DISCLAIMER

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

 

Some background:

The Northrop Grumman-IAI F-24 is the latest reincarnation of the USAF "Lightweight Fighter Program" which dates back to the 1950ies and started with the development of Northrop's F-5 "Freedom Fighter".

 

The 1st generation F-5 became very successful in the export market and saw a long line of development, including the much more powerful F-5E "Tiger II" and the F-20 Tigershark (initially called F-5G). Northrop had high hopes for the F-20 in the international market; however, policy changes following Ronald Reagan's election meant the F-20 had to compete for sales against aircraft like the F-16, the USAF's latest fighter design (which was politically favored). The F-20 development program was eventually abandoned in 1986 after three prototypes had been built and a fourth partially completed.

 

But this was not the end for Northrop’s Lightweight Fighter. In the early 1980s, two X-29As experimental aircraft were built by Grumman from two existing Northrop F-5A Freedom Fighter airframes. The Grumman X-29 was a testbed for forward-swept wings, canard control surfaces, and other novel aircraft technologies. The aerodynamic instability of this arrangement increased agility but required the use of computerized fly-by-wire control. Composite materials were used to control the aeroelastic divergent twisting experienced by forward-swept wings, also reducing the weight. The NASA test program continued from 1984 to 1991 and the X-29s flew 242 times, gathering valuable data and breaking ground for new aerodynamic technologies of 4th and 5th generation fighters.

 

Even though no service aircraft directly evolved from the X-29, its innovative FBW system as well as the new material technologies also opened the door for an updated F-20 far beyond the 1990ies. It became clear that ever expensive and complex aircraft could not be the answer to modern, asymmetrical warfare in remote corners of the world, with exploding development costs and just a limited number of aircraft in service that could not generate true economies of scale, esp. when their state-of-the-art design would not permit any export.

Anyway, a global market for simpler fighter aircraft was there, as 1st generation F-16s as well as the worldwide, aging F-5E fleet and types of Soviet/Russian origin like the MiG-29 provided the need for a modern, yet light and economical jet fighter. Contemporary types like the Indian HAL Tejas, the Swedish Saab Gripen, the French Dassault Rafale and the Pakistani/Chinese FC-1/JF-17 ”Thunder” proved this trend among 4th - 4.5th generation fighter aircraft.

 

Northrop Grumman (Northrop bought Grumman in 1994) initiated studies and basic design work on a respective New Lightweight Fighter (NLF) as a private venture in 1995. Work on the NLF started at a slow pace, as the company was busy with re-structuring.

The idea of an updated lightweight fighter was fueled by another source, too: Israel. In 1998 IAI started looking in the USA for a development partner for a new, light fighter that would replace its obsolete Kfir fleet and partly relieve its F-16 and F-15 fleet from interception tasks. The domestic project for that role, the IAI Lavi, had been stillborn, but lots of its avionics and research were still at hand and waited for an airframe for completion.

The new aircraft for the IAF was to be superior to the MiG-29, at least on par with the F-16C/D, but easier to maintain, smaller and overall cheaper. Since the performance profiles appeared to be similar to what Northrop Grumman was developing under the NLF label, the US company eventually teamed up with IAI in 2000 and both started the mutual project "Namer" (=נמר, “Tiger” in Hebrew), which eventually lead to the F-24 I for the IAF which kept its project name for service and to the USAF’s F-24A “Tigershark”.

 

The F-24, as the NLF, was based on the F-20 airframe, but outwardly showed only little family heritage, onle the forward fuselage around the cockpit reminds of the original F-5 design . Many aerodynamic details, e. g. the air intakes and air ducts, were taken over from the X-29, though, as the experimental aircraft and its components had been developed for extreme maneuvers and extra high agility. Nevertheless, the X-29's forward-swept wing was considered to be too exotic and fragile for a true service aircraft, but the F-24 was to feature an Active Aeroelastic Wing (AAW) system.

 

AAW Technology integrates wing aerodynamics, controls, and structure to harness and control wing aeroelastic twist at high speeds and dynamic pressures. By using multiple leading and trailing edge controls like "aerodynamic tabs", subtle amounts of aeroelastic twist can be controlled to provide large amounts of wing control power, while minimizing maneuver air loads at high wing strain conditions or aerodynamic drag at low wing strain conditions. This system was initially tested on the X-29 and later on the X-53 research aircraft, a modified F-18, until 2006.

 

Both USAF and IAF versions feature this state-of-the-art aerodynamic technology, but it is uncertain if other customers will receive it. While details concerning the F-24's system have not been published yet, it is assumed that its AAW is so effective that canard foreplanes could be omitted without sacrificing lift and maneuverability, and that drag is effectively minimized as the wing profile can be adjusted according to the aircraft’s speed, altitude, payload and mission – much like a VG wing, but without its clumsy and heavy swiveling mechanism which has to bear high g forces. As a result, the F-24 is, compared to the F-20, which could carry an external payload of about 3.5 tons, rumored to be able to carry up to 5 tons of ordnance.

 

The delta wing shape proved to be a perfect choice for the required surface and flap actuators inside of the wings, and it would also offer a very good compromise between lift and drag for a wide range of performance. Anyway, there was one price to pay: in order to keep the wing profile thin and simple, the F-24’s landing gear retracts into the lower fuselage, leaving the aircraft with a relatively narrow track.

 

Another major design factor for the outstanding performance of this rather small aircraft was weight reduction and structural integrity – combined with simplicity, ruggedness and a modular construction which would allow later upgrades. Instead of “going big” and expensive, the new F-24 was to create its performance through dedicated loss of weight, which was in some part also a compensation for the AAW system in the wings and its periphery.

 

Weight was saved wherever possible, e .g. a newly developed, lightweight M199A1 gatling gun. This 20mm cannon is a three-barreled, heavily modified version of the already “stripped” M61A2 gun in the USAF’s current F-18E and F-22. One of the novel features is a pneumatic drive instead of the traditional electric mechanism, what not only saves weight but also improves trigger response. The new gun weighs only a mere 65kg (the six-barreled M61A2 weighs 92kg, the original M61A1 112 kg), but still reaches a burst rate of fire of 1.800 RPM (about 800 RPM under cyclic fire, standard practice is to fire the cannon in 30 to 50-round bursts, though) and a muzzle velocity of 1.050 metres per second (3,450 ft/s) with a PGU-28/B round.

 

While the F-16 was and is still made from 80% aluminum alloys and only from 3% composites, the F-24 makes major use of carbon fiber and other lightweight materials, which make up about 40% of the aircraft’s structure, plus an increased share of Titanium and Magnesium alloys. As a consequence and through many other weight-saving measures like keeping stealth capabilities to a minimum (even though RAM was deliberately used and many details designed to have a natural low radar signature, resulting in modest radar cross-section (RCS) reductions), a single, relatively small engine, a fuel-efficient F404-GE-402 turbofan, is enough to make the F-24 a fast and very agile aircraft, coupled with a good range. The F-24’s thrust/weight ratio is considerably higher than 1, and later versions with a vectored thrust nozzle (see below) will take this level of agility even further – with the pilot becoming the limiting factor for the aircraft’s performance.

 

USAF and IAF F-24s are outfitted with Northrop Grumman's AN/APG-80 Active Electronically Scanned Array (AESA) radar, also used in the F-16 Block 60 aircraft. Other customers might only receive the AN/APG-68, making the F-24 comparable to the F-16C/D.

