(

Realization Point Sunset, Flagstaff Rd. Boulder, CO

Above: Untitled Collage by Hermann Nitsch (Leopold Museum: "Hermann Nitsch - Structures. architectural drawings, scores and realizations of the o.m. theater").

Below: Untitled Guerilla Art at abandoned Pavillon 35. Psychiatric Department Otto Wagner Spital am Steinhof.

Part of "MirrorGround Steinhof".

Diptychon:

oben: DMC-G2 - P1270983 4.2.2012 (Hermann Nitsch: Collage)

unten: DMC-G2 - P1210302 Manipulation 26.11.2011 (Pavillon 35 Guerilla Art)

Pacific Palisades, Los Angeles, at Self-Realization Fellowship's Lake Shrine, opened to the public in 1950. [2 of 12]

I've come to the realization that unlike many 100 strangers project photographers, I can't go out with my goal being to seek subjects. Must not be my style. Strangers just kind of show up while I have my camera and I get a picture. It will probably take me a long time to finish this project....

 

That said... I was in the small park by my house and saw Jim hanging out on a bench talking with a friend. I started chatting with them and discovered that Jim is a volunteer at the Teton Raptor Center. The TRC takes in injured hawks, falcons, eagles etc. and nurses them back to health to hopefully release them back to their native habitat. Those that can't return to the wild find homes at the TRC, are well taken care of and become models for educational programs with schools and the public.

 

I learned a little about Jim but more about the Raptor Center. You can learn more about the Raptor Center at www.tetonraptorcenter.org

 

find out more about the 100 strangers project and see pictures from other photographers at www.100strangers.com

 

www.jkaphanphotography.com

Sometimes, some people think to be so much important that they are sure to be waited for indefinitely.

 

Hasselblad 500C/M + Zeiss Planar 80mm f/2.8 + Ilford FP4 125 (expired since 1983) + Ilford ID-11 + Epson V700 Scan (No photoshop except from dust)

 

Bruno Servant © All rights reserved - Downloading and using images without permission is illegal. PoissonSoluble92@hotmail.fr

Johnson's Shut-Ins

Reynolds County, MO

During Andared's journey north, he discovered that the war had ended. This pleased Andared, all the more so when he found out that the Loreesi were going to pay war damages in in recompense for their actions. He was so happy, in fact, that he decided to ride to the northern coast of Lenfald to watch the sun set, his anxiety relieved at last.

 

What he saw when he arrived, he would never forget. Freshly dug, the graves of three Lenfel soldiers lay before him. They faced away from the sea and her cliffs. The soldier's swords lay across their graves, while a solitary flag flew above them.

  

Andared fell to his knees, and wept.

  

Before him, lay the true picture of war. There was no glory in it. No fame. The hollow victory they had "won" was lying six feet in the ground.

Andared's hands shook as he imagined the hundreds of scattered graves that these represented. The men and women who had given their lives in a meaningless war. A war that had changed nothing other than leaving a king and hundreds of his subjects in graves.

His thoughts turned to the Loreesi. His immediate reaction was anger, hatred. Then he saw the faces of the men he had slaughtered just a day before. One by one, their bloodied and horror-stricken faces danced before him. These men had been no threat to him. Had they been given the choice all of them would have surrendered. But instead, they were brutally murdered. He had laid aside mercy and callously ordered their execution.

More tears streamed down Andared's face as he thought of the wives who would never see their husbands. The mothers who would have to answer the fatherless children who begged to know "Why?".

 

Trembling, Andared raised his head toward heaven and cried out.

"Forgive me! I who could not show grace, beg to receive it. All I could see in them was evil and murder. Now I realize, I was the murderer. I beg you, forgive me!"

 

But the silent graves could not reply...

 

---------

 

My entry to the Local Challenge Contest 8 in the Lenfald faction.

"Brothers and sisters: FAITH is the realization of what is hoped for and evidence of things not seen." Hebrews 11:1

 

"We walk by FAITH, not by sight" ~ 2 Corinthians 5:7.

