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Panasonic GH1 20mm f1.7 pancake lens
Geraldine Ogando (right) and Adi Levy, who are dentistry students in Panama, volunteered their time for the Special Olympics Healthy Athletes health clinic that was part of the Special Olympics Central American Games in April 2012.
Slate plaque showing an angel teaching a small child to play the lute , carved by Lady Feodora Gleichen 1861-1922, a respected sculptor, in the style of Desiderio da Settignano 1464 .
The frame is Neo-renaissance.
Lady Feodora was, posthumously made the first woman member of the Royal Society of British Sculptors. She had given this plaque to her sister Lady Valda as a present. t was place here by another sisger Lady Helen Gleichen who lived at Hellens.
The Gleichen family was descended from Princess Feodora of Leingen, the elder half sister of Queen Victoria, whose widowed mother married the Duke of Kent, Queen Victoria's father. There is an identical plaque in the Victoria and Albert Museum in London.. - Church of St. Bartholomew , Much Marcle , Herefordshire
Grandson of a respected herder in the Umnugovi (Southern Gobi) region of Mongolia. Lattice structure of the ger(yurt) wall in the background. A Bankhar dog just outside the door. Sunlight came through the roof window (toono) and reflected off the floor next to him.
He recently burnt his right calf while riding motorcycle (touched the exhaust pipe).
By respected Edinburgh architect J M Dick Peddie, 1906-9. A 2-storey and attic symmetrical Beaux Arts school of art with mansard-roofed angle pavilions; later alterations and additions. Red sandstone ashlar.
Built on the site of the Municipal Cattle Market, which was to be moved to a new site at Gorgie. The western section was built from June 1907, then, when the cattle market was vacated, the eastern part, completed in 1912. The College was built after Robert Morham's adjoining fire station, the red sandstone and green slates echoing the materials of the latter.
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
From the archives of the Voina group "Cock In the Ass" oi! concert on May 29 '09 in the Taganskiy district court of Moscow - a punk interruption of the hearing of the Yerofeev-Samodurov case. See the full flickr set.
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So respected as a vigilante in the lawless settlement of Fort Griffin, Texas, John M. Larn was elected sheriff, a mistake the town’s population would not soon forget.
Born in Mobile, Alabama on March 1, 1849, Larn traveled to Colorado as a teenager where he found work as a ranch hand. However, after an argument with his boss over a horse around 1869, he shot and killed him. Soon he fled to New Mexico, where he killed a local sheriff who he thought was trailing him. Continuing on into to Texas, he settled in Fort Griffin, where in 1871 he worked as a trail boss for a local rancher named Bill Hays. While on a cattle drive to Trinidad, Colorado, he allegedly killed two Mexicans and a sheep herder. Somewhere along the line, Larn married Mary Jane Matthews from the noted Matthews family and became a well known citizen of Shackelford County.
However, by 1873, allegations began to surface that Larn was involved in cattle rustling. Ironically, that same year, he got a warrant for the arrest of every member of Bill Hays’ cattle outfit for rustling.
As he accompanied a posse of thirteen soldiers from Fort Griffin, the men ambushed and killed every member of the outfit near Bush Knob, Texas. In 1874 he joined the Tin Hat Brigade in Fort Griffin, a vigilante group that worked swiftly bringing “justice” to many a horse thief who was left hanging from a tree near the river. As a member of the Tin Hat Brigade, he gained so much respect, he was elected sheriff of Fort Griffin in April, 1876. That same month, the Tin Hat Brigade caught a man in the act of stealing a horse and promptly hanged him to a pecan tree. Leaving his body hanging there for all to see, they also left a pick and shovel below his gruesome remains for anyone who might have wished to remove the thief and bury him. In the next three months the Fort Griffin vigilantes shot two more horse thieves and hanged six others.
Shortly after taking the sheriff’s position, Larn entered into a private contract with the local territorial garrison to deliver three steers of cattle per day. However, Larn had different ideas and began to plan with longtime friend and recently deputized John Selman, to simply rustle the cattle from neighboring ranchers rather than having to provide his own. Before long, he and Selman, instead of controlling the area crime, were controlling the vigilantes, rustling even more cattle and otherwise terrorizing the county. However, suspicions were soon raised as a number of ranchers noticed that while their herds were slowly shrinking, Larn’s remained unaffected. Obviously profitable, Larn soon built a house at Camp Cooper Ranch on the Cedar Fork in Lambshead, Texas.