 

The first prototype, the YF-24, flew on 8th of March 2008, followed by two more aircraft plus a static airframe until summer 2010. In early 2011 the USAF placed an initial order of 101 aircraft (probably also to stir export sales – the earlier lightweight fighters from Northrop suffered from the fact that the manufacturer’s country would not use the aircraft in its own forces). These initial aircraft will replace older F-16 in the interceptor role, or free them for fighter bomber tasks. The USN and USMC also showed interest in the aircraft for their aggressor squadrons, for dissimilar air combat training. A two-seater, called the F-24B, is supposed to follow soon, too, and a later version for 2020 onwards, tentatively designated F-24C, is to feature an even stronger F404 engine and a 3D vectoring nozzle.

 

Israel is going to produce its own version domestically from late 2014 on, which will exclusively be used by the IAF. These aircraft will be outfitted with different avionics, built by Elta in Israel, and cater to national requirements which focus more on multi-purpose service, while the USAF focusses with its F-24A on aerial combat and interception tasks.

 

International interest for the F-24A is already there: in late 2013 Grumman stated that initial talks have been made with various countries, and potential export candidates from 2015 on are Taiwan, Singapore, Thailand, Finland, Norway, Australia and Japan.

  

General F-24A characteristics:

Crew: 1 pilot

Length: 47 ft 4 in (14.4 m)

Wingspan: 27 ft 11.9 in / 8.53 m; with wingtip missiles (26 ft 8 in/ 8.13 m; without wingtip missiles)

Height: 13 ft 10 in (4.20 m)

Wing area: 36.55 m² (392 ft²)

Empty weight: 13.150 lb (5.090 kg)

Loaded weight: 15.480 lb (6.830 kg)

Max. take-off weight: 27.530 lb (12.500 kg)

 

Powerplant

1× General Electric F404-GE-402 turbofan with a dry thrust of 11,000 lbf (48.9 kN) and 17,750 lbf (79.2 kN) with afterburner

 

Performance

Maximum speed: Mach 2

Combat radius: 300 nmi (345 mi, 556 km); for hi-lo-hi mission with 2 × 330 US gal (1,250 L) drop tanks

Ferry range: 1,490 nmi (1715 mi, 2759 km); with 3 × 330 US gal (1,250 L) drop tanks

Service ceiling: 55,000 ft (16,800 m)

Rate of climb: 52,800 ft/min (255 m/s)

Wing loading: 70.0 lb/ft² (342 kg/m²)

Thrust/weight: 1.09 (1.35 with loaded weight & 50% fuel)

 

Armament

1× 20 mm (0.787 in) M199A1 3-barreled Gatling cannon in the lower fuselage with 400 RPG

Eleven external hardpoints (two wingtip tails, six underwing hardpoints, three underfuselage hardpoints) and a total capacity of 11.000 lb (4.994 kg) of missiles (incl. AIM 9 Sidewinder and AIM 120 AMRAAM), bombs, rockets, ECM pods and drop tanks for extended range.

  

The kit and its assembly:

A spontaneous project. This major kitbash was inspired by fellow user nighthunter at whatifmodelers.com, who came up with a profile of a mashed-up US fighter, created “out of boredom”. The original idea was called F-21C, and it was to be a domestic successor to the IAI Kfirs which had been used by the US as aggressor aircraft in USN and USMC service for a few years.

 

As a weird(?) coincidence I had many of the necessary ingredients for this fictional aircraft in store, even though some parts and details were later changed. This model here is an interpretation of the original design. The idea was spun further, and the available parts that finally went into the model also had some influence on design and background.

I thank nighthunter for sharing the early ideas, inviting me to take the design to the hardware stage (sort of…) and adapting my feedback into new design sketches, too, which, in return, inspired the model building process.

 

Well, what went into this thing? To cook up a F-24 à la Dizzyfugu you just need (all in 1:72):

● Fuselage from a Hasegawa X-29, including the cockpit and the landing gear

● Fin and nose cone from an Italeri F-16A

● Inner wings from a (vintage) Hasegawa MiG-21F

● Outer wings from a F-4 (probably a J, Hasegawa or Fujimi)

 

The wing construction deviates from nighthunter’s original idea. The favorite ingredients would have been F-16XL or simple Mirage III wings, but I found the composite wing to be more attractive and “different”. The big F-16XL wings, despite their benefit of a unique shape, might also have created scale/size problems with a F-20 style fuselage? So I built hybrid wings: The MiG-21 landing gear wells were filled with putty and the F-4 outer wings simply glued onto the MiG inner wing sections, which were simply cut down in span. It sounds like an unlikely combo, but these parts fit together almost perfectly! In order to hide the F-4 origins I modified them to carry wingtip launch rails, though, which were also part of nighthunter’s original design.

 

The AAW technology detail mentioned in the background came in handy as it explains the complicated wing shape and the fact that the landing gear retracts into the fuselage, not into the wings, which would have been more plausible… Anyway, there’s still room for a simpler export version, with Mirage III or Kfir C.2/7 wings, and maybe canards?

 

Using the X-29 as basis also made fitting the new wings onto the area-ruled fuselage pretty easy, as I could use the wing root parts from the X-29 to bridge the gap. The original, forward-swept wings were just cut away, and the remains used as consoles for the new hybrid delta wings. Took some SERIOUS putty work, but the result is IMHO fine.

 

The bigger/square X-29 air intakes were taken over, and they change the look of the aircraft, making it look less F-5-ish than a true F-20 fuselage. For the same reason I kept the large fairing at the fin base, combining it with a bigger F-16 tail, though, as a counter-balance to the new, bigger wings. Again, the F-16 fin was/is part of nighthunter’s idea, so the model stays true to the original concept.

 

For the same reason I omitted the original X-29 nose, which is rather pointy, sports vanes and a large sensor boom. The F-16 nose was a plausible choice, as the AN/APG-80 is also carried by late Fighting Falcons, and its shape fits well, too.

 

All around the hull, some small details like radar warning sensors, pitots and air scoops were added. Not really necessary, but such thing add IMHO to the overall impression of such a fictional aircraft beyond the prototype stage.

 

Cockpit and landing gear were taken OOB, I just added a pilot figure and slightly modified the seat.

 

The ordnance was puzzled together from the scrap box, the AIM-9Ls come from the same F-4 kit which donated its outer wings, the AIM-120s come from an Italeri NATO weapons kit. The drop tanks belong to an F-16.

  

Painting and markings:

At first I considered an F-24I in IAF markings, or even a Japanese aircraft, but then reverted to one of nighthunter’s initial, simple ideas: an USAF aircraft in the “Hill II” paint scheme (F-16 style), made up from three shades of gray (FS 36118, 36270 and 36375) with low-viz markings and stencils. Dutch/Turkish NF-5A/Bs in the “Hill II” scheme were used as design benchmarks, too. It’s a simple livery, but on this delta wing aircraft it looks pretty interesting. I used enamels, what I had at hand: Humbrol 127 and 126, and Modelmaster's 1723.

 

A light black ink wash was applied, in order to em,phasize the engraved panel lines, in contrast to that, panels were manually highlighted through dry-brushed, lighter shades of gray (Humbrol 27, 166 and 167).

 

“Hill II” also adds to a generic, realistic touch for this whif. Doing an exotic air force thing is rather easy, but creating a convincing whif for a huge military machinery like the USAF’s takes more subtlety, I think.

 

The cockpit was painted in medium Gray (Dark Gull Grey, FS 36231, Humbrol 140), as well as the radome. The landing gear and the air intakes were painted white. The radome was painted with Revell 47 and dry-brushed with Humbrol 140.

 

Decals were puzzled together from various USAF aircraft, including sheets from an Airfix F-117, an Italeri F-15E and even an Academy OV-10D.

  

Tadah: a hardware tribute to an idea, born from boredom - and the aircraft does not look even bad at all? What I wanted to achieve was to make the F-24 neither look like a F-20, nor a Saab Gripen clone, as the latter comes close in overall shape, size and design.

