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wearing graphic tee and scarf by Frau E.; purse by La Boutique; boots from Urban Antoinette Adele; sunglasses from Easy Elegance Korinne; leggings unknown
Hard work is performed in the control room in an amazing abandoned steelworks in Austria. The place has thousands of interesting things to photograph. Maybe the most dirty place I have visited so far, but i enjoyed every second of being there.
Austrian Urbex weekend tour with:
bRokEnCHaRacTer and
More shots from this place here: uexplorer.wordpress.com/2012/08/26/steelworks-at/
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These images were captured in an abandoned power plant in Italy. There is not much left of the plant which once generated up to 80 megawatts. However, the control room and a cooling tower are still in place.
More images at
Mind Control.
Perceptions de circulation sans pouls facultés vitalité,
вибрации звуковых пробудившиеся телесной ум конфликты,
in phantasmatis enim obscurum est miraculum in vigiliis, infundat,
naturalezza guarda emozioni enormi bobine,
θέσεις μέχρι τώρα απελπιστικά χρόνια λουσμένο,
taka leynd samsetningar vön fáfræði læknis,
知的な印象崇高ファンタジア恐れ,
kleinigkeit geliefert schlaganfall beschleunigt halluzinationen pyramiden komfort,
deceiving bombastic languages doctor's emerging steadily,
voldoende brandende salon dromen onuitsprekelijke aanwezigheid reisde,
armonie musicali insondabile ammuffito eccelle simmetria,
visions célestes exquis translucide arcs en ciel d'albâtre gloire,
συνεγκαταστάσεις αρχιτεκτονικές άμεση πληρότητα καταπίνονται ολόκληρα,
amaranthine öldurnar gróskumikill beitargróðri kemur,
delirium auream circa portas paradisi seraphim mitis,
рапид причвршћивање инструменти пројекције погледах одмах,
sentrale begrensninger vilje høye huler strålende lys,
assurance needles deep thou now doest what thy commands!
Steve.D.Hammond.
French postcard by Editions F. Nugeron, no. Star 130. Photo: Air France / Distribution VU. Caption: Orson Wells (sic), Septembre 1967.
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The Great Mormon butterfly, Papilio memnon, is a large swallowtail butterfly (family Papilionidae) with wingspan up to 135mm, native to and common throughout Southeast Asia. Larvae feed on citrus species, particularly pomelo (citrus grandis) and common lime (citrus aurantifolia) which are broadly cultivated across Asia. Adults lay single eggs on the underside of leaves, which hatch in three days. For the first four instars, caterpillars resemble bird droppings. Pupation occurs after about 2.5 weeks. Adults inhabit forest clearings and disturbed areas, eating nectar from a wide variety of flowering species.
Alfred Russel Wallace first described the remarkable polymorphic nature of P. memnon, which exists as 13 subspecies and in addition, females show a large diversity of morphological and coloration forms, many of which are mimetic of other unpalatable papilionid species (Batesian mimicry). Female morphological variations include: presence or absence of tails, hindwing pattern, forewing pattern, color of the basal triangle on the forewing, and abdomen color. Extensive study of this species has contributed insight into the genetic determination of mimicry. These studies give classic evidence for existence of a “supergene” complex, which slowly built up over the course of evolution allowing butterfly species to mimic their models very accurately. This complex includes multiple linked genes that control the morphological variations listed above via genetic crossover, rather than these traits diversifying individually by point mutations, or other genetic mechanism.
One thing that can damage your photography is burning your flame of inspiration at too high temperature. I experience this from time to time and usually it's the case of not letting go of my original vision. I might, for example, have a picture that is 'ok' but not quite there and I insist on editing on it too long in hope for salvation – only to find out after couple of days that I'm actually fed up with the picture and it's not serving my photographic pleasure at all anymore. Usually this results a drop of inspiration for couple of days as I get a feeling that I cannot get anything done. I used to suffer this kind of drops more often before I understood that it is actually the same flame of inspiration that can make my photography 'fly in the zone' and also 'crash it into to ground' – and what actually happens depends on how high temperature I let the flame burn. Controlling my expectations and learning to let go have definitely been educational experience to me and nowadays I feel that it's usually more productive to move on the next idea than try to edit things beyond what is reasonable.