After serving less than a year, Larn resigned as sheriff on March 7, 1877 and was replaced by his deputy, William Cruger, a month later. Moving on to outright cattle rustling, he and Selman continued to profit and in March, 1877 were appointed as deputy hide inspectors for Shackelford County. Opportune positions for the cattle thieves, they were to inspect all cattle herds entering and leaving the county, as well as supervising the butchers. Larn also continued to supply Fort Griffin with its beef and as more and more cattle went missing, the complaints grew louder and louder. A number of violent acts were also being reported as a band of men, allegedly led by Larn and Selman, were bushwhacking area ranchers, driving off their cattle, shooting horses, and firing potshots at the homes of terrified citizens.
Finally, in February, 1878, a group of civilians secured a warrant to search the river behind Larn’s house. Looking for hides that didn’t belong to him, six were recovered from the river with brands other than Larn’s own. Though Larn was arrested, he was later released and violence continued.
However, in June, 1878 a local rancher named Treadwell, who had reportedly uncovered the cattle rustling, was wounded by Larn and the Albany court issued a warrant for his arrest. Sheriff William Cruger was then tasked with arresting his former boss, which he did on June 22, 1878. After placing him in the jail, Cruger had the local blacksmith shackle Larn to the floor of the cell to prevent a breakout by Larn’s supporters.
Instead, the next night, the Tin Hat Brigade, stormed the jail intending to hang Larn. When they found they couldn’t lynch the shackled man, they shot him in his cell. Afterwards, his body was returned to Camp Cooper Ranch where he was buried beside his infant son.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Respect between the creation of nature and men, between life and death, between ancient history and youth...
This is a picture of the remains of the oldest free-standing stone building in the world, a massive prehistoric complex in Gozo, Malta. According to the legend, this gigantic temple was built in one night, by a giant woman, carrying the rocks on one arm, while holding her child on the other. The Ggantija temples date back from 3600 BC and are more than a thousand years older then the Gizeh piramides and even two thousand years older than Stonehenge.
The Bayon (Khmer: ប្រាសាទបាយ័ន, Prasat Bayon) is a well-known and richly decorated Khmer temple at Angkor in Cambodia. Built in the late 12th or early 13th century as the official state temple of the Mahayana Buddhist King Jayavarman VII, the Bayon stands at the centre of Jayavarman's capital, Angkor Thom. Following Jayavarman's death, it was modified and augmented by later Hindu and Theravada Buddhist kings in accordance with their own religious preferences.
The Bayon's most distinctive feature is the multitude of serene and massive stone faces on the many towers which jut out from the upper terrace and cluster around its central peak. The temple is known also for two impressive sets of bas-reliefs, which present an unusual combination of mythological, historical, and mundane scenes. The current main conservatory body, the Japanese Government Team for the Safeguarding of Angkor (the JSA) has described the temple as "the most striking expression of the baroque style" of Khmer architecture, as contrasted with the classical style of Angkor Wat.
BUDDHIST SYMBOLISM
The Bayon was the last state temple to be built at Angkor, and the only Angkorian state temple to be built primarily as a Mahayana Buddhist shrine dedicated to the Buddha, though a great number of minor and local deities were also encompassed as representatives of the various districts and cities of the realm. It was the centrepiece of Jayavarman VII's massive program of monumental construction and public works, which was also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah Khan, Ta Prohm and Banteay Kdei.
The similarity of the 216 gigantic faces on the temple's towers to other statues of the king has led many scholars to the conclusion that the faces are representations of Jayavarman VII himself. Others have said that the faces belong to the bodhisattva of compassion called Avalokitesvara or Lokesvara. The two hypotheses need not be regarded as mutually exclusive. Angkor scholar George Coedès has theorized that Jayavarman stood squarely in the tradition of the Khmer monarchs in thinking of himself as a "devaraja" (god-king), the salient difference being that while his predecessors were Hindus and regarded themselves as consubstantial with Shiva and his symbol the lingam, Jayavarman as a Buddhist identified himself with the Buddha and the bodhisattva.