Breast cancer is relevant with all the illness wherever malignant cells build within the breasts. These malignant cells produce most generally inside the internal lining of milk ducts.Please visit our website for more details www.protonbeamtherapy.org/how-proton-treatment-works/

 

Presentación • Mi galeria • Lo mas interesante • Mis expos • Fluidr

 

All Rights Reserved. Copyright © 2015 Guijo Córdoba fotografía.

 

Please don't use this image on websites, blogs or other media without my explicit permission.

A breach of copyright has legal consequences.

____________________________________________________

 

Salineras de Añana: youtu.be/oakkjn052BU

1.52

 

Hey everyone! I've been practically off the Flickr grid for a year. I got lost in building up my business and I lost my love for creative portraiture. This year I'm dedicating to my photography and I can't wait to better myself and my techniques. Thanks for all the support, I can't wait to get to know you all better throughout this year (:

Bigger consequences

 

film

 

Same bridge from two different vantage points....with some metal sculpture thingies punctuating the midground. I've just noticed I have an affection for bridges.

About 15 feet long in the middle of the day. We have to go back soon for better light!

 

no time to think of consequences

acrylic on canvas, 12"x12"

¿Qué paso siempre con la deuda de la ofrenda?

A personal consequence of BREXIT?

Haus Lange in Krefeld is an address of pilgrimage for architectural studies and those people interested in Ludwig Mies von der Rohe’s style setting early work. Splendid and ageless architecture and garden environment.

Most recently this building became a new home for BREXIT refugee family that felt no longer welcome in England. Has it really become ‘a home’? If you watch the series of photos I took you might feel shocked as I was when I first lingered thru the stylish rooms. The car was still packed. The door was open… I entered as invited, saw valuable furniture, most goods still in boxes, piles of books. The pantechnicon obviously just left. Also very obvious: The landlady, mother and wife also left and will stay absent: ‘You will never see me again’ written on the mirror. That wasn’t a good sign. I felt sorry.

Then to my utmost horror I found the host floating dead in the pool… A husband, a father: dead! And nobody seems to care!

Even more desperate the boy hiding in the dining room – his distressed body language seems to ask: Can this my home? Where is my mother? Who is my mother? Where are my roots?

You may form your own opinion on this photo story – but being uprooted is the worst prerequisite for a new and positive start. Reasons are manifold. But if it comes to politics as a cause: Think before you vote, choose well whom you elect. It might affect your families’ life, too.

 

The artists Michael Elgreen and Ingar Dragset make us think with their fictive story and installation of an unhappy start in Haus Lange, Krefeld.

I as a photographer tried to transfer this mood and the atmosphre into 17 picture series ‘Die Zugezogenen’.

 

Krefeld, February 2017

Thomas Kopf

 

I try not to bring politics into Flickr but this image is perhaps timely in many ways - we seem to be moving into a world of extremes where differences have no middle ground. Just as these kids were partying hard and loud, like they were the only ones on an otherwise crowded beach and there was no tomorrow, I think it's dangerous not to think of the consequences. Hopefully, cooler heads will prevail.

©Sekitar --- All rights reserved. Please don't use this image on websites, blogs or other media without my explicit permission.

 

OLYMPUS DIGITAL CAMERA

Ambassador Hans Klemm awarded Erika Garnier of Motivation Romania with the title of Romanian Woman of Courage for 2016. Erika, a young woman in a wheelchair, has become a tireless advocate for people with disabilities. Since 2011, Erika has worked with Motivation Romania to help people facing mobility challenges to discover how they can become more active in their personal, social, and professional lives. Erika coordinates the training for clients and families on how to best use wheelchairs to achieve freedom of movement and personal independence.

 

The Embassy also awarded; Magda Ciobanu and Ramona Brad who founded the Romania Respira Coalition, a network of more than 250 organizations advocating to ban smoking in public places; Ioana Moldovan, a freelance photojournalist who has dedicated her career to showing the negative consequences of conflict on human lives and also covered the military and political developments in Ukraine, Turkey and the refugee crisis; SFC Mirela-Valentina Melinte, the first member of the Romanian Armed Forces to participate in a mission with a US Special Forces Detachment; and Madalina Turza, the President of the European Centre for the Rights of Children with Disabilities (CEDCD) – an important NGO advocating for the rights of children with disabilities in Romania, particularly for their access to equal education. Ms. Turza, whose daughter also has Down’s Syndrome, mobilized parents of children with disabilities across the country to develop and prompt the parliament to pass a bill to reform the education and protection systems for children with special education needs.

Conséquence de la Révolution volée... dite du jasmin!

 

Perdu dans les cultures importées, perdu dans la bataille des différentes tendances politiques, ces pauvres gosses que je considère comme marionnettes entre les mains de différents metteurs en scènes étrangers à notre culture longtemps considérée comme modérée et disciplinée. Mes enfants je vous dis que LE LYCÉE EST NI UNE BOITE DE NUIT POUR DANSER AVEC CES TENUS NI UNE MOSQUÉE POUR PRÊCHER NI LE JOUR NI LA NUIT....

    

NI SALAFISMES... NI HARLEM SHAKE dans nos lycées

    

www.kapitalis.com/societe/14214-preche-salafiste-wahhabit...

www.1001infos.net/tunisie/abdellatif-abid-denigre-par-la-...

www.francetv.fr/culturebox/tunisie-un-harlem-shake-trop-s...

      

Consequence of the stolen Revolution... said jasmine revolution!

 

Lost in the imported cultures, lost in the battle of the different political tendencies, these childlike poor ones that I consider as puppets between the hands of different strange directors to our a long time considered culture as moderate and disciplined. My children I say you that THE HIGH SCHOOL IS NEITHER A NIGHT CLUB TO DANCE WITH THESE HELDS NOR A MOSQUE TO PREACH NEITHER THE DAY NOR THE NIGHT. ...

NEITHER SALAFISM .... NOR HARLEM SHAKE In our high shcool

    

www.asiaone.com/News/Latest%2BNews/Edvantage/Story/A1Stor...

www.telegraph.co.uk/news/worldnews/africaandindianocean/t...

   

A series of three multilayer plywood artworks, 120x72cm. All the details were laser cut, spray painted and assembled by hand. Available at Lollipop Gallery, London.

MAK muestra "SHUNGA. Arte erótico de Japón"

Viena (OTS) - Con su aparente enfoque indiferente de la desnudez y la sexualidad, se dan Shunga del Asia Oriental (imágenes de Primavera) una moral sexual más libre que nos fue inculcado en Europa. La exposición MAK "SHUNGA. Arte erótico de Japón" demuestra la calidad artística de los grabados en madera explícitamente eróticas, a pesar de la prohibición de larga duración por el gobierno Japonés celebrando un fenómeno de masas. Hojas sueltas, álbumes y libros de maestros reconocidos como Suzuki Harunobu, Katsushika Hokusai o Kitagawa Utamaro, en gran parte en préstamo de la colección privada de Leopold dan en el MAK una visión representativa en esta faceta a menudo tabú de la historia del arte japonés. Fotografías de desnudos contemporáneas de Nobuyoshi Araki tienden un arco hasta el presente.

La colección MAK grabados en madera de color japoneses con alrededor de 4 200 hojas es una de las más importantes colecciones de ukiyo-e en Europa. Ukiyo-e (pinturas del mundo flotante), a las que se atribuye la Shunga, ilustran placeres urbanos y así como los fenómenos cotidianos burgueses alrededor del teatro y de ocio de Edo, la actual Tokio. El contenido sexual explícito en la shunga bloqueó los grabados mucho tiempo la entrada en las colecciones europeas. La colección MAK también alberga sólamente un rodillo de imagen de un maestro anónimo de la segunda mitad del siglo 17 - el objeto más antiguo de la exposición mostrado en el MAK.