 

MEDITATION

"FAITH is an entirely free gift which God makes to us through the power of the Holy Spirit. Believing and Trusting in God to act in our lives is only possible by the Grace and Help of the Holy Spirit who moves the heart and converts it to God. The Holy Spirit opens the eyes of the mind and helps us to Understand, Accept, and Believe God's word. How do we grow in FAITH? By listening to God's word with Trust and Submission. FAITH also grows through Testing and Perseverance. The Lord wants to teach us how to pray in FAITH for His will for our lives and for the things He wishes to give us to enable us to follow Him FAITHfully and serve Him generously. "

 

#prayer and excerpt #meditation from today’s scripture reflection @ www.DailyScripture.Net or APP at Daily Scripture Servants of the Word

 

———-

 

THE NECESSITY OF FAITH

 

CCC161 Believing in Jesus Christ and in the One who sent Him for our salvation is necessary for obtaining that salvation. "Since "without FAITH it is impossible to please [God]" and to attain to the fellowship of His sons, therefore without FAITH no one has ever attained justification, nor will anyone obtain Eternal Life 'But he who endures to the end.'"

 

FAITH - the beginning of eternal life

 

CCC164 Now, however, "we walk by FAITH, not by sight"; we perceive God as "in a mirror, dimly" and only "in part". Even though enlightened by Him in whom it believes, FAITH is often lived in darkness and can be put to the test. The world we live in often seems very far from the one Promised us by FAITH...

 

www.scborromeo.org/ccc/para/161.htm

 

www.scborromeo.org/ccc/para/164.htm

 

———-

 

ENCYCLICAL LETTER ~ BETWEEN FAITH AND REASON by Saint Pope John Paul II

www.ewtn.com/library/ENCYC/JP2FIDES.HTM

 

———-

 

“Why Faith Matters” - www.thecatholicthing.org/2024/05/01/why-faith-matters/

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Image in use at:

~ www.goodnewspost.net/inspirational-sayings-definition-of-...

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Filename - Faith - DSC_0638 Mtn Layers view toward LA SClNR2 2013

 

Following the Son...

Blessings,

Sharon 🌻

 

God's Beauty In Nature is calling us into a deeper relationship with Him...

  

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bloggers are welcome to use my artwork with, “Image from Art4TheGlryOfGod by Sharon under Creative Commons license”, (next to the image or embedded in it) with a link back to the images you use and please let me know in the comment section below, thank you...

 

#prints availability upon request

 

Art4TheGlryOfGod Photography by Sharon

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Faith, Hope & Love in daily Art meditations...

 

X ~ www.twitter.com/Art4ThGlryOfGod

 

Flickr (complete portfolio) ~ www.flickr.com/photos/4thglryofgod/albums/

 

Fine Art America (canvas, prints & cards) ~ fineartamerica.com/profiles/sharon-soberon

 

Redbubble (canvas, prints & cards) ~ www.redbubble.com/people/4theglryofgod/shop

 

Pixoto (awards) ~ www.pixoto.com/4thegloryofgod/awards

 

Music Videos (from my Art Photography) ~

www.youtube.com/user/4ThGlryOfGod

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Due to the restrictions of the Versailles treaties, the Reichswehr was already dealing with the increasing mobilization and motorization of the army after the end of the First World War. The realization that the speed of the troop units required appropriate equipment was available early on. However, the Reichswehr suffered from financial constraints and during the Weimar Republic the industry only had limited capacity for series production of larger, armored vehicles.

 

Nevertheless, at that time the Sd.Kfz. 3 (unarmored half-track transport vehicle/1927), the ARW (eight-wheel car/1928) and the ZRW (ten-wheel car/1928) provided fundamental experience. The findings of these tests and the troop testing with the Sd.Kfz. 3 enabled a more precise specification of the new vehicles to be developed. The "heavy" armored cars were primarily intended for the reconnaissance units of the new armored forces.