ALTERATIONS FOLLOWING THE DEATH OF JAYAVARMAN VII
Since the time of Jayavarman VII, the Bayon has suffered numerous additions and alterations at the hands of subsequent monarchs. During the reign of Jayavarman VIII in the mid-13th century, the Khmer empire reverted to Hinduism and its state temple was altered accordingly. In later centuries, Theravada Buddhism became the dominant religion, leading to still further changes, before the temple was eventually abandoned to the jungle. Current features which were not part of the original plan include the terrace to the east of the temple, the libraries, the square corners of the inner gallery, and parts of the upper terrace.
MODERN RESTAURATION
In the first part of the 20th century, the École Française d'Extrême Orient took the lead in the conservation of the temple, restoring it in accordance with the technique of anastylosis. Since 1995 the Japanese Government team for the Safeguarding of Angkor (the JSA) has been the main conservatory body, and has held annual symposia.
THE SITE
The temple is oriented towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²). Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). All of these elements are crowded against each other with little space between. Unlike Angkor Wat, which impresses with the grand scale of its architecture and open spaces, the Bayon gives the impression of being compressed within a frame which is too tight for it.
THE OUTER GALLERY, HISTORICAL EVENTS & EVERYDAY LIFE
The outer wall of the outer gallery features a series of bas-reliefs depicting historical events and scenes from the everyday life of the Angkorian Khmer. Though highly detailed and informative in themselves, the bas-reliefs are not accompanied by any sort of epigraphic text, and for that reason considerable uncertainty remains as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are:
- in the southern part of the eastern gallery a marching Khmer army (including some Chinese soldiers), with musicians, horsemen, and officers mounted on elephants, followed by wagons of provisions;
- still in the eastern gallery, on the other side of the doorway leading into the courtyard, another procession followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants;
- in the southeast corner pavilion, an unfinished temple scene with towers, apsaras, and a lingam;
- in the eastern part of the southern gallery, a naval battle on the Tonle Sap between Khmer and Cham forces, underneath which are more scenes from civilian life depicting a market, open-air cooking, hunters, and women tending to children and an invalid;
- still in the southern gallery, past the doorway leading to the courtyard, a scene with boats and fisherman, including a Chinese junk, below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat, followed by a scene in which the Khmer king celebrates a victory feast with his subjects;
- in the western part of the southern gallery, a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult;
- in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers;
- in the western gallery, past the doorway to the courtyard, a scene depicting a melee between Khmer warriors, then a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame;
- in the western part of the northern gallery, again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;
- in the northern gallery, past the doorway to the courtyard, a scene in which the Khmer flee from Cham soldiers advancing in tight ranks;
- in the northeast corner pavilion, another marching Khmer army;
- in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.
The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). Originally the courtyard contained 16 chapels, but these were subsequently demolished by the Hindu restorationist Jayavarman VIII.
THE INNER GALLERY
The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. Some of the figures depicted are Siva, Vishnu, and Brahma, the members of the trimurti or threefold godhead of Hinduism, Apsaras or celestial dancers, Ravana and Garuda. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain, or as an act of iconoclasm by Cham invaders. Another series of panels shows a king fighting a gigantic serpent with his bare hands, then having his hands examined by women, and finally lying ill in bed; these images have been connected with the legend of the Leper King, who contracted leprosy from the venom of a serpent with whom he had done battle. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).
THE UPPER TERRACE: & THE 200 FACES OF LOKESVARA
The inner gallery is nearly filled by the upper terrace, raised one level higher again. The lack of space between the inner gallery and the upper terrace has led scholars to conclude that the upper terrace did not figure in the original plan for the temple, but that it was added shortly thereafter following a change in design. Originally, it is believed, the Bayon had been designed as a single-level structure, similar in that respect to the roughly contemporaneous foundations at Ta Prohm and Banteay Kdei.
The upper terrace is home to the famous "face towers" of the Bayon, each of which supports two, three or (most commonly) four gigantic smiling faces. In addition to the mass of the central tower, smaller towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. "Wherever one wanders," writes Maurice Glaize, the faces of Lokesvara follow and dominate with their multiple presence."