El manejo formal de los cuerpos desnudos y en ocasiones complejos arreglos de pliegues del kimono se diferencian Shunga significativamente de representaciones naturalistas de hacer el amor. Características son el grado de precisión anatómico, a veces posturas extremas y los genitales presentados de gran tamaño. A menudo Shunga también muestran escenas de humor, como una niña mirando a través de ojo de cerradura de una pareja de amantes y llamando:

"Le diré a mamá".

Un laberinto de paneles lleva a los visitantes (hombres y mujeres!) a través de la exposición cronológicamente estructurado en el MAK Design Lab. El preludio del curso forman series de Shunga tempranas desde el siglo 17, siguiendo el ciclo de los doce meses y - con una página de título - dan trece estampados que constituyen un conjunto. Suzuki Harunobu (ca. 1725-1770), uno de los principales diseñadores de Shunga, profundizó los grabados en madera, inicialmente monocromáticos, en estampados multi-colores y sedujo, por ejemplo, con sus parábolas entre la poesía china y la erótica japonesa entre otros los ricos y educados capas de ciudadanos (hombres y mujeres) de Edo.

Casi todos los conocidos artistas de ukiyo-e también diseñan grabados en madera eróticos, por lo que la calidad artística de Shunga se explicó. Kitagawa Utamaro (1753-1806) transformó las escenas eróticas originalmente soñadores de Harunobus en imágenes más claras. Él da el género más naturalidad y también demuestra escenas domésticas semi-eróticos como la belleza (bijin) con la higiene personal. Los álbumes de Utamaro hoy día en el mercado del arte casi no más disponible son algunos de los trabajos más codiciados del arte japonés. Su serie "Negai sin itoguchi [despertar del deseo]" (1799) es completamente visible en el MAK.

Fantasías eróticas y el mundo de la mitología y fantasmas vincula el no sólo por su serie "36 vistas del monte Fuji" famoso Katsushika Hokusai (1760-1849). Durante la era Meiji (1868-1912) varía la calidad de la Shunga. El enfoque ya no es la belleza (bijin), pero se trata de motivos eróticos, como la joven estudiante o la mujer segura. Debido a las nuevas posibilidades técnicas de la fotografía, la xilografía de color como un medio de masas a partir del último cuarto del siglo 19 perdió en importancia. El artista Hashiguchi Goyo (1880-1921) hizo revivir la tradición de Ukiyo-e como uno de los primeros en "estampados nuevos" (Shin Hanga) y creó una imagen de la mujer moderna, segura de sí misma que recuerda las hojas de Utamaro.

La exposición MAK concluye con fotografías seleccionadas del artista japonés Nobuyoshi Araki (nacido en 1940), que en varios series de fotografía de desnudos hace referencia a la Shunga de la era Edo.

La mayoría de las obras demostradas en "SHUNGA Arte Erótica de Japón" proviene de la colección excepcional de Ukiyo-e de Rudolf Leopold (1925-2010), que ahora es propiedad de su hijo Diethard Leopold, que amplía la colección de manera constante. La representación desinhibida del sexo en los grabados en madera impresionó en Europa y sólo ha sido desarrollado por Schiele Egon en semejante forma directa metódicamente en enteras series de hojas. Los grabados en madera son una parte constitutiva de la colección de Rudolf Leopold, que amasó una visión global de Viena en 1900 alredero del núcleo de Schiele. Parte de la colección completa de Shunga se pudo ver en el Museo Leopold en 2012/2013 coordinada por Diethard Leopold en la exposición de Japón "fragilidad de la existencia".

Mientras Shunga probablemente en el momento de su creación fueron consideradas con pornografía, hoy la importanica historia del arte es en el punto de mira. En la operación de la exposición, hasta ahora, unos grabados en madera eróticos casi nunca aparecían ya que los límites entre el arte erótico y la pornografía a menudo estan difíciles de discernir. El Museo Británico se encontraba con su exposición a gran escala "Shunga: el sexo y el placer en el arte japonés" en 2013 en posición pionera en la presentación en Europa. En el propio Japón en 2015 el fue seguida por la primera gran exposición en el Museo Shunga Eisei Bunko en Tokio.

Con motivo de la exposición se ha publicado un catálogo epónimo, divulgado por el MA, con textos de Susanne Klien, Diethard Leopold y Sepp Linhart, cerca de 200 páginas, 80 ilustraciones. Disponible en el MAK Design Shop.

Esta exposición contiene imágenes eróticas explícitas que pueden ofender los sentimientos morales de las personas menores de 16 años.

 

MAK zeigt "SHUNGA. Erotische Kunst aus Japan"

Wien (OTS) - Mit ihrem scheinbar unbekümmerten Umgang mit Nacktheit und Sexualität vermitteln ostasiatische Shunga (Frühlingsbilder) eine freiere Sexualmoral, als sie uns in Europa anerzogen wurde. Die MAK-Ausstellung "SHUNGA. Erotische Kunst aus Japan" zeigt die künstlerische Qualität der explizit erotischen Farbholzschnitte auf, die trotz langen Verbots durch die japanische Regierung zum Massenphänomen avancierten. Einzelblätter, Alben und Bücher von namhaften Meistern wie Suzuki Harunobu, Katsushika Hokusai oder Kitagawa Utamaro, großteils Leihgaben aus der Leopold Privatsammlung, geben im MAK einen repräsentativen Einblick in diese oft tabuisierte Facette der japanischen Kunstgeschichte. Zeitgenössische Aktfotografien von Nobuyoshi Araki spannen den Bogen bis in die Gegenwart.

Die MAK-Sammlung japanischer Farbholzschnitte zählt mit rund 4 200 Blättern zu den bedeutenden Ukiyo-e-Sammlungen in Europa. Ukiyo-e (Bilder der fließenden Welt), denen die Shunga zuzuordnen sind, illustrieren urbane Vergnügungen sowie bürgerliche Alltagsphänomene rund um die Theater- und Vergnügungsviertel von Edo, dem heutigen Tokio. Die explizite Darstellung von Sexualität in den Shunga versperrte den erotischen Drucken lange Zeit den Eingang in europäische Sammlungen. Auch die MAK-Sammlung beherbergt nur eine Bildrolle eines anonymen Meisters aus der 2. Hälfte des 17. Jahrhundert – das älteste in der MAK-Ausstellung gezeigte Objekt.

Der formale Umgang mit nackten Körpern und die zum Teil vielschichtigen Anordnungen von Kimonofaltungen heben Shunga deutlich von naturalistischen Darstellungen des Liebesspiels ab. Charakteristisch sind die anatomische Detailgenauigkeit, manchmal extreme Körperstellungen und übergroß dargestellte Genitalien. Oft zeigen Shunga auch humorvolle Szenen, wie beispielsweise ein kleines Mädchen, das durchs Schlüsselloch ein Liebespaar beobachtet und ruft:

„Ich sag’s der Mama“.

Ein Labyrinth aus Panelen leitet die BesucherInnen durch die chronologisch gegliederte Ausstellung im MAK DESIGN LABOR. Den Auftakt zum Parcours bilden frühe Shunga-Serien aus dem 17. Jahrhundert, die dem Zyklus der zwölf Monate folgen und – mit einem Titelblatt – dreizehn zusammengehörige Drucke ergeben. Suzuki Harunobu (ca. 1725–1770), einer der wichtigsten Entwerfer von Shunga, entwickelte die anfangs in schwarz-weiß umgesetzten Holzschnitte zu Vielfarbendrucken weiter und sprach zum Beispiel mit seinen Parabeln zwischen chinesischer Dichtkunst und japanischer Erotik unter anderem die reiche und gebildete BürgerInnenschicht Edos an.