 

The incipient rearmament could only start with a "cheap" solution, though. A three-part armored structure for the chassis of commercially available off-road trucks was developed by the Army Weapons Office, Dept. WaTest 6, in cooperation with the company Deutsche Eisenwerke AG. The typical truck chassis featured front-wheel steering and a driven bogie at the rear (4x6 layout). In June 1929, the companies Magirus, Daimler-Benz and Büssing-NAG were commissioned to develop the desired armored car from it. If you consider that this truck class was developed for a payload of 1.5t, you can already conclude from this that the vehicles, which are now equipped with a significantly heavy armored structure, had little off-road mobility. Even if the appearance of the vehicles supplied by the different manufacturers was similar, there were external distinguishing features by which the manufacturer could be identified. The vehicles were tested in the Reichswehr from 1932 and introduced later.

 

One of the four crew members (driver, commander, gunner, radio-operator) was used as a reverse driver: with the narrow streets of the time and a turning circle of between 13 and 16m, this function was essential for a truck-sized heavy reconnaissance vehicle. The chassis had the excellent ladder-type configuration, able to withstand the stress of rough rides at high speed. The scout car was 5570 mm long, 1820 mm wide, 2250 mm high and weighed 5.35, 5.7 or 6 tons, depending on the manufacturer. The hull was made of welded steel armor, 5 to 14.5 mm (0.2-0.57 in) thick depending on the angle (bottom to front) with well-sloped plates. The armament consisted of a 2 cm KwK 30 with 200 rounds and a MG 13 with 1300 rounds in a manually operated turret. The fuel supply was 90, 105 or 110 liters, but with a consumption of about 35 or 40 liters per 100 km, this resulted in a completely inadequate range for a scout car.

 

Having no true alternatives at hand, the armored 4x6 car was accepted and became known as the Sd.Kfz. 231 (6-wheel), and it was subsequently developed into two more vehicles. Up until 1937, 123 vehicles were built as Sd.Kfz. 231 reconnaissance cars and Sd.Kfz. 232 radio trucks. A further 28 were manufactured as Sd.Kfz. 263 (Panzerfunkwagen) command vehicles.

As early as 1932, after testing the pilot series, it was clear that the interim solution of "cheap" 6-wheel vehicles would not meet the future requirements of the armored divisions now planned. It was planned that from 1935/36 at least 18 vehicles of a new type that would meet the requirements for off-road mobility and high road speeds should be produced annually. Büssing-NAG had obviously made a good impression with the ARW and was now commissioned to make the revised vehicle ready for series production, which would become the SdKfz. 231 (8-Rad). The overall concept was completed between 1934 and 1935 and already showed all the features of the future type: all 8 wheels driven and steered, the same speed forwards and backwards, ability to change direction in less than 10 seconds, and a turning circle of "only" 10.5m. The vehicle layout was changed, too: the engine bay was relocated to the rear, the crew compartment was placed at the front end. This improved weight distribution, handling, and the field of view for the main forward driver.

The purpose of the new vehicles was identical to that of the earlier heavy 6-wheel vehicles, they were used on the same sites and so the same ordnance inventory designation was adopted, despite the vehicle’s many modifications. The so-called Sd.Kfz. 231 (8-Rad) was armed, corresponding to its 6-Rad counterpart, with a 2cm KwK 30 and the MG 13 (later MG 34) in a rotating turret. Likewise, the Sd.Kfz. 232 (8-Rad) carried a large, curved bow antenna, and there was a Sd.Kfz. 263 (8-Rad) command vehicle, too.

 

Nevertheless, the Army Weapons Office demanded a short-term solution for a vehicle based on the 4x6 chassis that offered better off-road performance and armament, namely a 37 mm anti-tank gun, with at least comparable range and armor protection. This interim vehicle was supposed to be ready for service in early 1934. Magirus accepted the challenge and proposed the Sd.Kfz. 241, a 4x8 vehicle. It retained the old overall 6-Rad layout with the front engine under a long bonnet, but it had a fourth steered axle added to lower ground pressure and improve the vehicle’s trench bridging capabilities. The powered two rear axles retained the 6-Rad’s twin wheels, so that the vehicle stood on a total of twelve tires with a relatively large footprint. The armored hull was very similar to the Sd.Kfz. 231 6-Rad, but carried a new, bigger turret with a 3.7 cm KwK 30 L/45 gun and an axis-parallel 7.92 mm MG 34 light machine gun.

