View allAll Photos Tagged Realizations
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
30/52 Fairytale
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We are sold to seek fairytale like lives, fairytale like relationships, fairytale like lessons. Heartbreak has to be romantic and beautiful; sorrow a vessel to self realization. Family and friends can fail us but if we find solace in a Prince Charming all will be well.
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So we pretend to always be fine. To always lead lives our parents and peers would be proud of. We never tell when our face hits a wall and we for sure will never reveal how far our weeping goes sometimes before falling asleep throughout the night which is, then, never young.
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Glimpses of appearing perfect lives swallow us everyday. How truly are people living? How truly fair it is for someone to portray the beautiful if in the end they can’t even process it, seemingly looking through a dirty glass and not really being able to sense and connect with the rawest experiences?
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It’s hard. Hard to burst into a kind of transparency that microscopically shows our veins and heart. That showcases the foundation of our intentions and specially so our will to do good. And the map of the stars that appear to show us the way will glow in the dark.
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I whole-heartedly believe kindness is the most powerful thing in this world. Possibly even more so than love. And through the looking glass, even if blurry, I can sense it, and I will carry it. Even when my heart screams loneliness, and shame, and heartbreak. I’ll always try to grow outwards and remain, even when wanting to spread inwards only and forever. 🌿
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I am depicting Maleficent in my fairytale. I was always fond of the outcasts and misunderstood and always a bit too curious about the past of all things evil; as to me evil is something you might turn into, not something you are born of.
I have come to the realization that the intense stare from a gorilla is really quite scary!!!!
This Momma Gorilla and her oh so gorgeous baby gave us the most vicious looking stare I'd seen from an animal... perhaps its was because they were behind the wall and not the other way round.....
Another shot from Belfast Zoo in the summer. I particularly liked the result of this shot, even though Momma is out of focus, you can still make out her disapproving frown :)
I'm apologising to you all for not having time to comment on your photos of late... and I'm afraid I won't get a chance until after Christmas... I do want to thank you all for the wonderful support and appreciation you have for my work.
I will get another couple of photos up before Christmas (hopefully a few seasonal ones) and will wish you all a merry Christmas then... For today (unfortunately I'm at work) I hope you all have a great Saturday and a stress free weekend :)
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...
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My entry to the Local Challenge Contest 8 in the Lenfald faction.
Shot this in sand dunes of Jaisalmer, Rajasthan, India. This would be my last pic in desert-sun-camel series.
"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
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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
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ENCYCLICAL LETTER ~ BETWEEN FAITH AND REASON by Saint Pope John Paul II
www.ewtn.com/library/ENCYC/JP2FIDES.HTM
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“Why Faith Matters” - www.thecatholicthing.org/2024/05/01/why-faith-matters/
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Image in use at:
~ www.goodnewspost.net/inspirational-sayings-definition-of-...
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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...
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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
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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) ~
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.
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
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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.
Looking at someone enjoying reading books, I got the realization of the value of being independent once again. Long live Bangladesh. # Madhur Canteen
11:04 AM, 16th December, 2013
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
i realize some things about myself. i think that is a good thing... self-realization. on my recent trip, i realized that i look at new surroundings like a child does. filled with awe and appreciation for the beauty. i was dumbstruck so many times by the sheer delights for the eyes, be it futuristic buildings, old world architecture, vast skies, rolling hills, calm seas, or the faces of friends i have anticipated meeting. childlike? perhaps. completely appreciative? absolutely. i hope i conveyed one tenth of my gratitude...
+++ 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.
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.
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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
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Website (wip): picas.cc/
Twitter: twitter.com/supersum30
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.
I just realized that most of my pictures are in the doorway of a hotel room. I'm always standing there like I'm waiting for someone to knock or getting ready to go out. Why? Well simple really, as a traveling girl I do most of my dressing and photo taking while on the road in a hotel. With limited space the doorway seems to be as good a spot as any, although I don't always like that there is a sign on the door. Oh well, what's a girl to do?
the realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.
Jesus before Pilate (mixing technology on canvas, 2011): Ernst Fuchs (1930 in Vienna, 2015 in Vienna). Painter, sculptor, architect, poet. Master of the Vienna school. Lived in Vienna.
Jesus vor Pilatus (Mischtechnik auf Leinen, 2011): Ernst Fuchs (1930 in Wien, 2015 in Wien). Maler, Plastiker, Architekt, Dichter. Meister der Wiener Schule. Lebte in Wien.
The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
Ideas living in your mind
hopes growing in your heart
dreams invading your nights and days
thoughts being present in your tears, shrugs and chukcles
The stuff you are made of
Now
materializing
solidifying
corporealizing
The world outside your mind
is mimicing, mirroring, materializing
your idea
Featured Image from Swayam Jyotish Photobook
ARTIST STATEMENT
The light from this container of photographs is non-dual from the innate light within each one of us. So too is physical light reflected in a jar of water or subtle light projected from the Chitta (mind-heart) in dream state. At its best the camera is a simple tool to transfer light through a lens recorded by a censor. At its root, consciousness is all-pervading and who we are. Consciousness, the Light of lights, proceeds from us and lends itself into the moment. The practice of Vichar (self-inquiry) reminds us of that same light appearing as the Jiva (individual-soul) and leads us to the revelation of Atman (universal-soul) and "Who Am I?" With that realization Nkosi Sri Govindaji approaches India with complete adoration and awareness of the Absolute Self in all, Brahman
Leica M11 / Leica 21mm f 3.4 Super Elmar ASPH
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
As I prepared for my day today, my mind thought reached a realization - it's be a full 10 months since I've photographed a bear! No wonder I've been missing them.