Fast alle bekannten Ukiyo-e-Künstler entwarfen auch erotische Farbholzschnitte, wodurch sich die künstlerische Qualität von Shunga erklärt. Kitagawa Utamaro (1753–1806) wandelte die ursprünglich verträumten erotischen Szenen Harunobus zu eindeutigeren Darstellungen. Er verleiht dem Genre mehr Selbstverständlichkeit und zeigt auch halberotische häusliche Szenen wie die Schönheit (Bijin) bei der Körperpflege. Die heute am Kunstmarkt kaum noch erhältlichen Alben Utamaros zählen zu den begehrtesten Werken der japanischen Kunst. Seine Serie "Negai no itoguchi [Erwachen der Begierde]" (1799) ist im MAK vollständig zu sehen.

Erotische Phantasien und die Welt der Mythologie und der Geister verknüpft der – nicht nur durch seine Serie "36 Ansichten des Berges Fuji" weltberühmte – Katsushika Hokusai (1760–1849). Während der Meiji-Ära (1868–1912) variiert die Qualität der Shunga. Im Zentrum steht nicht länger die Schönheit (Bijin), vielmehr geht es um erotische Motive wie die junge Studentin oder die selbstbewusste Frau. Durch die neuen technischen Möglichkeiten der Fotografie verlor der Farbholzschnitt als Massenmedium ab dem letzten Viertel des 19. Jahrhunderts an Bedeutung. Der Künstler Hashiguchi Goyō (1880–1921) ließ die Tradition der Ukiyo-e als einer der ersten in "neuen Drucken" (Shin hanga) wieder aufleben und schuf ein modernes, selbstbewusstes Frauenbild, das an die Blätter Utamaros erinnert.

Die MAK-Ausstellung schließt mit ausgewählten Fotografien des japanischen Künstlers Nobuyoshi Araki (geb. 1940), der in mehreren Aktfotografie-Serien auf Shunga aus der Edo-Periode Bezug nimmt.

Der Großteil der in "SHUNGA. Erotische Kunst aus Japan" gezeigten Werke stammt aus der herausragenden Ukiyo-e Sammlung Rudolf Leopolds (1925–2010), die sich heute im Eigentum seines Sohnes Diethard Leopold befindet, der die Sammlung stetig erweitert. Die tabulose Darstellung des Geschlechts in den Farbholzschnitten beeindruckte in Europa und wurde erst durch Egon Schiele in ähnlich direkter Form methodisch in ganzen Serien von Blättern umgesetzt. Die Holzschnitte sind ein konstitutiver Bestandteil der Sammlung Rudolf Leopolds, der um den Schiele-Kern eine Gesamtschau von Wien um 1900 zusammentrug. Ein Teil der umfassenden Shunga-Sammlung war in der von Diethard Leopold kuratierten Japan-Ausstellung "Fragilität des Daseins" im Leopold Museum im Jahr 2012/2013 zu sehen.

Während Shunga zur Zeit ihrer Entstehung wahrscheinlich als Pornografie galten, steht heute die kunstgeschichtliche Bedeutung im Fokus. Im Ausstellungsbetrieb kamen erotische Farbholzschnitte bisher kaum vor, da die Grenzen zwischen erotischer Kunst und Pornografie oft verschwimmen. Das British Museum war mit seiner großangelegten Ausstellung "Shunga: sex and pleasure in Japanese art" im Jahr 2013 ein Vorreiter der Präsentation in Europa. In Japan selbst folgte 2015 die erste große Shunga-Ausstellung im Museum Eisei Bunko in Tokio.

Zur Ausstellung erscheint ein gleichnamiger Katalog, herausgegeben vom MAK, mit Textbeiträgen von Susanne Klien, Diethard Leopold und Sepp Linhart, ca.200 Seiten, 80 Abbildungen. Erhältlich im MAK Design Shop.

Diese Ausstellung enthält explizit erotische Darstellungen, die das moralische Empfinden von Personen unter 16 Jahren verletzen könnten.

www.ots.at/presseaussendung/OTS_20160830_OTS0075/mak-zeig...

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Thean Hou Temple is amongst the largest Chinese temples in South-East Asia. This grand temple has elements of Buddhism, Taoism and Confucianism and indicates a great combination of contemporary architectural techniques and authentic traditional designs.

**Momento Sentimentale**

Poco tempo fa conobbi una ragazza che frequenta la mia stessa università. Tutto è iniziato con un banale messaggio sul cellulare. Accettato l'invito che le feci, incominciammo a frequentarci. Ci Conoscemmo e tutte le giornate passate insieme sono sempre state stupende. Lei, è quella persona, io credo, che noi tutti vorremmo al nostro fianco. Simpatica, Bella, Timida, Spiritosa, Intelligente e tante altre ancora. Quello che mi ha subito stregato sono stati il suo Sorriso, la sua Risata e la sua Leggerezza nel prendere le cose. Veniva tutto così normale, tutto. Così liscio, senza peso. Entrambi siamo sempre stati bene quando eravamo insieme.Poi tutto d'un tratto, Lei si è sentita sopraffatta da un qualcosa di grande che le ha fatto nascere dei dubbi, si è bloccata. Ha scelto di prendersi del tempo. Nel sentire questa frase la mia felicità, e tutto l'entusiasmo che avevo nei confronti dei giorni della mia vita, sono andati affievolendosi. Giorno dopo giorno mi chiedevo (e continuo ora) il perché. Io una risposta non me la so dare, Lei riflette, io sto male. Sono mesi che non si esce più insieme, che non mi diverto come prima. I miei sentimenti nei suoi confronti non sono , tutt'ora, mutati. Se me lo concedete, io l'Amo e niente e nessuno potrà farmi cambiare idea. Solo che poi ci sono le "Conseguenze". E' da tanto che aspetto di poter ascoltare le sue risate e ricevere un suo Bacio... Questa è la faccia dell'attesa, di chi crede a qualcosa, in un valore, che forse oggi non esiste più.

 

Alessio Anzini .

Thus the consequences for ignoring the rules. I love to break rules. I am not the type to read a sign like this and ponder whether I would get into trouble or any potential health risk. The first immediate thought that comes to mind is “FUN”. This beach to me is a much more interesting place with it taped off with caution tape and “KEEP OUT” signs surrounding it. To me that is like screaming “GO GO GO GO GO”.

 

I love doing things I shouldn’t be doing. I love being places I shouldn’t be going. I’m always raring to go if something someone suggests to me is against the norm. I want to go where other people don’t. I will always be the willing participant for something that others don’t want to try. Bring in some weird shit that no one else will eat? Let Ryan try. Who the hell will jump from there? I bet Ryan will. Why in the fuck would I want to go THERE? Ryan will go.

 

Never say never. I’m willing to try almost anything once. I’m a risk taker. I'm a god damn daredevil. I love change. I need excitement. I don’t want to live the same stupid boring life day after day after day after day after . . . . you get my point. Give me something no one else will dare do and I promise you I’ll do it, within reason. I don’t care what people think for the most part. And worryingly enough, I don’t usually take into account death or a potential hazard. That really makes for all the better reason to do something. I love it. If I could be a movie character I’d be Indiana Jones. But instead of the whip I’d have nunchucks, because they are just cooler.

 

I guess I’ll just settle for exploring contaminated beaches for now.

 

March 11th, 2009

This series of 7 photos is the result of an outing through the streets of Lausanne. The adventure began in the Flon district and ended 2 hours later in the Vallon district. These two districts are exciting places to play, because they have an alternative side that arouses my curiosity and inspiration.

