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My ears are still ringing from this show. Testament brought the noise; good noise though. ;)
Me siguen tronando los oídos de este espectáculo. Testament puso de pie a todos los fanáticos.
@ Tuska Open Air Metal Festival 2013, Helsinki
© Aku-Axel Muukka
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Maj. Gen. Linda L. Singh, adjutant general for Maryland, and Command Sgt. Maj. Perlisa Wilson, senior enlisted leader, recognizes state employees of the Maryland Military Department for their dedication, hard work, commitment and professionalism May 22 at Havre De Grace Readiness Center. "I personally want to thank all of you for the invaluable contributions you make to quality of life in our State for the citizens of Maryland," said Singh. "Your ability to get the job done despite constrained resources and manpower is a testament to your dedication and loyalty." (U.S. Army Photos by Maj. Kurt M. Rauschenberg)
The US has always been the bastion of democracy, and the election victory of Obama is a testament to the American dream. Anyone can be the President - and I look forward to future Presidents who buck the trend. I tried to do tribute to this historic day, but I don't think words or pictures can justify the significance of this moment.
Although I am not an American citizen, having studied in America exposed me to its ideals, as well as its flaws. And while there are many flaws, the American Dream is one where anyone, even a young, black man, can become the most powerful figure in the world. I'm waiting for the first woman, the first homosexual, the first Asian-American to become POTUS, and I think it will happen during my lifetime.
Also a milestone: Pete Souza took the portrait of Barack Obama on a Canon 5D Mk II, the first official portrait of the President of the United States taken by a digital camera. EXIF: 105mm, 1/125/s F/10 ISO 100.
Strobist: 580ex II shot though umbrella camera left at 1/64. Probably should have used a reflector to reduce shadows on the right.
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
My creation based on the New Testament storie about Jesus Christ.
I desided to show one of the earliest stage of his life - a life in Nazareth.
There are not many engravings in this New Testament. It has an extensive commentary on the text.This was given to me by a friend after we had a display of Bibles at the church I went to.
Hellfest 2016
Podeis seguir mi trabajo también en facebook!
Also you can follow me on Facebook!
www.facebook.com/nachocriadophoto
Si quieres fotos como estas no dudes en contactar conmigo!
nachocriado@live.com
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@CriadoNacho
Tasting Britain had the pleasure of attending the legendary House of Sandemanâs 255th anniversary party / birthday party (yup, they go all the way back to 1790), which was held in the cellars under the legendary Sign Of The Don in Bank. The Sign Of The Don is actually on the site of the original Sandeman wine cellars/warehouse, so they couldnât really have picked a better spot. I have been told that it has one of the best port & sherry menus in the city, though since I spent the entire evening in a cellar drinking port (as oppose to in said bar) I canât say if thatâs true or not!
Why âSign Of The Donâ? 'The Sandeman Donâ, with his flowing black cape and Spanish Caballeroâs flat-brimmed hat is Sandemanâs mascot (not sure if this is the right word?) - The Don, some readers may remember some of Sandemanâs older ad campaigns in which he featured. Itâs a pretty romantic image (The Mask Of Zorro, anyone?) though I donât know what it has to do with flogging port. Maybe he has port bottles in that billowing cape of his? I am told that heâs one of the 3 most famous characters in the alcoholic drinks industry, worldwide. I dunno who the other two are, all I can think of is The Most Interesting Man In The World (and he probably doesnât countâ¦). The building in which the Sign Of The Don is found can be traced back to 1342 - which is when the Worshipful Company of Drapers bought it to use as their first meeting hall.