I feel that similar kind of stuff can be projected to the camera setup your using. When you are getting great results the setup is also great and inspiring. But when things don't go as you've planned, the grass starts to look more green on the other side of the fence. It's very humane feeling, but as you already know, often a wrong projection. So the question is, does the high quality equipment such as Sony & Zeiss stuff change this cognitive behavior in some way. Based on my experience over the few months, I would say that while it has become a lot harder to blame my tools, I'm still experiencing same kind of highs and lows as I've always have – not a big surprise really since one cannot really buy mental things like inspiration and passion. But using high quality tools have definitely given me certain kind of mental reference points which makes it easier to orientate myself in my own cognitive sceneries. For example, I don't have to worry about the gear or daydream about it, which clears space for other kind of thoughts and targets in healthy way. 'Having it all here' helps me to concentrate on photography itself rather than the tools themselves, and I feel this raises a new kind inspiration in me. Of course one can be disappointed with any gear, even the Zeiss Otus lenses, if one has unrealistic expectations and projections, but so far I have to say that using this setup is more liberating than it is driving my inner expectations. It's all about the flame and controlling it.
Days of Zeiss: www.daysofzeiss.com
Roughly 8.5 x 11 inches. I was thinking a bit about the work of Hooded Fang when I collaged in the guy working at the bank of machines that control our lives.
Esglesia Sant Serni de Llorts, Llorts, Ordino, Vall nord, Andorra, Pyrenees - (c) Lutz Meyer
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ISO 80
sports mode
voice controlled
Herma von Hermann.
Heinrich Hermann, 1870 in Stuttgart geboren, Gründer von HERMA, Familienvater und gläubiger evangelischer Christ, war Unternehmer mit Leib und Seele.
1906
„Die ersten Etiketten verkaufte ich Anfang Februar an Daimler“
1928
Als Patriarch und klassischer württem-bergischer Protestant ruft Hermann eine Unterstützungskasse ins Leben, „die eine Gewährung von Zuschüssen an alle Arbeitnehmer vorsieht, welche infolge Krankheit, Alter, Invalidität oder eines Unfalls in eine unverschuldete Notlage gekommen sind“.
Für ein Unternehmen mit gerade einmal 120 Mitarbeitern ist das keine Selbstverständlichkeit.
Sein soziales Engagement geht über das rein Finanzielle weit hinaus: Ende der 20er Jahre erreicht er durch beharrliche Intervention bei den Behörden den Bau einer Ganztags-Kinderkrippe in Wangen, die bis heute besteht.
Ab 1951
Haftmaterial
Inspiriert von neuartigen „Super Markets“ in den USA wird die „Heinrich Hermann Papierwarenfabrik“ zum ersten deutschen Unternehmen, das ein eigenes Verfahren zur Haftpapierbeschichtung entwickelt und mit „arco“ selbstklebende Etiketten anbietet
1961
In Bonlanden wird Richtfest gefeiert für das neue Werk für die Haftpapierbeschichtung
2018 / 2019
In Bonlanden wird Richtfest gefeiert für das neue Werk2 für die Haftpapierbeschichtung, Robotik und Maschinenbau.
##
9 nach Christus: "Hermannschlacht" (Varus-schlacht) gegen die Römer
Arminius wird im Mittelalter durch "Herman" ersetzt ind idealisiert als Gründer der Deutschen.
Der später weitverbreitete Name „Hermann“, aus germ. *Charioman „Heer-mann“
lat. dux belli, für Arminius kam erstmals 1530 im Umfeld Martin Luthers auf.
Herman is masculine given name, from an ancient Germanic name consisting of the elements harja- "army" and mann- "man". Hermine is the feminine form of Herman.
It is first recorded in the 8th century, in the forms Hariman, Heriman, Hairman, Herman.
Variant forms include German Hermann,
French Armand,
Italian and
Iberian Armando,
Italian Ermanno.
The name of Arminius, the 1st-century leader of the Cherusci, became identified with the name Hermann in German historiography in the early modern period; thus, Arminius is traditionally known as Hermann der Cheruskerfürst in German.
The name of Arminius is in fact from a stem ermen- "strong".
en.wikipedia.org/wiki/Herman_(name)
Conflation of this element with the name Herman may indeed date to the medieval period, via variant forms such as Ermin, Ermen, Erman, Ermanno, feminine Ermina, Ermana, Hirmina, Hermena.
Arminius (German: Hermann; 18/17 BC – AD 21) was a Germanic chieftain and Roman military officer.
en.wikipedia.org/wiki/Arminius
He was designated by Roman historians as the liberator of the Germanic tribes and commended for having fought the Roman Empire to a standstill at the peak of its power.
