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Recently finished a photo shoot paying tribute to Alabama Whitman (Patricia Arquette's character in the film True Romance), so here's the first shot from it! Hope you dig :)
Photo/©: Travis Haight Photography
Model/muah/wardrobe: Lauren Jewels
Got this shot last night with a new meet-up group I just joined. They had two models there for us to work with. Danielle is a pin-up style model with a very distinctive 40's look. Such a beauty!
Today, morning when I was get out of my bed and sitting on a chair in my room, I saw 2 dot lights shining on my table. They are 2 batteries I replaced them from my antique film camera. They should be together like this for years. Who know it may be 20-30 years. Let me think that they will be together like this from the beginning to the end. I would throw away them in few days, they still together like this. This may be quite rare for human for the true friendship like these batteries.
A portrait of my twin brother.
I had my 580EXII shooting through an umbrella, to the left of the camera.
I had my second 580EX behind him being held by his wife, she also blew the smoke around the back of his head, it was then lit with the flash as it fired.
The flashes were triggered using a Canon STE2 trigger.
Loving Enfer Sombre's skin mods that match the Sugar Garden mesh heads! <3
Body: Utilizator Kemono
Skin Mod: Enfer Sombre - Kemono Skin X Tone
Head: .tsg. Dakota Mesh Head X Tone
Hair: [LCKY] Willow (@ Kawaii Project)
Legs: [BB//MM] Kemono Legs - Mid
Choker: . Quirky . - The Moon Moon Choker ( @ IDK)
Ears: .tsg. Ribbon Nekomimi - White (@ Kawaii Project; bows tinted)
Garter: B.C.C Lovehoney Nurse Garter Baby Blue (@ the Arcade)
Eyes: [Buzz] Elysium Eyes
Dress: *_M.birdie Story_* Up down Set 1 (@ the Chapter Four)
Armwarmers: -=TJR=- Heart Armwarmer
Shoes: .tsg. Parfait Plats - White
Furniture:
Build: dust bunny . flutter skybox
Hanging chair: Ariskea [ Porcelain] Hanging Seat (@ The Arcade)
Frames: junk. bird art (@ The Arcade)
Books: Bazaar - Stockholm bedroom books 03
The 'Park of Honour of Those Who Were Shot'
Memorial and graves of resistance heroes and martyrs - brave Jews, brave Christians, dissidents, anti-fascists, socialists, rebels, samizdat journalists and organisers - those who dared to question and fight oppression, and the evil Powers That Be.
Here you see the faces of my brothers, my own dear family, my partners in fighting sheer political evil - resting in their graves here, in perhaps the most poignant place in all of Brussels, Belgium. Here lie those in Belgium who were shot fighting the Nazis of the 1940s - as I myself have nearly been killed fighting the more recent fascists, some of the 'new Nazis' of the 21st century.
Shortly after I arrived in Brussels as a political refugee from the US, under threat of murder by far-right political figures, this is one of the first places I visited. I came here to weep some tears amid the companionship of my anti-fascist comrades, who also looked death in the eye as they tried to speak and act for what is right.
The camera used here, and the chance to make these photos, are gifts of the brave dissident US Jewish physician, Dr Moshe 'Moss' David Posner, who risked and gambled his own life, to support me and help keep me alive in the face of threats by neo-Nazi assassins.
These are photos from the daily life of writer and political refugee from the US, Dr Les (Leslie) Sachs - photos documenting my new beloved home city of Brussels, Belgium, my life among the people and Kingdom who have given me safety in the face of the threats to destroy me. Brussels has a noble history of providing a safe haven to other dissident refugee writers, such as Victor Hugo, Karl Marx, Charles Baudelaire, and Alexandre Dumas, and I shall forever be grateful that Brussels and Belgium have helped to protect my own life as well.
(To read about the efforts to silence me and my journalism, the attacks on me, the smears and the threats, see the website by European journalists "About Les Sachs" linked in my Flickr profile, and press articles such as "Two EU Writers Under Threat of Murder: Roberto Saviano and Dr Les Sachs".)