Efforts to read some significance into the numbers of towers and faces have run up against the circumstance that these numbers have not remained constant over time, as towers have been added through construction and lost to attrition. At one point, the temple was host to 49 such towers; now only 37 remain. The number of faces is approximately 200, but since some are only partially preserved there can be no definitive count.
THE CENTRAL TOWER & SANCTUARY
Like the inner gallery, the central tower was originally cruciform but was later filled out and made circular. It rises 43 metres above the ground. At the time of the temple's foundation, the principal religious image was a statue of the Buddha, 3.6 m tall, located in the sanctuary at the heart of the central tower. The statue depicted the Buddha seated in meditation, shielded from the elements by the flared hood of the serpent king Mucalinda. During the reign of Hindu restorationist monarch Jayavarman VIII, the figure was removed from the sanctuary and smashed to pieces. After being recovered in 1933 from the bottom of a well, it was pieced back together, and is now on display in a small pavilion at Angkor.
WIKIPEDIA
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Le groupe Quic en Groigne de Saint-Malo est un ensemble folklorique breton de danses et musiques traditionnelles regroupant un bagad, un cercle celtique et un orchestre. Le bagad est affilié à la fédération Bodadeg ar Sonerion et le cercle à la fédération de danse War 'l leur. Danseurs et musiciens évoluent en première catégorie de leurs fédérations respectives aux côtés des autres grands groupes de Bretagne.
C'est en 1951 que fut créé le Bagad Quic en Groigne, rejoint en 1952 par les danseurs et danseuses du « Groupe Folklorique de la Côte d'Émeraude ». Le nom Quic en Groigne en vieux français signifie « qui qu'en grogne ». Ce fut adressée par la Duchesse Anne de Bretagne (« Quic en groigne, ainsy sera, c'est mon plaisir ! ») aux habitants de Saint-Malo qui refusaient la construction d'une nouvelle tour au château de Saint-Malo pour surveiller la vieille ville.
L'année 1968 marque l'accession du cercle à la première catégorie de la fédération de danse Kendalc'h et l'entrée du bagad en seconde catégorie de la fédération BAS. On compte aussi à cette époque dans le groupe un ensemble de joueuses de vielle, appelée Herquelée.
Pendant les années 1970, les membres partent ensemble présenter leurs spectacles de musique et danse en Angleterre, au Québec, aux États-Unis ou encore en Guadeloupe.
Dans les années 1990, la Herquelée se transforme en orchestre et le bagad et le cercle travaillent dès lors en plus étroite collaboration sur les spectacles. À la fin de cette décennie, un groupe enfants et une section danse loisirs sont mis en place.
Le chien du guet défilant avec le groupe à Quimper en 2016.
Début des années 2000, le cercle décroche pour la première fois seul le titre de champion de Bretagne de la fédération de danse War'l leur et le bagad accède à la catégorie Maout qui représente l'élite de la musique bretonne.
Le cercle remporte le prix du défilé au Festival de Cornouaille 2007 à Quimper (« attribué à un groupe pour sa prestation lors du traditionnel défilé dans les rues de la ville ») puis le Trophée Gradlon lors de l'édition 2013, remis en mains propres par la chanteuse bretonne Louise Ebrel.
Le Bagad Quic en Groigne, comme tous les ensembles bretons, est composé de 3 pupitres : bombarde, cornemuse écossaise et caisse claire / percussions. Sur scène, il accompagne les danseuses et danseurs du cercle celtique principalement pour les suites de danses de Basse-Bretagne. Lors de certaines prestations, le bagad s'enrichit d'une basse, d'une guitare électrique, d'une batterie et d'une contrebasse. Il est depuis 1981 le seul bagad de Haute-Bretagne à évoluer en première catégorie de la fédération Bodadeg ar Sonerien (si l'on exclu le bagad Saint-Nazaire).
Le Bagadig est la section de formation pour les musicien(e)s débutants qui peuvent ainsi travailler leur technique, leur connaissance des différents terroirs et faire leurs débuts devant un public.
L'orchestre traditionnel est composé de plusieurs musiciens qui interprètent principalement les suites de danses de Haute-Bretagne pour le Cercle, le Cerclig et le Cercle enfants sur scène. On y trouve des instruments tels que la clarinette, l'accordéon diatonique, le violon ou le saxophone.