 

The photos I've chosen represent different feelings and themes that I experienced as I explored them. I'll try to share these feelings with you through the titles of the photos. Perhaps you'll also feel them when you look at my photos?

 

Cette série de 7 photos est le résultat d’une sortie dans les rues de Lausanne. L’aventure a débuté dans le quartier du Flon pour finir 2 heures plus tard dans le quartier du Vallon. Ces deux quartiers sont des espaces de jeux passionnants car ils ont un côté alternatif qui éveillent ma curiosité et mon inspiration.

 

Les photos que j’ai choisies représentent différents sentiments et différents thèmes que j’ai pu ressentir au fur et à mesure de cette exploration. Ces sentiments je vais essayer de vous les partager au travers des titres des photos. Peut-être les ressentirez-vous aussi en regardant mes clichés ?

One consequence of the Countryliner crisis is that Stagecoach swoops are now in use on Fleet Buzz routes. This is Merc breadvan 40906 (N906 NAP) on Fleet Buzz route 73.

 

The Stagecoach South MD had always been very careful not to allow this to happen before, ensuring repaints happened first and also a Sainsbury's orange Dart and a purple breadvan got transferred. This was to maintain the experiment of running Fleet Buzz as a low cost unit.

 

But the situation with Countryliner has evidently meant this had been broken.

 

How long till a Stagecoach ends up in Reading?!

 

Kingsmead, Farnborough, Hampshire.

Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

Running gets you nowhere

Further into a pit of consequence

Face your fears and they will seem shallow

The sun will shine and your fears will fade

All you need is courage

Courage will carry you home

 

Day two hundred and fifty

Story thus far: Yoshiko must summon a demon on Halloween in order to join the Sisters of Darkness. She got a spell book from Rin, an accomplished mage, studied it, and cast some spells which summoned animals.

 

Yoshiko realized she was responsible for all the creatures she had summoned. "Where will I keep them? How will I feed them?" Yoshiko began to understand that there is responsibility with casting spells.

- - - - -

Story continues here.

“Happiness is the consequence of personal effort. You fight for it, strive for it, insist upon it, and sometimes even travel around the world looking for it. You have to participate relentlessly in the manifestations of your own blessings. And once you have achieved a state of happiness, you must never become lax about maintaining it. You must make a mighty effort to keep swimming upward into that happiness forever, to stay afloat on top of it.” - Elizabeth Gilbert

Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Palace Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe. And honouring its past as landscape park, it still has large gardened areas.

The State of Poverty in Pakistan PIDE Report 2021

pide.org.pk/research/the-state-of-poverty-in-pakistan/

file.pide.org.pk/uploads/rr-050-the-state-of-poverty-in-p....

Causes & Consequences of Poverty in Pakistan By Summia Batool Miankhail

www.qurtuba.edu.pk/jms/default_files/JMS/2_1/03_summia_ba...

Poverty in Pakistan : trends and issues

publications.iwmi.org/pdf/H043757.pdf

Governance and Poverty

in Pakistan By MIAN TAYYAB HASSAN

file.pide.org.pk/pdfpideresearch/mimap-13-governance-and-...

 

Pakistan Institute of Development Economics

pide.org.pk/?s=poverty

95m Pakistanis live in poverty: World Bank

tribune.com.pk/story/2437352/95m-pakistanis-live-in-pover...

POVERTY IN PAKISTAN

ISSUES, CAUSES AND INSTITUTIONAL RESPONSES

www.adb.org/sites/default/files/institutional-document/33...

Poverty in Pakistan, Malik Muhammad Ashraf September 01, 2023

www.nation.com.pk/01-Sep-2023/poverty-in-pakistan

Pakistan Gender and Social Inclusion Platform and

the Pakistan Poverty and Equity Program

documents1.worldbank.org/curated/en/099055002222210536/pd...

 

One of the consequences of the route 453 conversion to Boris Bus has been the cascade of a batch of WVLs from Q to MB, where they're slowly entering service, replacing horrid Scania Omindeckers for movement to Hedingham Omnibus (lucky them!)

Anyway this is WVL217 at the Ramsden Estate terminus in Rye Crescent. I had many delightful layovers here with kids kicking footballs against my bus, amongst other things! 17/12/14.

THE EASTERN GRAY/EASTERN GREY SQUIRREL (SCIURUS CAROLINENSIS)

  

By Paul Williams

  

The Grey (or Gray) squirrel, you either love 'em or you hate 'em. Cute and fluffy little funsters or destructive critters who ruin trees, kill bird chicks and trees and damage our homes... oh and it's their fault we lost our native Red squirrels as well!

  

OK

  

I get it and I see both sides of the story of course. For my part, I am a nature, wildlife and landscape photographer who prefers the company of animals and natural beauty to fellow humans who are systematically plundering Mother Earth's resources and killing off her beautiful creatures at an alarming rate! I believe there is a natural order of things, creatures kill other creatures to survive, they adapt to situations and when mankind encroaches on their territory to make a fast buck, those animals sometimes adapt to survive and the order changes. That is the balance of nature which is ever changing and affected by us..... the dumbest of the great apes. Some species are driven out by others, some may be destined to become extinct, the fittest will survive, and sometime a species will need intervention and help from mankind in order to survive... usually as a direct consequence of mankind's own actions in destroying the animal kingdom's natural habitat of course.

  

I adore these little fellas and at almost sixty years old, I never grew up knowing red squirrels at all. I've seen reds in Scotland and black squirrels in Stanley Park on Vancouver Island in British Columbia, Canada, but in my beloved home country of England I have always known and loved the cute little Greys. They visit my garden and give me hours, days, weeks of happiness and wonderful photographic opportunities, and I see them in Parks and forests all around me, so it's time to offer up an insight into the Grey squirrel, much loved, much hated... a sort of Marmite rodent if you will.

  

WHAT EXACTLY IS A SQUIRREL?

  

The word 'Squirrel', was first recorded in 1327 and hails from the Anglo-Norman word 'Esquirel', from old French 'Escurel', which was a reflex for the Latin word 'Sciurus'.The Eastern gray squirrel (Sciurus carolinensis) is also known as the Eastern Grey squirrel or simply grey squirrel depending on the region of the world it is found. It is a tree squirrel, of the squirrel family Sciuridae including over one hundred arboreal species native to all continents of the world other than Antarctica and Oceania. Tree squirrels live mostly in trees, apart from the flying squirrel. The best known genus is Sciurus, containing most of the bushy tailed squirrels which are found in Europe, North America, temperate Asia as well as central and south America.

  

The scientific classification for the Eastern Grey is:

 

KINGDOM: ANIMALIA PHYLUM: CHORDATA CLASS: MAMMALIA ORDER: RODENTIA FAMILY: SCIURIDAE GENUS: SCIURUS SUBGENUS: SCIURUS SPECIES: SCIURUS CAROLINENSIS

  

They were first noted by German naturalist, botanist, entomologist, herpetologist, and malacologist - Johann Friedrich Gmelin in 1788.

  

A mammal and rodent, predominantly herbivorous they are none the less an omnivore with a life span of between two and ten years. They can grow to 70cm in length and weigh up to 8kg. There are more than two hundred and sixty species of worldwide squirrel, the smallest being the African pygmy squirrel at just 10cm in length, whereas the Indian giant squirrel is three feet long! The oldest fossil of a squirrel, Hesperopetes, dates back to the late Eocene epoch period Chadronian period of 40-35 million years ago. The tree squirrels rotate their ankles by 180 degrees, so that the hind paws pointy backwards gripping tree bark which enables them to descend a tree headfirst.