On a trip to the Canadian Rockies to meet up with Jeff Clow's DCPT in Banff, Tom & I went out early to explore other photo opportunities surrounding that area. One of the areas that we found particularly fun for it's uniqueness, was the town of Golden in British Columbia, Canada. There was so much to do there - hiking, mountain biking, paragliding - to name a few. There was also quite a bit of wildlife there, including BEAR! So you know that I was quite the happy camper. Actually even the camping was wonderful, as we slept peacefully in our yurt nearby.
So, one evening when we drove around the town, on the way out, I spotted this black bear along the roadside (which is unusual because normally wildlife is spotted by my personal "wildlife spotter extraordinaire" husband Tom. The black bear was seemingly dining on what appeared to be some grain or oats that got spilled in the gravel along the roadside pull-out. So we pulled over and from the car, I happily snapped away images. Of course, when a car is pulled over with a long lens pointed out the window, many more cars are to follow. Now when I'm the additional car, it's never a problem :-) , but when you have wildlife to yourself, trying to be respectable to their space and signs that they're exhibiting with your presence, when a big rig shows up and activates it's air brakes and positions itself between you and the wildlife, that's an issue... enough said, I won't dwell on it. Back to the story ...
So every time we were either coming or going from the area, must times we spotted a black bear there. Not sure how many there were, but there was more than one based upon size, color, etc. So it became on ritual to stop in on the area and watch or wait for the bears to show up.
In this image, the bigger of the bears had obviously fed enough and was taking a break in the action. As it simply laid down and rested, it would look up at me while I was photographing it. The look in its eyes was such an intriguing look and I couldn't help but wonder what it was thinking. What do you think?
Well, I just had to get my bear fix for the day. My time to visit with the bears and other wildlife (other than birds) are WAY overdue. In a few weeks I'll begin my 30-day countdown to Alaska and for me, it can't come soon enough!
Thanks for stopping by to visit and especially appreciate all of your comments and thoughts. Have a busy day today, so I'll be catching up with your streams as time allows this weekend. Have a great one!
Art house Leidse Rijn Utrecht Netherlands - 2004-2010
Stanley Brouwn - artist - idea
Bertus Mulder - architect - realization
"Here's a sobering thought: what if, at this very moment, I am living
up to my full potential?"
- Jane Wagner
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
66-0212 has had quite the career. Built as a HC-130P Combat King rescue support aircraft, it was initially assigned to the 48th Aerospace Rescue and Recovery Squadron at Eglin AFB, Florida, in 1966. It wasn't there long before it was transferred to Vietnam, where it joined the 38th ARRS at Tan Son Nhut, coordinating rescues of downed airmen in Southeast Asia. 66-0212 was one of two aircraft selected in 1970 for a special mission, one that was kept highly guarded: Operation Kingpin. It wasn't until nearly the day of the operation that 66-0212's crew learned what the target of their mission was: the Son Tay prison camp, not far from Hanoi itself. Though Kingpin was almost perfectly executed, with 66-0212 one of the pathfinder aircraft for the USAF HH-53 Jolly Greens headed for Son Tay, it hit a dry hole: Son Tay's POWs had been moved to another camp due to flooding.
After the Son Tay raid, 66-0212 would remain in Vietnam a bit longer, before returning to the United States, for assignment at Kirtland AFB, New Mexico with the 1550th Air Training and Test Wing; it would be used to train other Combat King crews. The aircraft would remain at Kirtland for the rest of its active duty career, and was converted to a MC-130P Combat Talon in 1996, continuing to train special operations crews as part of the 58th Special Operations Wing. As newer MC-130s arrived, 66-0212 was transferred to the 129th Rescue Wing (California ANG) at Moffett Field until it was retired in 2018. Because of its status as a Son Tay raider, 66-0212 was donated to the Castle Air Museum.
I was a bit surprised to see a MC-130 on display, but Castle has done a nice job in maintaining this historic aircraft. It wears the current camouflage scheme for USAF special operations aircraft.
wearing:
#2Blueberry-Mykonos,Satin Robe,red rare. Sept.Arcade
#4Blueberry-Mykonos,Boot,Blk.rare,Sept.Arcade.
#13 Blueberry,Mykonos,panties red,common, Sept.Arcade.
#16Blueberry,mykonos,Armlorals,Sept.Arcade
#19Blueberry,Mykonos,Bra red.Sept,Arcade.
24Blueberry,Mykonos,Tiara,Gold.Sept.Arcade.
#9 Blueberry-Oakley,red wings. Main shop Gatcha.
"D!VA Hair "Hellen" Onyx -Oct.C88