Anyway, George Sandeman - scion and 7th generation of the house that bears his name, was in attendance (thatâs him giving the speeches and enduring all of my photos). He is, presumably, privy to the secrets and wisdom acquired through 7 generations of port making (and I wonder what that teaches you...). Asides from celebrating the fact that this company is fkn OLD, they were also launching a special, short lived 6 label production of Sandemanâs 2000 Vintage Porto. Though each contained, essentially, the same vintage - the branding on each bottle is very different and I think that they are collectable in the way that you may have used to collect limited edition breakfast cereals or Pokemon (j/k port is WAY more serious than pokemon)
Anyway, said bottles include 'THE WORDâ - which is a testament to George Sandemanâs belief that you should always do what you say youâll do (even when you donât want to do it anymore). Another is 'THE SPIRITâ, a tribute to the other George Sandeman, Sandemanâs founder and the man who was known to possess âthe great spiritâ of enterprise (he built up Sandeman into a massive booze empire in about 7 years, I think). Sandeman were a big part in developing the port industry that we Brits know and love today. With their branding savvy, they were, supposedly, the first shipper to brand Porto Wine Casks as a thing (albeit with their own brand - they would burn âGSCâ onto the wood) - helping to create the category. Another thing I learnt was that Sandeman also produce Sherry, Madeira and Brandies - though not once in my life do I remember ever seeing one in a bar...
How important it is to have a last will and testament? Find out from this Marcia Pevey blog post: houstonprobatelawyer.wordpress.com/2012/10/09/what-happen...
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
Dedicated in July 2004 the Garden of Peace is a memorial commemorating victims of homicide including those murdered by terrorists on September 11, 2001. It is a living reminder of the impact of violence and a visual testament to the need for eliminating terror and violence. The Garden is a symbol of hope for peace and renewal in our lives, our community, and the world.
The central feature of the memorial is a dry streambed containing smooth river stones engraved with the names of victims of homicide. The streambed begins with a circular black granite stone called "Tragic Density" that symbolizes the enormous weight of sadness and grief. The streambed moves through the Garden and culminates with a trickle of water into a pool out of which rises "Ibis Ascending", a skyward sculpture representing hope.
Sadly the Garden of Peace appears to be Boston's least known memorial. It took us a really long time to find it - none of the people that we asked had heard of it. The Boston police officer we asked directed us instead to the 9/11 Peace Garden in the Boston Public Gardens. Despite being in downtown Boston the Garden of Peace is off the beaten tourist trails. It is lost within a narrow maze of twisting streets hidden between government office buildings. A few of the streets were sealed off because of construction. Unlike other Boston tourist attractions there are no signs pointing the way, no cops and no tourists. On the weekday evening that we visited the area was poorly lit and the Garden of Peace was home to homeless people. I imagine the area is fairly safe on a weekday with people working in the adjacent buildings, but I wouldn't loitter here in the evening or during the weekend.
If you do decide to visit look for a courtyard adjacent to the plaza of the 100 Cambridge Street Building (formerly the Saltonstall State Office Building) and bring friends.
Boston Garden of Peace - 100 Cambridge Street in Boston, Massachusetts - Google Map
The Hop streetcar in Milwaukee, Wisconsin has completed six months of service.
Six months of The Hop! The Hop opened to the public six calendar months ago, on November 2, 2018. I've ridden it every single day of this time, and I'm more optimistic than ever that The Hop is, right now, serving well in its functions to motivate development (the construction along the route is testament to that), provide transportation (I see that every day while using it and seeing more and more residential, routine use), and interest people to see Milwaukee (as I see regularly on-board--people talking about Milwaukee and seeing neighborhoods and places they have never seen--even statements by long-time residents). The Hop has demonstrated itself for these functions as well as its ability to get through snow, rain, the polar vortex, and other conditions. I think expanding it is the next step! The Main Line now serves downtown, and yes, that is just a specific area of the city, but like libraries, Fiserv Forum, MAM, the lakefront, Discovery World, and other public features, it is located in a specific place, but invites everyone to use it. Downtown has long been considered "everybody's neighborhood"--the central area of Milwaukee--central to business and visitors--and the Hop's extension can serve to move and share this prosperity and development further out to more neighborhoods. In my own studies of urban transportation, I have learned how all transportation is context-specific, and that streetcars have a historic and demonstrated modern function in connecting densely populated areas. And densely populated areas have been demonstrated to support the kind of people-oriented knowledge economy that is in Milwaukee's potential.
@ Tuska Open Air Metal Festival 2013, Helsinki
© Aku-Axel Muukka
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The International Sculpture Park in Ayia Napa, Republic of Cyprus, is a remarkable testament to the beauty and power of sculpture. Spanning several decades, the park's history is a story of artistic vision, cultural exchange, and the celebration of human creativity. In this essay, we will explore the fascinating journey of the International Sculpture Park, tracing its origins, evolution, and impact.