This extremely moving memorial and gravesite, is known locally as the Enclos des Fusillés - Ereperk der Gefusillerden (Brussels is bi-lingual French- and Dutch-speaking, so place names are given in both languages here.) - In English, the name is perhaps best rendered as the "Park of Honour of Those Who Were Shot".
The Enclos des Fusillés - Ereperk der Gefusilleerden includes many martyrs of the Belgian resistance of World War II, being both their gravesite and also the place where many of them were shot to death by a Nazi firing squad. - And it is also a memorial and the place of death, of other heroic figures who were shot to death in the previous German occupation of Belgium during World War I. One heroine from the First World War who was shot by the Germans and is now commemorated here, is the famous British nurse Edith Cavell.
The reason that this was a convenient place of execution by firing squad, is that it was originally part of a Belgian military training area and rifle range that existed here once upon a time, and you still see here the tall hillside that served as an earthen 'backstop' to safely absorb high-powered rifle bullets. The hillside was thus ready-made for the German commandants who occupied Brussels in both wars, to carry out their firing-squad executions.
Nowadays, the Enclos des Fusillés - Ereperk der Gefusilleerden appears quite 'central' in urban Brussels, as it lies in the Schaerbeek - Schaarbeek commune, directly in the path from the EU institution area toward the roads that lead to the airport, and very near to the 90-metre high VRT-RTBF communications tower that has long been a major Brussels landmark.
The Enclos des Fusillés - Ereperk der Gefusilleerden is walking distance from the eastern Brussels 'prémétro', which is a grouping of tram lines that run underground for several stops on both the eastern and western sides of the Brussels city centre, supplementing the regular métro underground system with a similarly high frequency of service and also underground. If you continue along the prémétro lines south from the Diamant stop which is near the Enclos des Fusillés - Ereperk der Gefusilleerden, you shortly arrive at the elaborate 19th-century military barracks buildings which once housed the soldiers who used the rifle range and parade grounds, which later become the place of martyrdom for members of the anti-Nazi resistance.
This is a place of great emotion for me personally, because the resistance martyrs who lie in these graves - a number of them socialists, journalists and with Jewish-heritage, critics of corruption just like myself - are my comrades in my own ordeal. I barely escaped alive out of the USA, nearly murdered by neo-Nazi-linked thugs, who themselves spoke favourably of Hitler as they moved toward killing me, as well as trying to ban my ability to write and speak.
It is sad that this place, Enclos des Fusillés - Ereperk der Gefusilleerden, is very little visited nowadays. Most of the time when I come here to contemplate and shed a few tears amid my comrades, and also to gain strength from their brave spirits, I am alone. Many of the family members and children of those who died or are buried here, have now themselves often passed away.
But on occasion there are people visiting, and on one day I was privileged to meet the daughter of one of the resistance martyrs who is buried here. She spoke to me of being a little girl, and seeing the Nazis arrest her father inside their home. She spoke about how they tied his hands behind his back, and yet how bravely he looked at her one last time. - She never saw her father alive again, and she is now in her seventies. - But when she spoke of her father, her voice grew energised and strong. She said she remembered the day of her father's arrest like if it was yesterday. And as she spoke, I could feel it and almost see it, as if I had been there myself.
The heroes in these graves are quite alive for me still. I am a religious man, a person of faith, and I believe in the life hereafter. - Many people have been afraid to help me, abandoning me to be murdered by the powerful forces of the American government - people too frightened to dare oppose the deadly US power of global assassination, the vicious US global media slandering of a dissident's reputation - Yet when I walk here at the Enclos des Fusillés - Ereperk der Gefusilleerden, I feel myself amid a powerful throng of comrades, among brave people who understand me, people who know what it is like to be menaced with murder and to look death straight in the eye. - I feel the spirits in these graves support me and sustain me, that they welcome me as one among themselves.