 

The box-shaped turret exploited the hull’s width to the maximum and had a maximum armor of 15 mm, no base and the seat of the commander was attached to the tower wall. The commander sat elevated under a raised cupola in the rear section of the turret, just behind the main gun. He had five viewing slits protected by glass blocks and steel slides for all-round visibility. The gunner/loader, standing to the left of the main gun, had to constantly follow the movement of the turret, which was done by hand. In order to support the gunner when slewing the turret, the commander had an additional handle on the right side. The two crew members also had a turret position indicator.

The cannon was fired electrically via a trigger, the machine gun was operated mechanically with a pedal. To aim and view the outside, the gunner had a gun sight to the left of the gun with an opening in the gun mantlet. Standard access to the vehicle was through low double-doors in the vehicle’ flank, but side exit openings in the turret with two flaps each were also frequently used to board it. Another entry was through the commander cupola’s lid.

With all this extra hardware, the Sd.Kfz. 241’s overall weight rose considerably from the late Sd.Kfz. 231 (6-Rad) nearly 6 tons to 7.5 tons. As a consequence, the chassis had to be reinforced and a more powerful engine was used, a 6-cylinder Maybach HL 42 TRKM w carburetor gasoline engine with 4170 cc capacity and 100 hp (74 kW) output at 3000 rpm.

 

As expected, the Sd.Kfz. 241 was not a success. Even though the first vehicles were delivered in time in mid-1934, its operational value was rather limited. Off-road capability was, due to the extra weight, the raised center of gravity and the lack of all-wheel drive, just as bad as the 6-Rad vehicles, and the more powerful engine’s higher fuel consumption allowed neither higher range, despite bigger fuel tanks, nor a better street performance. The only real progress was the new 3.7 cm KwK 30’s firepower, which was appreciated by the crews, even though the weapon was only effective against armored targets at close range. At 100 m, 64 mm of vertical armor could be penetrated, but at 500 m this already dropped to 31 mm, any angle in the armor weakened its hitting power even further. The weapon’s maximum range was 5.000m, though, and with HE rounds the Sd.Kfz. 241 could provide indirect fire support. Another factor that limited the vehicle’s effectiveness was that the gun had to be operated by a single crew member who had to load and aim at the same time – there was simply not enough space for a separate loader who would also have increased the gun’s rate of fire from six to maybe twelve rounds per minute. The vehicle’s armor was also inadequate and only gave protection against light firearms, but not against machine guns or heavier weapons. On the other side, the cupola on top of the turret offered the commander in his elevated position a very good all-round field of view, even when under full protection – but this progressive detail was not adopted for the following armored reconnaissance vehicles and remained exclusive to German battle tanks.

 

Only a total of fifty-five Sd.Kfz. 241s were completed by Magirus in Cologne until 1936, when production of the Sd.Kfz. 231 (8-Rad) vehicle family started and soon replaced the Sd.Kfz. 241, which was primarily operated at the Eastern Front in Poland and Czechoslovakia. By 1940, no Sd.Kfz. 241 was left in any frontline army unit, but a few survivors were grouped together and handed over to police units. Their main gun was either completely deleted or sometimes replaced with a second machine gun, and they were used for urban patrols and riot control duties. However, by 1942, no Sd.Kfz. 241 was left over.

