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The gorgeous Dapper Museum is forever closed.
Lo stupendo museo Dapper è chiuso per sempre.
El estupendo museo Dapper está cerrado para siempre.
Das wunderbar Dapper Museum ist für immer geschlossen.
Monday 6th August 1979, and the start of a nice cushy week on my favourite duty, the "Thornbury locals". You worked your way out from Bristol on a trip mainly laid on for Marlwood School, Alveston, then spent the morning dapping about on a network of delightful little routes linking Thornbury to the surrounding villages. I think that day's itinerary was two trips from Thornbury to Tytherington and two to Berkeley via Hill. Thursday was the same. Tuesday was Thornbury-Sharpness, via Lower Stone, then Sharpness to Dursley. The latter service had a 4XX Stroud-area number. Back the same way. Wednesday was two trips down to Sheperdine and back. Friday took you over to Yate, via Tytherington and Iron Acton. There were various ten-minute flea-hops up to Tytherington and back thrown in here and there to profitably ...or, rather, loss-makingly... occupy the driver's time. You then worked back to Bristol on the 310, via Olveston, Tockington, Lower Almondsbury and Little Stoke. It was "union agreement" that, since the driver spent the whole duty away from his home depot and its canteen facilities, a certain amount of non-driving time must be incorporated into his day. This enabled you to pop into a branch of Witts's, buy a nice pasty and one or two other dainties and roar off to some secluded lay-by to spread out on the back seat with the Telegraph and a Henri Winterman half corona. It was money for jam.
I didn't do too bad for buses that week. The day after this I had to sway and float around the lanes, to the dispiriting groan of its transmission, in a bloody 10.3-metre Leyland National. Wednesday was a (not quite so bad) B-series National. Otherwise it was these agreeable short REs. Here, with my essentials ...duty card, waybill and newspaper... grouped around the dash, and nobody aboard, I'd stopped to jump out for a quick shot. Not much danger of causing an obstruction. The little hamlet of Hill is in the distance. With the Bristol-Gloucester limited stop service there were three bus routes between Thornbury and Berkeley. It seems incredible now and, of course, it was all gone within a year or two.
It was a freezing windy morning when I stepped out onto the summit of the Butte. Neither 4 layers of clothing nor beanies and gloves could keep the cold wind from sucking the warmth out of my body and scaring me back to the safety of the car. It was the light, however, that made me forget all my bodily senses for a few precious hours.
The crepuscular rays of golden sunlight were dancing their way around the horizon, lending beams of light to dark landscape in front of me. And where they hit the ground, it was as though somebody shouted Let there be light....
And what was once, a few chilly minutes prior, a dim and dull landscape transformed into a vibrant palette, filled with hues of greens and yellows and oranges. And then, just as quickly it appeared, it disappeared, leaving behind nothing but a vestige of its former glory, a glory I had attempted to capture on my camera in the rather short time the light revealed the vista's full beauty.
What had drawn me to Palouse originally was exactly seeing the very same kind of images of acclaimed photographers Chip Phillips and Kevin McNeal of surreal landscapes: rolling green hills, subtle and soft lighting and precisely placed barns.
And ever since then, I had envisioned getting images of the pastoral nature: lush green farmland set aglow by dapplied transient lighting, strategically placed barns and silos to draw the viewer's eye and swathes of green, yellow and orange to add color to a surreal landscape. And now, to see the very same kind of blissful scenery with my own eyes was like being on cloud nine.
Words cannot express the awe I had for such a landscape. So I will leave you with this image, which was shot with a tele lens at ISO 800, 1/250s at F11
Steptoe Butte
WA USA
This ring was created by soldering two circular sheets of silver shot, then forging the discs using a dapping block and tools, to create two half spheres, which are then soldered together. Silver wire and shot, fine silver. Photo by Adrian Ordenana, San Francisco.
-Heather Greene, 2004
circa 2003
The Propeller Pin is another piece I made while exploring the chatoyant properties of the mica particles in polymer clay, shifting their alignment, and then revealing the resulting textureless textures with my Peeler. Mixing peeled patterns with wavy blade 'waves' and smoothly aligned sheets, I cut fourteen wedges to assemble a circle, then dropped in a bullseye for the centre. All the pieces were burnished together while flat, to seal the seems connecting the pieces and give the composite veneer a unified smooth surface. The pin's compound curve was created by forming the flat circle through a sequence of dapping bowls that I had made with polymer clay. I started by giving the circle a gentle slump in the largest bowl, then gradually increased the curve of the clay by decreasing the dapping bowl diameter, just the same as you would with sheet metal and a traditional jeweller's dapping block. The pin is about 3 1/2" in diameter.