It is my privilege now to honour these brave companions of mine, giving their memory some further renown and support. And I have wanted very much to do so, as the Enclos des Fusillés - Ereperk der Gefusilleerden still is in need of expanded documentation on the Web, before some of what can be seen here fades away much further.
One of the most powerful aspects of visiting this tree-lined and grassy cemetery and memorial, is that you see on a number of the grave markers, not only names and comments from loved ones, but in some cases actual pictures of these brave people, pictures rendered into sepia-type photos on porcelain. Though efforts were made to make these photographs permanent, the elements and the years and decades have taken their toll. Many of the pictures are now faded, or cracked, or broken, or fallen on the ground from their mountings. In one case I held a cracked porcelain image together with one hand, while taking the photo with the other hand. The years are passing, and I have wanted to document the faces of these brave heroes before they disappear, before time takes a greater toll on this place of sacred honour.
You look into the eyes of these brave people, and you see and feel the spirit of true bravery, of genuine resistance of oppression, resistance to the point of death, their hope that sacrificing one's own life in the fight, will yet do some good for others in the world. Look into their eyes, and you see their faces, faces of real people, quite like anyone in some ways, but in other ways very special, with a light in them that carries far beyond their own death - people who yet had the fire of faith in that Greater than mere earthly existence.
In this hillside that you see in the photos - the hillside in front of which many of these heroes stood in the moment as they were shot to death - in that hillside is a large memorial marker to the heroes of World War I who died here. On that marker it says:
Ici tomberent
sous les balles allemandes
35 héros victimes de leur
attachement à la patrie
Hier vielen
onder de duitse kogels
35 helden ten offer
aan hun liefde voor het vaderland
Here fell 35 heroes
who offered their lives
for their country
shot by the Germans
You'll notice that the 4th name down on the marker is that of Edith Louisa Cavell (1865-1915), with just her initial and last name and the date of her death here, on 12 October 1915:
Cavell E. 12-10-1915
The banners that you see here, in the colours of red, yellow, and black, are in the three colours of the national flag of Belgium
There are 17 rows of graves here at the Enclos des Fusillés - Ereperk der Gefusilleerden, 12 on the upper level closer to the hillside, and then five on the lower level below. Between the upper and lower levels is an obelisk serving as a kind of centre for the memorial as a whole. On the obelisk it says, on one side in Dutch, on the other side in French:
Opgericht door de Verbroedering van de Vriendenkringen der Nazikampenen Gevangenissen
XXVe Verjaring
April 1970
Erigé par le Fraternelle des Amicales de Camps et Prisons Nazis
XXVe Anniversaire
April 1970
In English this would be:
Constructed by the Association of Friends of Those in the Nazi Camps and Prisons
25th Anniversary
April 1970
Around this obelisk lay some faded but still visibly grand wreaths, placed here by the highest figures of Belgian public life. One great wreath at the centre, placed here by the King of the Belgians, Albert II, and his wife Paola, whose royal household has very quietly but effectively supplied some of the protection for me in Belgium, that has so far prevented me from being murdered here by foreign powers. - You see the ribbon say simply 'Albert - Paola'.
And another large wreath has a ribbon saying 'la Gouvernement - de Regering', from the government of Belgium.
Though many of the resistance martyrs buried here, were shot by firing squad right on this spot, a number of these martyrs died in other places, most especially in the Belgian concentration camp at Breendonk (Breendonck), which due to its stone structure is one of the best-preserved Nazi concentration camps. Breendonk can be visited today, about 40 kilometres north of Brussels in the direction of Antwerp, very near the Willebroek train station.
Among the graves here, a number are of heroes of the anti-Nazi resistance whose names are unknown: 'Inconnu - Onbekend' say the grave markers in French and in Dutch. In one row, there are six unknowns side-by-side; and then the entire final last row of the Enclos des Fusillés - Ereperk der Gefusilleerden, is all the resting place of unknown heroes, 21 altogether.