Le Cercle celtique Quic en Groigne, composé d'une quarantaine de danseuses et danseurs, présente à travers ses spectacles des danses de Basse-Bretagne et de Haute-Bretagne, mises en scène et chorégraphiées. Classé en première catégorie de la fédération de danse War'l leur depuis 1991, le cercle malouin a été pour la première fois champion de Bretagne en 2004, un titre à nouveau décroché en 2005, 2006, 2008, 2009, 2010 et 2011. Les danseuses et danseurs se produisent chaque année sur scène ou en défilé dans de nombreuses fêtes et festivals en Bretagne, comme par exemple lors du Festival interceltique de Lorient.
Le Cerclig est la section de formation pour les danseuses et danseurs qui, tout en continuant à apprendre et progresser, souhaitent aussi porter le costume, faire de la scène et participer aux défilés.
Le groupe de danse loisirs permet aux débutants de découvrir les danses traditionnelles bretonnes et aux plus aguerris de se perfectionner dans tous les terroirs existants. C'est également une porte d'entrée vers le cerclig puis le cercle celtique pour les plus passionnés.
Le Cercle enfants accueille les plus jeunes pour leur faire découvrir la danse bretonne. Les jeunes danseuses et danseurs se produisent également sur scène, ont aussi leurs propres costumes et participent à des concours.
Comme dans tous les groupes bretons, les membres du cercle Quic en Groigne se présentent au public, sur scène ou en défilé, revêtus des costumes traditionnels de leur terroir. La ville même de Saint-Malo ayant très tôt été influencée par la mode des grandes villes, il ne reste que peu de traces des costumes d'autrefois. C'est pourquoi les danseuses et danseurs du groupe sont allés chercher leur inspiration dans les communes avoisinantes et les villages de bord de Rance du Pays de Saint-Malo.
Les danseuses portent les modes de costume des communes de Paramé, Saint-Suliac et Pleudihen-sur-Rance. Leurs tenues bourgeoises ou de riches paysannes se caractérisent par des châles en cachemire ou en velours bordé de dentelle. Les coiffes, typiques du pays de Saint-Malo, sont montées sur des bonnets godronnés. Les filles peuvent également porter des ceintures dont les boucles sont souvent soigneusement ouvragées, ainsi que des sautoirs et des broches.
Les garçons quant à eux portent trois modes : le costume corporatif des gabariers de la Rance (composé d'une chemise blanche, d'un gilet, d'un foulard de cou, d'une ceinture en tissu épais et d'un pantalon de velours noir couvert par de larges braies blanches), le costume d'armateur de Saint-Malo (composé lui d'un pantalon de toile blanc, d'un gilet de soie, d'une chemise à col relevé, d'un foulard de cou, d'une redingote noire et d'un chapeau haut-de-forme) et le costume de ville classique (costume trois-pièces porté seul ou sous une blouse de travail accompagnée du port d'un canotier).
Au-delà de la collaboration des musiciens avec le spectacle de la danse vivante, Quic-en-Groigne c'est aussi des rencontres avec des musiciens issus d'autres univers (clarinettistes, percussionnistes, ensemble de cuivres). Le bagad malouin s'est produit plusieurs fois sur scène en compagnie d'autres formations musicales ou artistes tels que Goran Bregovic, Alan Stivell, l'Orchestre de Chartres-de-Bretagne, le groupe de punk breton Les Ramoneurs de menhirs, le Field Marshal Montgomery Pipe Band ou la Cobla de Perpignan (un orchestre catalan).
Les membres du cercle participent en septembre 2007 au défilé sur les Champs-Élysées retransmis en direct à la télévision lors de la Breizh Touch, événement célébrant la Bretagne pendant une semaine à Paris. En 2008, l'ensemble Quic en Groigne rejoint le groupe de musique bretonne La Godinette, aux côtés de Jean Baron et Christian Anneix, sur leur spectacle Le Canal de Nantes à Brest afin d'en présenter une nouvelle version avec le bagad en accompagnement musical et les danseuses et danseurs du cercle sur scène.
Les danseurs avec Les Ramoneurs de menhirs pour les 50 ans de War'l Leur en 2017.