  

Specifications:

Crew: Four (commander, gunner, driver, radio operator/rear driver)

Weight: 7.5 tons (11.450 lb)

Length: 5,85 metres (19 ft 2 in)

Width: 2,20 metres (7 ft 2 ½ in)

Height: 2,78 metres (9 ft 1 in)

Ground clearance: 28.5 cm (10 in)

Suspension: Torsion bar and leaf springs

Fuel capacity: 150 litres (33 imp gal; 40 US gal)

 

Armor:

8–15 mm (0.31 – 0.6 in)

 

Performance:

Maximum road speed: 70 km/h (43.5 mph)

52 km/h (32.3 mph) backwards

Operational range: 250 km (155 miles)

Power/weight: 13 PS/ton

 

Engine:

Maybach HL42 TRKM water-cooled straight 6-cylinder petrol engine with 100 hp (74 kW),

driving the rear pair of axles

 

Transmission:

Maybach gearbox with 5-speed forward and 4-speed reverse

 

Armament:

1× 37 mm KwK 30 L/45 cannon with 70 rounds

1× 7.92 mm MG 34 machine gun mounted co-axially with 1.300 rounds

  

The kit and its assembly:

This fictional armored car was inspired by a leftover rear axles from an Italeri Sd.Kfz. 231 (6-Rad) model that I converted into a fictional half-track variant some time ago. I wondered if the set could be transplanted under an 8-Rad chassis, to create a kind of missing link to the 8x8 successors of the Sd.Kfz. 231 (6-Rad) with a total of twelve tires on four axles.

 

The basis became a First to Fight 1:72 Sd.Kfz. 231 (8-Rad) kit – a rather simple and robust affair, apparently primarily intended for tabletop purposes. But the overall impression is good, and it would be modified, anyway, even though the plastic turned out to be rather soft/waxy and the parts’ sprue attachment points a bit wacky.

 

The hull was “turned around” to drive backwards, so that its rear engine ended up in the front. I eventually only used the rear twin wheels from the Sd.Kfz. 231 (6-Rad), but not its single axles and laminated springs. Instead, I first cut the OOB mudguards in two halves, removed their side skirts and glued them onto the lower hull in reversed order, so that the exhausts and their muffler boxes would end up at the rear of the front fenders. With these in place I checked the axles’ position from the OOB ladder chassis, which is a single, integral part, and found that the rear axles’ position had to be moved by 2mm backwards. Cutting the original piece and re-arranging it was easier to scratch a new rear suspension, and the rocker bars had to be shortened to accept the wider twin wheels.

 

The original small turret with the 20 mm autocannon was deleted and replaced with core elements from a Panzer III turret, left over from previous conversion projects. Wider than any original turret of the Sd.Kfz. 231/232 family, it had to be narrowed by roughly 5mm – I had to cut a respective plug from the turret’s and the mantlet’s middle section, the deformed hatch was covered under a Panzer III commander cupola. To mate the re-arranged turret with the OOB adapter plate to mount it onto the hull, and to add overall stability to the construction, I filled the interior with 2C putty.

The typical storage bin at the turret’s rear was omitted, though, it would have made it too large for the compact truck chassis. The shape was a perfect stylistic match, even though, with the longer gun barrel, the vehicle reminds a lot of the Soviet BA-10 heavy armored car?

 

Most small details like the bumpers and the headlights were taken OOB, I added a whip antenna base at the rear and mounted two spare wheels at the back, one of them covered with a tarpaulin (made from paper tissue drenched with white glue, this was also used to create the gun mantlet seals).

  

Painting and markings:

Typical for German vehicles from the early WWII stages the Sd.Kfz. 241 was painted Panzergrau (RAL 7021; I used Humbrol 67, which is authentic, but mixed it with some 125 to create a slightly lighter shade of grey) overall - quite dull, but realistic. To make the vehicle look more interesting, though, I added authentic contemporary camouflage in the form of low-contrast blotches with RAL 8017, a very dark reddish brown, mixed from Humbrol 160 and some 98. Better, but IMHO still not enough.

 

After the model received a washing with highly thinned red-brown acrylic artist paint I applied the few decals and gave the parts an overall dry-brushing treatment with grey and dark earth. Everything was sealed with matt acrylic varnish. For even more “excitement”, I decided to add a coat of snow.

For the simulated “frosting” I used white tile grout – which has the benefits of being water-soluble, quite sturdy to touch and the material does not yellow over time like gypsum.