Playing with shapes. This was going to be a regular old bead, but then I decided to make a vessel and then I had to make a lid, and then I thought it might be a nice perfume bottle. That's not a hole in the wire of the stem. I dapped that little sucker!
This is what comes of working when one is supposed to be teaching others. This is why I don't work in classes. But it was a small class. I'm sure they didn't mind. ?
Week 16 / 52
I decided to take a portrait of a stranger this week so I headed over to the Students' Union at lunchtime to try to find a photogenic student. It was a struggle because it is still the Easter Holiday for the undergrads so there weren't many students around. But then I spotted a very dapper student walking towards me. I asked him if I could take his photo and he said yes.
He offered to take his hat off but I insisted that he kept it on.
“She was a gordian shape of dazzling hue,
Vermilion-spotted, golden, green, and blue;
Striped like a zebra, freckled like a pard,
Eyed like a peacock, and all crimson barr'd;
And full of silver moons, that, as she breathed,
Dissolv'd, or brighter shone, or interwreathed
Their lustres with the gloomier tapestries -
So rainbow-sided, touch'd with miseries,
She seem'd, at once, some penanced lady elf,
Some demon's mistress, or the demon's self ...”
~ Lamia – John Keats ~
This mixed media assemblage necklace with movable parts was nothing less than absolute fun to conceive and construct. It began with the eyelid; made of repurpose copper, it was hammered into shape without the use of any dapping tools, just an old driftwood with plenty of curved crevices and a ball hammer. The eyelash are synthetic lashes, and peacock feathers.
The eyelid then needed a socket. That came in the shape of a heart made of epoxy clay, sculpted, painted and sealed, and then embellished Steampunk style. The 'armor' for the heart is also made with repurpose copper, plus some screws. A tonne of copper wires and 2 pieces of old spikes becomes the Goth-style bail. A quartz crystal hangs off the spikes to complete the look.
The eyelid stays closed in its normal position. The eyelid opens when the chain drop below the heart is tugged gently. If you want the eye to stay open, a small weight can be attached to the chain, in which case, the lid will stay perpetually opened.
(Tell me if you need a weight attached to the chain.)
* this piece wears about 18 inches round the neck. A longer chain can be attached upon request.
* the pendant hangs about 7.5 inches from bail to chain.
* this piece is relatively heavy.
* to see a demo of how the lid works, go to :
find this and other items at alteredalchemy.etsy.com
Si vous êtes désireux d’obtenir une coiffure moderne pour 2016, vous avez d’aller avec un dapper recherche, volumisé coiffure à la recherche moderne. La grande chose au sujet de la coiffure en contre-dépouille est qu’il peut être stylé et coupé de nombreuses façons! Vous pouvez ...
Ride any bike. Flashback to my Berlin weekend in May. It's been some decades since I rode a backpedal brake bike. But quite a dapper - albeit a dapper lead weight - little bike.
--
Fahr' mal jedes Rad. Rückblende zu meinem Berlin-Wochenende im Mai. Es ist schon ein paar Dekaden her, seit ich zuletzt ein Rad mit Rücktrittbremse fuhr. Aber ein schmuckes Ding, nicht wahr? Wenn auch schwer wie Blei.
A well-dressed fellow poses -- twice! -- at a bench in the back yard for this double-exposure photo.
This is a real photo postcard with a divided back and a type of Azo stamp box (with four corner triangles pointing up) on the other side that suggests a possible date that may be as early as 1907 to 1918.
A Vintage Photos Theme Park photo for the theme of double or triple exposure.
Une des salles du musée Dapper au rez-de-chaussée
La Fondation Olfert Dapper - du nom d'un humaniste néerlandais du XVIIe siècle, auteur, sans jamais avoir quitté son pays, d'une encyclopédique Description de l'Afrique publiée en 1668 - a été créée en 1983, à Amsterdam, sous l'impulsion de Michel Leveau (1930-2012). L'objectif de cet organisme privé était d'aider, par l'organisation d'expositions et l'attribution de bourses de recherche, à la connaissance et à la préservation du patrimoine artistique de l'Afrique subsaharienne. Émanation de la Fondation, le musée Dapper s'est ouvert, sous la direction de Christiane Falgayrettes-Leveau, en 1986. Depuis novembre 2000, il a investi un nouveau lieu, doté d'une salle de spectacle, d'une librairie et d'un café. Depuis son ouverture, plus de quarante expositions furent présentées.