  

Originally native to Eastern and Midwestern United States of America, they were first introduced into the United Kingdom in 1876 in Henbury Park, Macclesfield in Cheshire when Victorian banker Thomas V. Brocklehurst released a pair of Greys that he brought back from a business trip to America after their attraction as pets had waned. Victorians had a penchant for collecting exotic animals and birds of the world, but trends came and went and subsequently animals were simply discarded into the wilderness. There are early records of greys released near Denbighshire in north Wales from private collections. Later introduced to several regions in the UK, they quickly settled and spread, colonizing an area of three hundred miles in a quarter of a century between Argyll and Stirlingshire in Scotland.

  

Introductions of the Greys between 1902 and 1929 (the year of the last recorded introduction), included: Regent’s Park in London, Berkshire, Northamptonshire, Oxfordshire, Oxfordshire, Devon, Warwickshire, Nottinghamshire, Suffolk and Hampshire. Grey Squirrels spread into Gloucestershire and eastern Wiltshire with animals coming directly from the United States or from Woburn. One hundred greys were released in Richmond Park in Surrey in 1902, Ninety one into Regent’s Park between 1905 and 1907 and a further ten New Jersey imported greys were introduced into Woburn Park in Bedfordshire.

  

Predators include hawks, weasels, raccoons, bobcats, foxes, domestic and feral cats, snakes, owls, and dogs, African harrier-hawks in Africa and... oh yes, Mankind pretty much everywhere who despise, mistreat, cull or eat it .

  

FACTS, MYTHS AND THAT POXY PARAPOX!

  

The massive decline in native red squirrels blamed upon the spread of the invasive greys has always been perhaps a little harsh as reds were already in a steep decline due to loss of habitat and disease and thus the greys simply took over the areas where the reds were dwindling. It's also a fact that reds were also seen as a plague, branded as pests who killed birds and damaged trees and the culling of reds almost brought them to the brink of extinction. Licenses to kill reds could still be obtained up until the seventies!

  

Reds suffered at the hands of mankind thanks to a combination of agricultural deforestation also linked with war and fuel needs which caused extinction in Southern Scotland and Ireland by the early eighteenth century, way before greys had been introduced. Harsh winters killed off the less hardy red population in the early nineteenth and twentieth centuries.

  

Greys are more adept at finding food and adapting to locations and environments, but also carry the squirrel poxvirus (SQPV) which although not particularly harmful to them, is a serious infection for the reds.

  

Parapox in red squirrels causes swollen lesions around the mouth, eyes, ears and nose also the front paws and sometimes genitals and skin ulcers and kills a red within fifteen days. There is no definitive correlation between the spread of the virus and the spread of the Greys, it actually arrived in several areas before the greys began to colonize there. An epidemic virus was observed in Red squirrels from at least 1900 with isolation attempts failing, and the first case of Parapox in the UK was in 1980 in the county of Norfolk. Greys cannot transmit the virus to reds via saliva or faeces, but reds can between each other from bodily secretions and at animal feeders in gardens. The transmission from greys to reds is though to come from parasites. Eight to ten per cent of reds survive the virus, and there is some evidence that reds are slowly building an evolved resistance.

  

Greys are seen as pests to forest land, stripping bark from trees during May and June, and are also capable of destroying household bins, water pipes, causing roof damage not to mention taking eggs and killing young chicks of ground nesting and songbird populations. They also take from bird feeders and there is a whole industry for creating squirrel proof feeders these days.

  

THE CULLING OF GREY SQUIRRELS

  

Grey squirrels have limited legal protection and can be legally controlled all year round by a variety of methods including shooting and trapping. Methods of trapping and killing include Drey poking and shooting, Tunnel trapping using spring traps set in accordance with BASC’s trapping pest mammals code of practice. They can also be shot using a shotgun or powerful air rifle or up until September 30th 2014 poisoned by Warfarin (Now outlawed).

  

Whilst professional trapping and extermination is hopefully done as humanely as possible, there have been cases, many of them where cost savings have been gained by battering the squirrels to death! Grey squirrels are trapped in ghastly metal contraptions for hours and hours, wearing themselves out frantically trying to escape by gnawing at the metals bars. They bite the floor and scratch at them with their claws and do not get a moments peace or rest through absolute fear. Once the traps are retrieved, each squirrel, terrified will be thrown into a sack and smacked on the head countless times with a blunt instrument. When a mother is slaughtered, her babies who are totally dependent on her, will die a slow death of thirst and starvation.

  

There is an argument for the control of Greys on many grounds but also a counter argument that Culling does not work, and has not on countless times where, once a population of greys have been culled, the nearest group will move back in and claim the land. The university of Bristol concluded that there was little evidence that culling greys to save red squirrels was effective, and that perhaps finding a way of boosting red squirrel immunity to the poxvirus or planting areas of yew trees where reds are known to thrive and spending money on research into positive moves might be a better option.

  

In Ireland, the re-introduction of the Pine marten, a species made extinct originally by the very same land owners who also wish to do the same to the grey squirrel, has seen the rapid demise of the grey and the reintroduction of the native reds. Red squirrels are smaller and more nimble than their grey counterparts, and as such can get to the very ends of tree branches where neither the pine martins, nor more importantly the heavier greys can, thus surviving and thriving. As a result in Ireland, the grey squirrel population has crashed in approximately 9,000 km2 of its former range and the reds has become common once more after a thirty year absence... oh and Pine Martens are protected again!

  

In Scotland, Pine Martens exist in areas where Red squirrels thrive, and greys do not. So perhaps there is a lesson here, as in England where there are no pine martens, the greys are prolific breeders. So there is an argument against the barbarity of shooting and poisoning greys, and if, as so many believe, the greys MUST be controlled, how about a more humane and natural method that nature intended.. with re-introduction of predators. Just a thought!

  

So a few facts and figures on the greys and to wrap up, from a purely personal perspective I love these little guys, as I do almost every creature in nature other than those eight legged beasties that shall not be named and for which I have a deep and powerful phobia that borders on paranoia!

  

I could no more harm an animal deliberately than eat a McDonald's McRib (Once saw how they are made and let me just say... eeeuuuuuwwwww!!).

  

They are small, cute, cuddly, furry, they photograph beautifully, have great personality and make me smile.

 

They trust me enough to take food from my hand in parks, and I can't bare the though of ugly, hairy land owners sticking a shotgun in their face and blowing them away! I appreciate they can be a pest, a problem, a menace, that their PR managers might have a bit of a problem winning you over when they flay small chicks alive on your lawn or decimate the songbird population by stealing their eggs....

 

and perhaps there is a need to keep the population under control and try and re-establish the red population.....

  

Yep I get that....

  

I just hope we can solve the problem more humanely to create a peaceful coexistence of the reds and greys in different areas. A man can dream can't he.

  

Paul Williams June 18th 2021

©DESPITE STRAIGHT LINES (Paul Williams).

  

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

 

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Photograph taken at an altitude of Five metres, at 13:34pm on Monday 9th January 2023, off the Mall and Horse Guards Road within the grounds of St James's Park in Central London, one of the Royal parks of London situated in South West London.

  

Here we see, Sciurus Carolinensis (Eastern Gray Squirrel or Grey Squirrel), a tree squirrel native to North America and first introduced to the UK in the 1870's. Though it was largely responsible for the decimation of our own native red squirrel population, those are now on the increase and found in certain parts of the UK including Scotland. The Greys are still an ecologically essential natural forester regenerator.