 

First, the wheels, the chassis and the inside of the wheel arches received a separate treatment with relatively dryly mixed tile grout, simulating snow and dirt clusters. Once thoroughly dried, the wheels were mounted. Then the model was sprayed with low surface tension water and loose tile grout was drizzled over hull and turret, creating a flaky coat of fake snow. Once dry again, everything received another coat of matt acrylic varnish to protect and fixate everything further.

  

A relatively quick build, done in a few days. The First to Fight kit is very simple and went together well, but I’d use something else the next time due to the odd material it was molded with. The outcome of an 4x8 scout car looks quite plausible, though, like the missing link between the Sd.Kfz. 231 and 232 – the unintended similarity with the Soviet BA-10 heavy armored car was a bit surprising, though. And the snow on the model eventually makes it look a bit more interesting, the stunt was worth the effort.

Being social and ignoring what's in front of me will never give me happiness. I need to take the time to acknowledge and enjoy the influences in my life that gives me satisfaction. I think being there - walking through the grown-in pathways and searching in the thick brush for something insignificant... it made me realize that everything is "insignificant", and I need to accept that, no matter how unsettling that is. And yet, the sun on my back seemed so satisfying.

(c) Kayla Burton

Do not use without my permission.

You can check out the rest of my work and toy reviews to these social media sites.

 

Please Like/Follow/Subscribe. Thanks!

 

Blog | www.codenamelocust.wordpress.com

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I decided to do a photoshoot rather dark in response to an article I read on the net. It spoke of the rape culture in our society. It really made me think and I wanted to recreate that in this series of three Photogallery with Hambleton.

  

Visit Toyark.com and TFW2005.com for full sets of these galleries!

Strobist: Vivitar 285HV thru umb cam R

Realization

Cosmopolitan: April 1955

Illustration by Rowland Emmit

sunrise,..vision one

Another realization of Multioutlining project.

Light painting image done in Erg-Chebbi (Merzouga, Morocco) while LPWA Morocco meet-up October 2018. More details here youtu.be/vNz1htts-uc

 

This event was possible because of help from LPWA Morocco Representative Yasmina Cherkaoui @yaslightpainter and sponsorship by Royal Air Maroc, TheArtCompany Gallery (Casablanca), Maroc Telecom, 2M Television (Morocco), Do-It Co, Insitut Francais Casablanca and OCP (Casablanca).

More about Multioutlining technique see here www.lightpainters.com/archive/lpwa/publication/115/index.htm

 

Every once in a while I try something different to break the monotonous habits I form around methods of "making." In this case, digital painting.

An Instantiation is a concept in Object Oriented Programming (OOP) - You can create an object with a set of properties that are defined by a Class in a program. When you create a member of a class, it is the instantiation (i.e. realization or creation) of a specific object of that class.

 

Object (computer science)

From Wikipedia, the free encyclopedia

In computer science, an object is a location in memory having a value and possibly referenced by an identifier. An object can be a variable, a data structure, or a function. In the class-based object-oriented programming paradigm, "object" refers to a particular instance of a class where the object can be a combination of variables, functions, and data structures. In relational database management, an object can be a table or column, or an association between data and a database entity (such as relating a person's age to a specific person).[1]

 

Contents [hide]

1 Object-based languages

2 Object-oriented programming

3 Specialized objects

4 Distributed objects

5 Objects and the Semantic Web

6 See also

7 References

8 External links

Object-based languages[edit]

Main article: Object-based language

An important distinction in programming languages is the difference between an object-oriented language and an object-based language. A language is usually considered object-based if it includes the basic capabilities for an object: identity, properties, and attributes. A language is considered object-oriented if it is object-based and also has the capability of polymorphism and inheritance. Polymorphism refers to the ability to overload the name of a function with multiple behaviors based on which object(s) are passed to it. Conventional message passing discriminates only on the first object and considers that to be "sending a message" to that object. However, some OOP languages such as Flavors and the Common Lisp Object System (CLOS) enable discriminating on more than the first parameter of the function.[2] Inheritance is the ability to subclass an object class, to create a new class that is a subclass of an existing one and inherits all the data constraints and behaviors of its parents but also changes one or more of them.[3][4]

 

Object-oriented programming[edit]

Main article: Object-oriented programming

Object-Oriented programming is an approach to designing modular reusable software systems. The object-oriented approach is fundamentally a modelling approach.[5] The object-oriented approach is an evolution of good design practices that go back to the very beginning of computer programming. Object-orientation is simply the logical extension of older techniques such as structured programming and abstract data types. An object is an abstract data type with the addition of polymorphism and inheritance.