In any struggle against oppressive government, there are often unknown heroes. - And as I myself am a victim of brutal deceptive media smear campaigns, as well as the US regime ordering search engines to suppress my own websites, I can testify as to how hard the evil powers work, to try to see that those who fight the system, remain unknown, or else smeared and slandered with propaganda and lies.
There are perhaps yet other heroes of the World War II resistance, whose anonymous graves somewhere, may yet one day be found. One of the photos here is of a maintenance area by the side, where fresh grave markers are ready, some with crosses, some with a star of David, awaiting use for some other hero whose remains are yet to be discovered.
In addition to the photographs on the grave markers, which speak for themselves, a number of the graves are also marked with heartfelt statements by those who loved and honoured them. Most are in French, and with photos where there are such engraved statements, there are transcriptions of what you find, along with a translation.
Many of these resistance martyrs to the Nazis who lie here, are of course Jewish. The majority are Christians of Belgium, but a significant proportion of the heroes who lie here, are Jewish resistance martyrs of the Holocaust. And even more than one from the same family - the Livchitz brothers who lie here. Moreover, some of the Christians who are buried here, are of Jewish heritage as well - as I am myself, a unitarian Christian.
My own heritage on my mother's side is Jewish, and it was my commitment to honour the memory of relatives and other Jews who died in the Holocaust, that led to my being forced to become a political refugee from the United States. - Back when living in the US, I received a letter threatening the book-burning of the books of this Jewish-heritage writer, and I responded strongly. A few weeks later my freedom to speak and write was banned, and threats to extort and murder me were put in motion. This story has been told in other places (see link to press articles in my profile), but suffice it to say here, that it was my honouring the memory of murdered Jews, which led me to be a Jewish-heritage political refugee today in Brussels.
Though I am unitarian Christian by faith, the old Jewish sites of Brussels and Belgium strike deep chords within me, as I very much feel the spirit of the Jews who suffered and died under the kind of racist threats I have also suffered.
One of the things I am often-asked, as a Jewish-heritage political refugee, is why the Jewish groups and Jewish leaders, do not say or do more to defend me, against the threats to have me murdered, against the lies and hoaxes spread about me, against the blocking of my own journalism sites from the internet search engines. - For example, in my efforts to stay alive these last few years, I have received much more comfort and assistance and support from brave Muslims, than from the Jewish people who share my own heritage.
There are two main reasons for this kind of neglect of someone like myself by Jewish leaders. One is that I am not a political Zionist - I favour peace and justice for all the residents of the ancient holy lands of Palestine. - A second reason, is that there is a sad heritage among Jewish people, to stand by and do nothing while other Jews are attacked by the dominant power of the day. - It was that way in the old pogroms of Eastern Europe, it was that way under the Nazi-era exterminations, and it is that way today regarding the case of the United States. - Since it is the US regime which has been attacking me and forcing me to be a refugee here, Jewish 'leadership' simply does not want to confront the USA. Given that I am a non-Zionist, and a unitarian Christian in faith, well, that settles it as far as Jewish leaders are concerned, and they turn away and say nothing.
There are still some brave Jews, however, like one brave Orthodox Jewish physician in America, a friend who has helped me to be able to be here now, supplying these photographs of the Jewish and other martyrs of anti-Nazi resistance.
And the Jewish heritage is there in me, and I am glad I honoured the memory of the Holocaust dead, even though it led me into terrible sufferings at the hands of US political figures and the US regime.
There is a sense of profound spiritual achievement that I have, as I place on-line this historical record of the martyrs of the Enclos des Fusillés - Ereperk der Gefusilleerden. It is perhaps only by the grace of God that I was able to escape the US alive, from the clutches of the people menacing to illegally jail me and murder me in a US jail cell. - My now being able to honour the memory of my fellow anti-fascist figures in Belgium, who were shot dead by the Nazis of an earlier era, feels to me to be one of the important purposes, for which I was kept alive by divine hands.