The idea for the International Sculpture Park was born in the early 1990s when a group of local artists and art enthusiasts in Ayia Napa recognized the potential of creating a dedicated space for large-scale sculptures. They envisioned a place where artists from around the world could come together to showcase their works and engage with the local community. With the support of the Ayia Napa municipality, the project began to take shape.
In 1994, the first edition of the International Sculpture Symposium was organized in Ayia Napa. This symposium brought together sculptors from different countries who collaborated to create a series of monumental sculptures. The event was a resounding success, attracting international attention and paving the way for the establishment of the International Sculpture Park.
In 1996, the park officially opened its doors to the public, becoming the first outdoor sculpture park in Cyprus. Situated on a vast expanse of land near the coast, the park provided a serene setting for the display of sculptures. Its location in Ayia Napa, a popular tourist destination, ensured a steady stream of visitors, both local and international, who could experience the power of sculpture in a unique environment.
Over the years, the International Sculpture Park grew in size and ambition. The annual sculpture symposium continued to be a highlight of the park's calendar, attracting renowned artists from all corners of the globe. These artists were invited to stay in Ayia Napa for a few weeks, during which they would create sculptures using various materials, such as stone, metal, and wood. The symposiums not only fostered artistic collaboration but also promoted cultural exchange and understanding among the participants.
Each year, the newly created sculptures were added to the park's permanent collection, enriching its aesthetic and conceptual diversity. The park soon became a haven for sculpture enthusiasts and art lovers, who could explore the outdoor space and engage with the artworks in a dynamic and immersive manner. The sculptures themselves ranged from abstract and avant-garde to figurative and representational, reflecting the diverse artistic styles and perspectives of the participating sculptors.
As the reputation of the International Sculpture Park grew, so did its impact on the local community and the broader cultural landscape of Cyprus. The park became a site for educational initiatives, offering workshops, lectures, and guided tours to students, artists, and the general public. It served as a platform for artistic experimentation and innovation, encouraging dialogue and critical thinking about the role of sculpture in contemporary society.
The International Sculpture Park also played a significant role in promoting Ayia Napa as a cultural destination. While the town was primarily known for its beaches and nightlife, the park added a new dimension to its identity, positioning it as a place where art and nature converge. The park's success inspired the development of other cultural projects in Ayia Napa, including art galleries, exhibitions, and public art installations, further enhancing the town's cultural appeal.
In recent years, the International Sculpture Park has continued to evolve and adapt to the changing artistic landscape. It has embraced new technologies and art forms, incorporating interactive and multimedia elements into its exhibitions. The park has also expanded its outreach efforts, forging partnerships with international sculpture parks and organizations to facilitate artist exchanges and collaborative projects.
Today, the International Sculpture Park stands as a testament to the power of art to transcend boundaries and connect people across cultures. Its collection of sculptures represents a diverse range of artistic expressions and narratives, providing a window into the human experience. The park continues to inspire and captivate visitors, offering a unique space for contemplation, exploration, and artistic enlightenment.
In conclusion, the International Sculpture Park in Ayia Napa, Republic of Cyprus, has emerged as a cultural landmark and a hub of artistic expression. From its humble beginnings as a local initiative to its current stature as an international platform for sculpture, the park has evolved and flourished over the years. Its impact on the local community, the art world, and the broader cultural landscape of Cyprus is immeasurable, making it a testament to the enduring power of sculpture as a form of human expression.
Rabbinic commentary on a passage from the Tanakh (Old Testament). The prophecy of Obadiah begins, "The vision of Obadiah. Thus said the LORD God concerning Edom."
Why particularly Obadiah against the nation of Edom? Ephraim Maksha'ah, the disciple of R. Meir said on his authority: "Obadiah was a proselyte out of Edom and thus people say, "From the very forest itself comes the handle of the axe that fells it."
Prints (and more) available: society6.com/melekdesign/Forest--Axe--Illustrated-Quote_P...