 

Rather than structure programs as code and data an object-oriented system integrates the two using the concept of an "object". An object has state (data) and behavior (code). Objects can correspond to things found in the real world. So for example, a graphics program will have objects such as circle, square, menu. An online shopping system will have objects such as shopping cart, customer, product,. The shopping system will support behaviors such as place order, make payment, and offer discount. The objects are designed as class hierarchies. So for example with the shopping system there might be high level classes such as electronics product, kitchen product, and book. There may be further refinements for example under electronic products: CD Player, DVD player, etc. These classes and subclasses correspond to sets and subsets in mathematical logic.[6][7]

 

Specialized objects[edit]

An important concept for objects is the design pattern. A design pattern provides a reusable template to address a common problem. The following object descriptions are examples of some of the most common design patterns for objects.[8]

 

Function object: an object with a single method (in C++, this method would be the function operator, "operator()") that acts much like a function (like a C/C++ pointer to a function).

Immutable object: an object set up with a fixed state at creation time and which does not change afterward.

First-class object: an object that can be used without restriction.

Container: an object that can contain other objects.

Factory object: an object whose purpose is to create other objects.

Metaobject: an object from which other objects can be created (Compare with class, which is not necessarily an object)

Prototype: a specialized metaobject from which other objects can be created by copying

God object: an object that knows too much or does too much. The God object is an example of an anti-pattern.

Singleton object: An object that is the only instance of its class during the lifetime of the program.

Filter object

Distributed objects[edit]

Main article: Distributed object

The object-oriented approach is not just a programming model. It can be used equally well as an interface definition language for distributed systems. The objects in a distributed computing model tend to be larger grained, longer lasting, and more service-oriented than programming objects.

 

A standard method to package distributed objects is via an Interface Definition Language (IDL). An IDL shields the client of all of the details of the distributed server object. Details such as which computer the object resides on, what programming language it uses, what operating system, and other platform specific issues. The IDL is also usually part of a distributed environment that provides services such as transactions and persistence to all objects in a uniform manner. Two of the most popular standards for distributed objects are the Object Management Group's CORBA standard and Microsoft's DCOM.[9]

 

In addition to distributed objects, a number of other extensions to the basic concept of an object have been proposed to enable distributed computing:

 

Protocol objects are components of a protocol stack that enclose network communication within an object-oriented interface.

Replicated objects are groups of distributed objects (called replicas) that run a distributed multi-party protocol to achieve high consistency between their internal states, and that respond to requests in a coordinated way. Examples include fault-tolerant CORBA objects.

Live distributed objects (or simply live objects)[10] generalize the replicated object concept to groups of replicas that might internally use any distributed protocol, perhaps resulting in only a weak consistency between their local states.

Some of these extensions, such as distributed objects and protocol objects, are domain-specific terms for special types of "ordinary" objects used in a certain context (such as remote invocation or protocol composition). Others, such as replicated objects and live distributed objects, are more non-standard, in that they abandon the usual case that an object resides in a single location at a time, and apply the concept to groups of entities (replicas) that might span across multiple locations, might have only weakly consistent state, and whose membership might dynamically change.

 

Objects and the Semantic Web[edit]

The Semantic Web is essentially a distributed objects framework. Two key technologies in the Semantic Web are the Web Ontology Language (OWL) and the Resource Description Framework (RDF). RDF provides the capability to define basic objects—names, properties, attributes, relations—that are accessible via the Internet. OWL adds a richer object model, based on set theory, that provides additional modeling capabilities such as multiple inheritance.