To visit the Enclos des Fusillés - Ereperk der Gefusilleerden, you can walk about 600 metres from the Diamant 'prémétro' or underground tram stop which includes tram lines 23, 24, and 25. If you wish to get even closer by bus, you can take buses number 12, 21, or 79 the two stops from Diamant to the Colonel Bourg - Kolonel Bourg bus shelter sign. Alternatively, if you are in the EU area, you can take these same buses 12, 21 or 79 directly from the Schuman métro station by the EU's main Berlaymont building. Another route is that bus 80 from the Mérode metro station will also take you directly to the Colonel Bourg - Kolonel Bourg stop. A few tens of metres west of where the bus halts, along the rue Colonel Bourg - Kolonel Bourgstraat, you see the sign directing to the entrance of the Enclos des Fusillés - Ereperk der Gefusilleerden.
true lies
Più recenti Meno recenti
Comune di Samugheo
e
MURATS Museo Unico Regionale dell’Arte Tessile Sarda
presentano il progetto
FACE OFF
TRUE LIES
Sergio Fronteddu/Vincenzo Pattusi
dal 18 gennaio al 02 marzo 2014
Inaugurazione sabato 18 gennaio ore 17:00
Museo MURATS
SERGIO FRONTEDDU E VINCENZO PATTUSI SARANNO I PRIMI DUE ARTISTI A ESPORRE PER IL PROGETTO FACE OFF CON LA MOSTRA DAL TITOLO TRUE LIES DOVE SI CONFRONTERANNO CON UN TEMA LEGATO AD UN IMPORTANTE AVVENIMENTO QUALE IL CARNEVALE. NELLO SPECIFICO ANALIZZERANNO, ATTRAVERSO LE LORO OPERE, IL CONCETTO DI MASCHERA E DISSIMULAZIONE.
Il Comune di Samugheo e il Museo MURATS, in linea con il programma di promozione delle attività museali e del territorio, presentano la mostra TRUE LIES che apre il progetto FACE OFF, rassegna che proseguirà per tutto il 2014. L’intento del progetto è quello di porre due artisti a confronto tra loro, ma anche con un determinato argomento, a volte legato ai più importanti eventi della comunità di Samugheo e a volte su tematiche più generali. Con la mostra TRUE LIES saranno esposte le opere di due artisti nuoresi, Sergio Fronteddu e Vincenzo Pattusi, i quali hanno creato una serie di lavori realizzando anche opere congiunte.
La mostra verrà inaugurata sabato 18 gennaio alle ore 17:00, presso il Museo MURATS, e occuperà la prima sala del Museo. Mentre nella altre due sale rimarranno visitabili la mostra fotografica Chiara Samugheo. La mia Sardegna e, al primo piano, la collezione tessile del Museo con l’esposizione di pregiati manufatti sardi del tessile.
La mostra TRUE LIES (ossimoro inglese che significa “autentiche bugie”) vuole essere un “omaggio” al carnevale inteso come momento dell’anno in cui, attraverso l’utilizzo delle maschere, si assumono identità differenti con l’intento di rappresentare qualcun altro o qualcos’altro. Con la mostra si vuole indagare il rapporto tra le persone e l’azione del mascherare, azione che permette il cambio di identità rendendo tutto più sfuggente e soggettivamente interpretabile. Le maschere, infatti, comunicano un messaggio attraverso ciò che appaiono ma allo steso tempo servono per occultare cose e significati che possono risultare più o meno evidenti. Questo gesto può essere volutamente riconoscibile creando allora, tra il soggetto mascherato e chi guarda, un gioco delle parti dove non tutto è ciò che appare, o per lo meno diventa qualcosa di incerto e sfuggente.
Le opere di Sergio Fronteddu, realizzate con materiali quali sapone e colla, riproducono oggetti che tutti siamo abituati a vedere nella quotidianità ma in realtà sono qualcosa di differente, con la colla che ha la funzione di creare e opacizzare le immagini. I lavori di Vincenzo Pattusi giocano sull’ambiguità di volti a cui mancano caratteri fisiognomici o possiedono elementi estranei al volto umano rendendoli indecifrabili, enigmatici, dubbiosi ma nel contempo penetranti.