  

Nikon D850 Single-lens reflex digital camera F Mount with FX CMOS 35.9mm x 23.9mm Image sensor 46.89 Million total pixels Focal length 250mm Shutter speed: 1/250s Aperture f/6.3 iso400 Hand held with no Tamron vibration control set Image area Full Frame FX (36 x 24) NEF RAW L 45.4Million pixels (8256 x 5504) 14 bit uncompressed AF-C Priority Selection: Release Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Matrix metering Active D-Lighting: Auto Vignette control: ON Normal White balance on: Auto1, 0, 0 Normal (4680k) Colour space: Adobe RGB Picture control: (SD) Standard (Sharpening +3) High ISO Noise Reduction NR: Normal

  

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

  

LATITUDE: N 51d 30m 5.40s

LONGITUDE: W 0d 8m 13.70s

ALTITUDE: 5.0m

  

RAW (TIFF) FILE: 130.00MB NEF: 65.6MB

PROCESSED (JPeg) FILE: 39.80MB

     

PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.21 (8/12/2022) LD Distortion Data 2.018 (16/01/20) LF 1.00 Nikon Codec Full version 1.31.2 (09/11/2021)

  

HP 110-352na Desktop PC with Windows 10 Home edition AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. My Passport USB 3.0 2TB portable desktop hard drive. Nikon NX STUDIO 64bit Version 1.2.2 (08/12/2022). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.16.0 (08/12/2022). Adobe photoshop Elements 8 Version 8.0 64bit.

 

Adriaen Brouwer. 1605-1638. Anvers et Amsterdam. A la taverne. A tavern Munich Alte Pinakothek.

  

Adriaen Brouwer est un autre témoignage de l'originalité de la peinture des Pays Bas, flamands et néerlandais, dans la peinture européenne du début du 17è siècle, et des orientations tout à fait nouvelles que les Pays Bas ont donné à l'art européen, en conséquence de modifications intervenues dans les valeurs inspiratrices de la société.

Non seulement les sujets religieux, mythologiques et historiques sont totalement écartés, mais les thèmes essentiels de cet artiste ne sont ni l'aristocratie, ni même la bourgeoisie, qui est la classe dirigeante de la société de son époque, et où se trouve le public indispensable à la carrière d'un artiste.

La peinture de moeurs est déjà, en dehors des Pays Bas, un domaine peu représenté, mais en outre Adriaen Brouwer prend ses modèles dans le milieu le plus populaire de la paysannerie et du petit peuple des villes et des villages.

Il est vrai que c'est une vieille tendance flamande bien illustrée par Bruegel Pierre, père et fils. L'originalité de la peinture des Pays Bas tient donc non seulement à la religion protestante, qui en a modifié profondément et rapidement les valeurs, mais aussi à la culture de ce peuple qui se manifeste de manière voisine en Flandre et en Hollande.

Mais les Bruegel Pierre, père et fils, avaient conservé un autre registre, notamment religieux, ou moraliste, et mythologique, qui leur permettait de côtoyer la "grande peinture". D'autre part la paysannerie que Bruegel met en scène est clairement une paysannerie aisée. Ce n'est pas le cas chez Brouwer, qui ne semble d'ailleurs pas avoir vécu de son art. Il mourut jeune et pauvre. Mais son influence posthume fut certaine, notamment sur Teniers le Jeune et Adriaen van Ostade. Ces peintres démontrent qu'il y avait tout de même aux Pays Bas une clientèle suffisante pour ces tableaux de genre illustrant la société la plus populaire de ce temps et ses plaisirs simples, voire grossiers. Avec Brouwer nous ne sommes plus dans les Pays Bas, assimilés à un "Pays de Cocagne", tel que le représentent la majorité des artistes, Bruegel Pierre en premier, puisque c'est le titre d'un de ses tableaux (Alte Pinakothek de Munich).

Une autre originalité de Brouwer est son style. Il a fait de l'esquisse une forme d'art achevée, à une époque où elle n'était qu'une étape dans le processus de la création artistique. L'influence d'un Frans Hals ? On a dit que Brouwer avait travaillé à Haarlem dans l'atelier de Hals à Haarlem.

Bref, un peintre très "moderne".

Les tableaux de Brouwer n'étant jamais signés, les attributions des oeuvres sont parfois problématiques et sujettes à révision.

 

Adriaen Brouwer is another testimony to the originality of the painting of the Netherlands, Flemish and Dutch, in European painting from the early 17th century, and completely new directions that the Netherlands have given to European art, as a result of changes in the inspiring values of society.

Not only the religious, mythological and historical subjects are totally excluded, but the essential themes of this artist are neither the aristocracy nor the bourgeoisie, which is the ruling class of society of his time, and where the public, essential to the career of an artist, is located.

The painting of manners is already, outside of the Netherlands, a little represented domain, but in addition Adriaen Brouwer takes its models in the most popular medium of the peasantry and the little people of the cities and villages. It is true that it is an old Flemish trend, well illustrated by Peter Bruegel, father and son. The originality of the painting of the Netherlands therefore wishes not only to the Protestant religion, which changed quickly and deeply the values, but also to the culture of this people, which manifests itself in nearby way in Flanders and Holland.

But Bruegel Pieter, father and son, had retained another register, including religious, moralistic, and mythological, which allowed them to meet the "great painting". On the other hand the peasantry as Bruegel depicts is clearly a wealthy peasantry. This is not the case with Brouwer, who also does not seem to have lived his art. He died young and poor.

But his posthumous influence was certain, particularly Teniers the Younger and Adriaen van Ostade. These painters demonstrate that there was nonetheless in the Netherlands enough customers for these genre pictures, depicting the most popular society of that time, and its simple pleasures and even rude.

With Brouwer we are no longer in the Netherlands, related to a "land of plenty", as represent the majority of artists, Peter Bruegel first, since that is the title of one of his paintings (of Alte Pinakothek Munich).

Another originality of Brouwer's his her style. He made the sketch a complete art form, at a time when it was generally a step in the process of artistic creation. The influence of Frans Hals? It was said that Brouwer had worked in the shop in Haarlem Hals in Haarlem.

In short, a painter "modern".

Brouwer's paintings are never signed, the powers of the works are sometimes problematic and subject to revision

   

Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.

‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.

 

Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.

  

The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

 

One consequence of the Queen's passing is that all Royal Warrants which were granted in her name immediately became void, although the coat of arms and legend may continue in use for a period of time. Prince Charles was able to grant Warrants as the Prince of Wales, so will those also now become void, or be retained under that title, or be 'upgraded' in line with his new role as King ? Will some process be undertaken to re-grant the existing ones ? Nobody has had to think about these matters for 70 years, have they ?

 

I used to make a point of photographing warrants on the sides of coaches whenever I saw them (and remembered to look for them !), but as with most things, I have now fallen behind on the current scene, and only have one of the current holders in my files. D & H Harrod were granted their warrant in 2010, which I think took the place of Carnell's of Sutton Bridge in providing coaches for Sandringham's needs.

 

The other current holders are Westway Coaches, for London (and presumably Windsor too), and Stagecoach Bluebird Buses for Balmoral. In earlier times, I think London and Windsor were sourced separately, as I seem to recall Charles Rickards holding a warrant at the same time as Carter's of Maidenhead, who I presume were for Windsor.

 

I may be wrong in some of my recollections, so feel free to correct and enhance if you can. The names of other warrant holders from the past would be nice as well, as a complete list of the privileged few would be good to see. Maybe this is the time for The Kings Ferry to get in on the act ?

 

www.youtube.com/watch?v=6KPQnF-kKFw

The quadruplet 'Sisters of Destruction' are immortal nymphs who fed on human flesh, namely young men. They would seduce, kill and then consume weary travelers. For their acts they were in time punished by the powers that be and sentenced to control each of the four seasons for eternity. Their anger towards their punishers and their sentence explains the sometimes unpredictable weather patterns and natural disasters we see today.

 

Core characters based off the same girl. Full design is a repeating pattern but not currently for sale on any products. These will also be part of a promotional wallpack for my new website, coming soon!

Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.

‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.

 

Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.

  

The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.