En 2011, le groupe malouin fêta son 60e anniversaire. À cette occasion, le bagad et le cercle, accompagnés de musiciens invités, ont créé un nouveau spectacle intitulé Terre-Neuve nous appelle présenté dès la première année de tournée à Saint-Malo, Lorient, Guérande et Rennes. En 2012, le 16 février, le bagad malouin accompagne sur la scène de l'Olympia de Paris l'artiste breton Alan Stivell pour fêter les 40 ans de son mythique concert joué dans la même salle en 19723. Sont également présents parmi les invités à cette représentation unique le guitariste Dan Ar Braz, le violoniste René Werneer, le guitariste Pat O'May et la chanteuse Nolwenn Leroy.
Depuis 2012, les danseurs du cercle Malouin accompagnent occasionnellement sur scène le groupe punk breton Les Ramoneurs de menhirs en proposant des chorégraphies mêlant les formes traditionnelles des danses et des parties créatives aux accents rock et décalés. Lors de ces prestations, les danseurs portent alternativement des modes de costumes traditionnelles, des costumes de création ainsi que des costumes inspirés par l'univers punk.
Le cercle et le bagad de Saint-Malo sont tous deux classés en première catégorie. Le cercle et le bagad de Saint-Malo sont tous deux classés en première catégorie.
Le 20 mai prochain, jour de la saint Yves, saint patron de la Bretagne, l'ensemble Quic en Groigne, qui évolue en 1re catégorie, présentera en avant-première son spectacle au Théâtre de Saint-Malo.
Samedi 20 mai, plusieurs chorégraphies seront présentés au Théâtre, à Saint-Malo : celles de 2016 et 2017 du cercle, les prestations musicales du bagad et du bagadig (bagad école) et le travail de l'année réalisé par le cercle enfant.
Début de la saison
Le cercle et le bagad de Saint-Malo sont tous deux classés en première catégorie offrant ainsi un spectacle de qualité. Ils présenteront leur spectacle intitulé « Bords de Rance » où l'accent est mis sur le quotidien des habitants rythmé par la vie du fleuve.
Ce spectacle ouvre le début de la saison de la kevrenn (bagad et cercle) qui reproduira la nouvelle chorégraphie lors de festivals comme Folklores du monde en juillet et du Festival interceltique de Lorient, plus grand rassemblement folklorique de Bretagne.
AJM STUDIOS NWPD & NLEAF is honoring Federal Way Police Officer, and family man, Brian Walsh, who lost his life March 21, 2010 while on duty. 2010 All police car photos are at the AJM STUDIOS Northwest Police Department and are constantly being updated with new images. 2010.
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Panneau « Attention : Les terrains sont strictement réservés aux cerfs-volistes munis d’un badge. L’organisateur décline toute responsabilité en cas de non respect de cette consigne » lors du festival de cerfs-volants de Dieppe
Mr Bob Brolly MBE (BBC CWR Radio Presenter) and Deb Mottram from Dunwood Travel take time out to pose together while organising a show in Torquay at the Derwent Hotel in 2011.
Respect
Nellie and I visited the Spofford yesterday. Peace, contemplation and flags, and Nellie respectfully reserved her business for the woods. For more about this weekends weather challenges:
jeffnewcomerphotography.blogspot.com/2013/05/lemon-aid-fo...
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Festa Al Cel 2015, Mataró (Barcelona).
El Harrier II Plus incorpora un fuselaje totalmente nuevo, con mayor tamaño respecto al modelo anterior. Además se instalaron nuevos tanques de combustible alares, y un nuevo motor Rolls-Royce F402-RR-408 con de casi 12 toneladas de empuje.
Presenta un nuevo diseño de ala supercrítica con extensiones en la raíz del borde de ataque (LERX) que permite una mayor capacidad de combustible (2.347 Kg.) y está dotada de una caja de torsión en fibra de carbono.
Sin embargo, la mayor diferencia con respecto a su hermano mayor es el radomo, que aloja un radar AN/APG-65, con varios modos: aire-aire, aire superficie, seguimiento y cartografía. El radar es uno de los mejores del mundo, con un avanzado sistema multi-modo y todo-tiempo, dándole al Harrier II Plus una capacidad diurna/nocturna aumentada respecto al modelo anterior.