Per il Direttore del MURATS Baingio Cuccu e il Sindaco di Samugheo Antonello Demelas questa mostra, che apre un progetto della durata di un anno, è un ulteriore passo verso un’apertura al vitalissimo ambiente culturale della Sardegna attraverso quelle contaminazioni positive tra arti, unioni tra abilità del passato e della tradizione con la vitalità e le visioni dell’arte contemporanea.
Sergio Fronteddu nasce a Nuoro, città dove tutt'ora risiede e lavora dopo gli anni sassaresi in cui ha frequentato l'Accademia di Belle Arti. Il suo percorso artistico si stabilizza sin dall'inizio su due paletti fondamentali: da un lato irriverenti interventi pubblici; dall'altro la passione della scultura, consolidata dagli studi accademici, che si esprime con l'attenzione verso materiali insoliti come il sapone, a cui dedica una lunga produzione tematicamente riferita all'alimentazione, e la colla nelle opere più recenti. Ha partecipato a numerose mostre e iniziative culturali.
Vincenzo Pattusi, in arte LUDO 1948, è nato a Nuoro nel 1978, dopo la laurea in Storia dell’Arte e un master in conservazione e restauro, entra in contatto con l'ambiente artistico nuorese muovendo i primi passi nella street art e portando avanti un discorso pittorico che dai muri fa ritorno alla tele in studio in un gioco continuo di rimandi e citazioni. Ha eseguito diverse commissioni pubbliche e partecipato a numerose mostre in Italia e all’estero. Attualmente vive e lavora e Nuoro dove dal 2008 condivide con altri artisti il Seuna Lab, contenitore creativo per le sperimentazioni artistiche contemporanee.
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The kit and its assembly:
Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.
Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.
Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.
Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.
Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!
Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!
The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.
In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.
Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.
In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.
Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.
Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).
However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.
What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!
However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.
More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)
I have entered this costume into a contest that is OUAT specific. If you feel inclined to think I did a good job on my Belle and Rumple costumes I'd love it if you could vote for them here by liking my photos:
www.facebook.com/media/set/?set=a.502868893118534.1073741...
by Megha Cherukuri
Title: True Colors
Category- Beginner
White to Bright CPM Challenge
Materials Used:
Prismacolor Color Pencils
Strathmore 9x11 drawing paper
Country Insights India: City and Village Life
By: Jennifer Kumar
Want to know how the average person in India lives? What is it like to live in village India? How does living in the village or in the city create a unique way of life? David Cumming attempts to answer in his forty-eight page book, Country Insights India: City and Village Life, while providing an overview of India’s modern culture.
Through stories of life in the city of Bangalore (Karnataka state) and the village of Thrickodithanam (Kerala state), the reader gets a good impression of how an average person lives; their triumphs, their struggles, their opportunities and desires for change. The narrations are accompanied by vivid, colorful and realistic images of daily life of average people. The photos of average people quoted throughout the book are not models, they are everyday people doing everyday things- eating their dinners, walking barefoot to school and sweating in the heat. These images may not be glamorous, but provide a raw, tangible aspect to the book. This is real life, whether it is India or America or any other country- there are people of all kinds of backgrounds living different lifestyles and making their lives successful with the knowledge, skills and resources they have or aspire to have. This is one of the lessons I have learned from the book.
I really enjoyed reading the quotations accompanying the photos. People of all ages share some interesting aspect of their life in one or two sentences. The children’s perspectives are always so simple, sweet and bring a smile to my face. For example, Ashok says, “We have to wear a uniform, like all school children in India. I’m going to be in trouble because I’ve lost my tie.” (p. 31) More cute quotations are on pages 12, 25, and 38.
As India is so diverse and difficult to describe in kid-terms, I give kudos to the author for achieving this. Though the book reduced stereotypes by focusing on individual people and telling their stories, there are parts of the book that I felt could be improved.