("Hermann the Cheruscan")
Born a prince of the Cherusci tribe, Arminius was made a hostage of the Roman Empire as a child. Raised in Rome, Arminius was drafted into the Roman military at an early age, during which he was granted Roman citizenship and made a Roman knight.
After serving with distinction in the Great Illyrian Revolt, Arminius was sent to Germania to aid the local governor Publius Quinctilius Varus in completing the Roman conquest of the Germanic tribes
. While in this capacity, Arminius secretly prepared a Germanic revolt against Roman rule, ambushing the Romans at the Battle of the Teutoburg Forest in 9 AD, in which three Roman legions were destroyed. In the aftermath Arminius successfully fought off retaliatory invasions by the Romans and deposed the rival chieftain Maroboduus. Assassinated by pro-Roman chieftains in 19 AD, Arminius was remembered in Germanic legends for generations afterwards.
PS
Hermann etymologically means "Man of War", coming from the Old High German heri "war" and man "man".
"Heer-win" - bedeutet Erwin - Freund des Heeres.
-
In der Literatur des Mittelalters spielte der Cheruskerfürst keine nennenswerte Rolle.
Erst die Wiederentdeckung der Germania des Tacitus im Jahre 1455 im Kloster Hersfeld und der Annalen mit den Abschnitten über Arminius im Jahre 1507 im Kloster Corvey weckten das Interesse an den Germanen und an Arminius. Beide Werke bildeten seit dem Zeitalter des Humanismus eine der wichtigsten Grundlagen für das um die Person des Arminius entstehende deutsche Nationalbewusstsein.
Tacitus schrieb über Arminius:
„Er war unbestritten der Befreier Germaniens“ (liberator haud dubie Germaniae).
Unter Bezug auf diese Worte wurde Arminius (Hermann) in der deutschen Literatur seit dem 16. Jahrhundert zur nationalen Symbolfigur erhoben.
Dagegen
www.welt.de/kultur/article3542126/Wir-stehen-den-Roemern-...
Air China 737 MAX B-1398 waits at the gate at Beijing Capital, ready for its next flight to Phuket. The airport's huge control tower looms in the background.
Aircraft: Air China (CA/CCA) Boeing 737 MAX 8 B-1398.
Location: Beijing Capital International Airport (PEK/ZBAA), China.
Minolta was the other producer that bothered to make a reflex camera for the 110 film format. After the flat shaped mark I model, Minolta reverted to conventional SLR style closer to Pentax. While Pentax developed a full SLR system with interchangeable lenses. Minolta did not go that far and developed a fixed lens zoom SLR that is considerably larger than the Pentax, but also superior in technical terms. Aperture priority, full exposure compensation, 50-112 mm constant 3.5 zoom, viewfinder blind, dioptric adjustment and a macro a mode down to 27 cm. Like the Pentax, the viewfinder is huge (for the size of the camera),it sports all the normal focusing aids, split image rangefinder and micro-prisms as well as the shutter speeds. It is a bit dimmer than the Pentax’s, no doubt due to the zoom f3.5 aperture. The chunky dials were lifted from 35 mm Minoltas of the period, being enormous in relation to the camera size. Still, the camera might be very, but no control demands fairy fingers, they are all well sized. The advance lever is in the bottom of the camera, like the first Canonet.
Was this all worth the bother? Of course not, 110 film was incapable of achieving adequate film flatness, thus rendering some fine lenses useless as it was a lost battle.
this is the bus i had as my original flickr name,was the bus that inspired me to create flickr as at the time these were on there final months of service in Glasgow during 2009 this was the one i tried to buy but a few things went wrong nothing to do with the bus and completely out of my control shame really as i could have had this restored by now and especially at the price at the time was rather cheap.
I was driving from Jacksonville Florida to Lake City Florida when I came across a section of Pine forest that had recently undergone a controlled burn. I'm not sure I caught the image the way i wanted. I didn't have a tripod with me so you loose some detail in the pines in the background where i think the picture really is.
Flight director Ginger Kerrick monitors data at her console in the space shuttle flight control room in the Mission Control Center at NASA's Johnson Space Center during STS-133 flight day three rendezvous and docking activities. Photo credit: NASA or National Aeronautics and Space Administration
Credit: NASA
Image Number: jsc2011-e-022343
Date: February 26, 2011