El Harrier II, también es utilizado como caza de defensa, mediante la incorporación de misiles AIM-9L Sidewinder y AIM-120 Amraam
Además lleva instalado un FLIR AN/AAR-51, situado en un carenado sobre el morro. Este dispositivo proporciona una imagen infrarroja del terreno, que se muestra al piloto en el HUD (Head Up Display), o bien en una de las pantallas de cabina.
Durante las misiones nocturnas, el piloto dispone de gafas de visión nocturna AN/AVS-9 ANVIS, compatibles con la cabina y la instrumentación del avión.
Se adquirieron ocho unidades de la nueva versión Plus y se actualizaron cinco AV-8B. Todos estos aviones pertenecen a la Novena Escuadrilla, junto a los 4 restantes AV-8B que están siendo transformados a la versión SNUG (Spanish Navy Upgrade).
Los 4 AV-8B que no han sido actualizados a la versión Radar están destinados para la versión SNUG (SPANISH NAVY UPGRADE), proyecto en el que la Armada está inmersa y que contempla la modernización de estos aparatos, habiendo recibido la Armada el primero de ellos a principios de 2011, esperándose la llegada de los tres restantes próximamente.
La Armada también compró un entrenador avanzado TAV-8B, basado en el AV-8B.
A pesar del aumento de combustible interno, y la capacidad de despegar desde la cubierta del buque Príncipe de Asturias sin el uso del despegue vertical, los AV-8B españoles pueden ser equipados con tanques de combustible en dos puntos bajo las alas para extender su radio de acción; asimismo, el Harrier II está equipado de una sonda retráctil de reabastecimiento en vuelo.
PESO 6.336 kg.
PESO MÁXIMO AL DESPEGUE 14.061 kg
PESO MÁXIMO DESPEGUE VERTICAL 8.596 Kg.
CARGA UTIL 4.899 Kg.
ENVERGADURA
9,25 METROS
LONGITUD 14,12 Metros
ALTURA 3,35 Metros
SUPERFICIE ALAR 22,18 m²
AUTONOMÍA MÁXIMA
3.600 km. con depósitos auxiliares (3000kg de combustible en dos depósitos externos)
AUTONOMÍA DE COMBATE870 Km. (3520 kg de combustible interno)
DOTACIÓN 1 piloto
ARMAMENTO Bombas de caída libre MK-82, MK-83 y MK-84
Bombas frenadas Snakeye
Cohetes de diverso calibre
Cañón GAU-12 multi-tubo de 25 mm. de calibre
Misiles aire-suelo AGM-65 Maverick
Bombas guiadas por láser GBU-12 y GBU-16 mediante el designador láser litening pod.
Bombas de guiado GPS GBU-38.
Misiles AIM-9L SIDEWINDER
Misiles AIM-120 AMRAAM
SENSORES
Radar AN/APG-65
FLIR AN/AAR-51
Gafas visión nocturna AN/AVS-9 ANVIS
Designador laser Litening Pod
Dispensador de señuelos ALE-39
Perturbador activo Sander AN/ALQ-167
TECHO MÁXIMO 15.240 metros
VELOCIDAD MÁXIMA 1.065 Km/h a nivel del mar
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[An album of 6 photos] Nottoway Presbyterian Church, also known as “Old Brick Church”. Was built in 1837 in Gothic-Revival style although the Historic Architectural Survey of Nottoway County (1996) also states the style as Early Classical-Revival. It is eligible for inclusion on the National Register of Historic Places although this step has yet to be taken. Essentially a gable-roof rectangular brick structure, there is a small portico at the front and a small gallery for servants at the rear. Windows throughout display the pointed Gothic window arch frame with vertically oriented panes with a top pane of three sections. The portico has a double-leaf wood entrance with a broken pediment roof and is symmetrically placed between a window on each side. Both the front and rear portions of the rood show an unbroken pediment, Also at the rear is a narrow brick chimney which cuts through that rear pedimented gable.
Various renovations were made in 1890 by Judge William Hodges Mann, later governor of Virginia. His home is close to the church building. In 1974, “the church was deeded by Hanover Presbytery to the Nottoway County Historical Society.” The society rents the church for church services, weddings and other events. I assume the church is not regularly in use for its original intent.