Throughout the book, the terms ‘rich’ and ‘poor’ are used. It is true these descriptors have a grain of truth- but for whom? Why should, for instance slum dwellers or villagers be labeled as ‘poor’? Is this a label they created for themselves or the author has created for them? And to what is this compared to? It is true that many villagers and slum dwellers do not make a lot of money, but being a graduate of a social work program in India, I do not call these people ‘poor.’ In some ways the villagers and slum dwellers taught me an important lesson in prosperity. When visiting their homes, they had few food or drink items. It is also true they had little money. But, as it is considered puniya (good luck) to serve something to guests, they would do anything to offer us any food or drink item, preferably tea, with milk. Villagers would come together and pool ten or fifteen rupees (US .20-.30) to buy a packet of milk to feed tea to me and my friends. To me this is a wealth beyond financial definitions. Their spiritual, mental and emotional wealth helped them temporarily overcome any financial challenges they were facing. Impressive! A specific example of judgmental wording is seen in the photo descriptor on page 20. Next to a picture of a man in a village sitting next to his one room house made out of what appears to be scrap pieces of wood reads, “None of the people in this Colony have the money to build a good home.” In this sentence are two words I contest: “none” and “good house”. To illustrate my contention with these terms, I will share one more story. There was a person in a Chennai slum who wanted a new house. Their house would be a one room wood construction with mud walls. This person was so proud, happy and appreciative to provide a roof over the head of his family. He had been saving for months to have a new home. I met the builders of this house. They were happy to provide this service for this man and his family and were also happy to have a job so they could provide for their own families (see a picture of these construction workers here). It is true, if you put a person like me into that situation to live, I may feel lack or need, but the people who live in these situations may not feel this way at all.
I understand it is difficult to write any book, story or blog from a true non-judgmental or biased viewpoint. As humans we write from our viewpoint, which is inherently biased in someway. It is often the reader’s intuition and worldliness that inspires questions. This can be done as an adult, but can children always make this discrimination? Would children question the words ‘poor’ and ‘rich’ especially when coupled with powerful images (such as the man sitting next to his house)? This is important for parents to do when reading books and when sharing any type of media with their children. Because I believe it is a rare find to read or watch something truly unbiased with your children, rather than not share it, share the questions that come up in your mind as you read it with your children. Ask them what they think ‘poor’ and ‘rich’ means or any of these black or white descriptor words. Have a discussion with your children, see the world through their eyes and keep teaching each other about the world around you!
Have you read David Cumming’s book, Teens In India? Share your thoughts below.
Browse other reviewed items at the archive.
Thank you for reading. If you have ideas of products for me to review for this series, e-mail me.
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A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
There's something wonderfully sleepy about downtown Auburn – if you could call it that. This tiny community is mostly just houses on the highway, but also includes the high school for western Kings County. The intersection of Highway 1 and Morden Road is where the heart lies. You can pass it by in seconds, and most do, but I like to sit around and see the twilight world roll on. Here at the top of the T is Burt's Grocery, a convenience store and post office. Across the way is the mechanic, currently Jason's Auto Shop, and towering over everything is the oldest building for miles. Long ago nicknamed "The Little Wren Church", it's an Anglican building from 1790. There's a true timelessness in these parts, some unchanged spirit that lingers on for generations. If you passed through this part of Auburn fifty years ago, it wouldn't seem so unfamiliar to you now. There's nothing like going back in time while staying exactly where you are.
December 20, 2023
Auburn, Nova Scotia
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Bibby's of Ingleton Van Hool Alicron on DAF chassis, PB16 BYS, "Dales Queen". Seen here in Sidmouth's Manor Road coach park.
Valentine sugar cookies shaped like candy lollies instructions on the blog bubbleandsweet.blogspot.com/2011/01/sweetie-valentine-coo...
And now for some shots with the 50mm, of the details and fittings of the church. More to follow.
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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.
As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.
Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.
In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.
Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".
In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,
n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."
In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.
Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.
Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.
Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.
In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]
On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.
In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]
At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.