 

OWL objects are not like standard large grained distributed objects accessed via an Interface Definition Language. Such an approach would not be appropriate for the Internet because the Internet is constantly evolving and standardization on one set of interfaces is difficult to achieve. OWL objects tend to be similar to the kind of objects used to define application domain models in programming languages such as Java and C++.

 

However, there are important distinctions between OWL objects and traditional object-oriented programming objects. Where as traditional objects get compiled into static hierarchies usually with single inheritance, OWL objects are dynamic. An OWL object can change its structure at run time and can become an instance of new or different classes.

 

Another critical difference is the way the model treats information that is currently not in the system. Programming objects and most database systems use the "closed-world assumption". If a fact is not known to the system that fact is assumed to be false. Semantic Web objects use the open world assumption, a statement is only considered false if there is actual relevant information that it is false, otherwise it is assumed to be unknown, neither true nor false.

 

OWL objects are actually most like objects in artificial intelligence frame languages such as KL-ONE and Loom.

 

The following table contrasts traditional objects from Object-Oriented programming languages such as Java or C++ with Semantic Web Objects:[11][12]

 

OOP ObjectsSemantic Web Objects

Classes are regarded as types for instances.Classes are regarded as sets of individuals.

Instances can not change their type at runtime.Class membership may change at runtime.

The list of classes is fully known at compile-time and cannot change after that.Classes can be created and changed at runtime.

Compilers are used at build-time. Compile-time errors indicate problems.Reasoners can be used for classification and consistency checking at runtime or build-time.

Classes encode much of their meaning and behavior through imperative functions and methods.Classes make their meaning explicit in terms of OWL statements. No imperative code can be attached.

Instances are anonymous insofar that they cannot easily be addressed from outside of an executing program.All named RDF and OWL resources have a unique URI under which they can be referenced.

Closed world: If there is not enough information to prove a statement true, then it is assumed to be false.Open world: If there is not enough information to prove a statement true, then it may be true or false.[13]

 

In the realization of the attic Gaudí adopted an ingenious architectural solution based on the use of so-called catenary arch, which allows an even distribution of loads by eliminating the need for columns, walls and buttresses. The result is an environment that calls to mind a cave, or some say the rib cage of a large animal like a whale.

 

---

 

Nella realizzazione della soffitta Gaudí adottò una ingegnosa soluzione architettonica basata sull'utilizzo del cosiddetto arco catenario o arco equilibrato, che consente una omogenea distribuzione dei carichi eliminando la necessità di colonne, muri e contrafforti. Il risultato è un ambiente che richiama una caverna, o secondo alcuni la cassa toracica di un grande animale come la balena. In passato vi trovava posto la lavanderia dei condomini mentre oggi ospita un piccolo museo dedicato all'architetto catalano. Due scale a chiocciola collegano i locali della soffitta alla terrazza.

it.wikipedia.org/wiki/Casa_Batll%C3%B3#La_soffitta

 

--

Website (wip): picas.cc/

 

Twitter: twitter.com/supersum30

life just ain't going right for me recently, like it's toying with me. Happiness come & go just like the wind, as always luck is not on my side. Don't even know what to do anymore, time to wake up...

It was the first time Chrom felt he would be separated from Vienna, this realization lead him to open up his heart to her and to let her into his shell. Vienna, of course, was thrilled to receive his affection.

and you realize you stepped off your spaceship one planet too early.

Pride and Prejudice: on Raphael Perez's Artwork

 

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

 

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

 

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

  

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

 

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

 

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

 

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

 

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

 

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

 

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

 

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

 

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

 

Daniel Cahana-Levensohn, curator.

   

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

  

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

  

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

 

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

  

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

 

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

 

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

 

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

 

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

 

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

 

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

 

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

 

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

 

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

  

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

 

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

 

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

 

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae 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 shade, 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 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 today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities 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: Raphael Perez, 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 Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

Thaumatophyllum giganteum - Self-Realization Fellowship Meditation Gardens, Encinitas, California

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