Some online sources:
www.dhr.virginia.gov/pdf_files/SpecialCollections/NT-010_...
nottowayvahistory.wordpress.com/blog/old-brick/
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
LACoFD Quint 45 @ 2011 Public Safety Fair - Mayfair Park
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What's the toughest creature out there? There are a lot of good candidates, but the beaver must be near the top of the list. Saturday night I watched a family of beavers swiming in ice water and eating wood, and seemingly quite happy to be doing both.
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
ACTUALIZACIÓN AGOSTO 2010: el original básico de este gráfico, acrílico y collage sobre papel, con algunos cambios menores respecto a esta versión final digital, lo regalé al colectivo ecologista Ben Magec convenientemente enmarcado. Lo tienen colgado en su local: ¡Gracias!
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La idea de esta pieza surgió con una pregunta que me hizo Vicky en una entrevista en Radio Aitiden el 21 de mayo: "¿Esta Ley supone tirarnos piedras sobre nuestro propio tejado?". En ese momento se me ocurrió algo así como "No, supone dispararle en la cabeza a nuestros bisnietos".
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La Ley que aprobó el nuevo Catálogo de Especies protegidas de Canarias se aprobó en el Parlamento el 19 de mayo de 2010 gracias a los votos de los partidos políticos Coalición Canaria que propuso esta Ley y Partido Popular de Canarias, que la apoyó. En contra de esta Ley se han pronunciado múltiples colectivos, instituciones, personalidades. Una Ley que se ha calificado como "un retroceso ambiental, democrático y social".
Entre otros: Universidad de La Laguna, Universidad de Las Palmas de Gran Canaria, Comité de Empresa de la Consejería de Medio Ambiente del Gobierno de Canarias, Colegio Oficial de Biólogos de Canarias, Colegio de Geógrafos (Delegación Territorial Canarias), Oceanográfica, Unión Internacional para la Conservación de la Naturaleza, Departamento de Geografía de la Universidad de Las Palmas de Gran Canaria, Jardín Botánico Canario Viera y Clavijo, Asociación canaria para la defensa de los caminos “La Vereda”, Asociación Herpetológica Española, Fundación César Manrique, Grupo de Ecología y Evolución en Islas (CSIC), Ben Magec Ecologistas en Acción, ATAN, SEO/BirdLife, WWF/Adena, Amigos de la Tierra, Greenpeace, Oceana, Colectivo Ornitológico de Gran Canaria, Asociación Amigos de la Pardela Cenicienta, Asociación Canaria para la Defensa de la Naturaleza (ASCAN), Grupo la Vinca-Ecologistas en Acción, AVAFES Canarias, Asamblea por Tenerife, Proyecto Gran Simio, Imidauen, Turcón Ecologistas en Acción, Acción en Red, Ecologistas en Acción de Las Palmas G.C., La Centinela Ecologistas en Acción, Alumn@s de la Facultad de Bellas Artes. Universidad de La Laguna, Federación Canaria de Asociaciones Protectoras de Animales y Plantas, Plataforma Ciudadana contra el Puerto de Granadilla, Tagoror Achinech ...
Cabildo de Fuerteventura, Cabildo de Gran Canaria, Cabildo de La Gomera, Cabildo de El Hierro, Ayuntamientos de Agüimes, Buenavista, El Rosario, Artenara, Santa Brígida, Santa Lucía, San Sebastián de La Gomera, Alajeró, Valle Gran Rey, Breña Alta, Ingenio, Vega de San Mateo, Los Silos.
Más información en: www.nodescatalogacion.com/
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Fuentes de la imagen:
por Thomas Hawk
Licencia Creative Commons:by,nc,2.0
Licencia Creative Commons:by,nc,2.0
Thorny Seahorse with Jockey - Hippocampus jayakari
Licencia Creative Commons:by,sa.2.0.
Mt. Pelee: St. Pierre. Martinique. May 14 1902
Archivo de SMU Central University Libraries en The Commons.
Dominio Público: Sin restricciones conocidas de derechos de autor
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Final broadside design for the RESPECT Memphis Car Audio campaign for the local Memphis rapper, Kia Shine, to play out of the back of his car.
Pen tool line drawings and abstracted Gotham text.
A tale of Sir Silverhammer of the Crown as he searches for the holy grail in eastern Spain.
Respect the Crown.
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