Le site officiel du musée Dapper
L'audioguide pour adultes sur IziTravel
The River Chew in flood at Dapp's Hill Bridge, Keynsham, Somerset, 27 December 2020. In 1968 extremely heavy rain in the Mendip Hills caused a flash flood which resulted in large parts of Keynsham being inundated and much damage. The County Bridge on the River Avon just after the confluence with the Chew was washed away and communication between this part of North East Somerset and South Gloucestershire was disrupted for many months. As a result Keynsham railway station, which was due to close, was kept open. It is still open today and is well patronised.
Mickael Loir photographed by Rose Callahan in Paris, on Sept 3, 2011
dandyportraits.blogspot.com/2011/10/dandy-portraits-in-pa...
circa 1997
In 1996 I took a night course in metal jewelry at a community college in Vancouver, BC. I spent the first few sessions getting acquainted with a jeweler's hammer and saw, a Dremel drill, and a dapping block. After a few days of working my metal, I decided to bring my polymer clay to class. While the other students were pounding, cutting, drilling, and doming their sheets of metal, I was using these techniques on my sheets of clay, both raw and fired.
At this point, I'd been making cylindrical boxes decorated with complex canework designs for a couple of years already. Inspired by Japanese inro vessels, these were my modern interpretation of the 'wearable pocket' from centuries before. In their earliest versions, mine were all cylindrical, and, with mostly flat tops and bottoms, all pretty 'boxy.' In my metal class, I figured out how to use a jeweler's dapping block to turn flat cane slices into perfectly formed domes. I loved the elegance of this technique and soon invested in a dapping block of my own. These domes proved to be a nice addition to the vessels: a new way to feature the radiating patterns of my cane slices, and streamline the vessels into more complex and refined forms.
The three vessel pendants pictured above were part of a series of about twenty that I took with me to 'Making History,' the National Polymer Clay Guild's first conference, at the Arrowmont School of Art and Craft in Gatlinburg, TN in 1997. Seeing it as a great roadtrip opportunity (more than 10,000 km full circle), Tracy and I drove from our home in Vancouver all the way to this tourist town in the Smoky Mountains. I can remember sanding and buffing all those vessels in the car through many states and past many famous monuments along the way. One dark early morning in a dimly lit motel room in Newton, Iowa, I was still sanding, as we watched the funeral of Princess Diana on TV, my hands wet and my fingertips raw from hours of sanding with my 400 grit sandpaper...
Each of these three vessels featured the introduction of these domed components, and marked the beginning of my delving into and developing other techniques and tools for turning flat veneers into compound curved forms. All these years later, my hammer, jeweler's saw, Dremel, and dapping block remain important tools in my polymer clay studio.
For an ongoing review of highlights from 20 years of art, instruction and adventure in polymer clay, please visit my new page on Facebook: www.facebook.com/TheCuttingEdgePolymerClay
As a fare stage it appeared in the Fare Book as Nevil Road; popularly it was always "the top of Pigsty Hill". I suppose it can only be a matter of time before Bristol's heritage-mongers officially re-brand this stretch of Gloucester Road and the quaint informal name becomes official. On Wednesday 3rd December 1975 we see a Gardner-engined Bristol LD Lodekka of the Bristol Joint services fleet breasting the summit of the climb from "Cheltenham Road arches", Zetland Road traffic lights and "Bristol North Baths". The bus had been around the Bristol Omnibus Co. area quite a bit, having started life in January 1958 as part of the Bath Electric Tramways fleet. After little more than a year it was transferred to the Gloucester city fleet, where it settled down to a long stint which lasted until August 1973. On the first of that month it moved to the BJS fleet and spent the remainder of its life dapping about between Staple Hill and Muller Road depots. It was withdrawn 30th June 1976 and passed in September to the dealer Paul Sykes.
It looks as though this length of road must always have been conceived as a shopping centre. The shops are set well back from the kerb, providing space for the display of wares. You'd think that the proprietors of these businesses would be only too pleased to exploit such an advantage. Yet already, in 1975, this is just a sterile length of pavement used for nothing more than the display of an advertisement for Auto Glass. Well, there isn't time to mess about with it ....you can't get the staff ...people nick stuff. Change and decay in all around I see...
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A recent road trip on Canada Day took us out into the country to photograph some of the remaining old wooden grain elevators in Alberta.
La versión original es un grabado en metal autoría del caricaturista José Guadalupe Posada, el nombre original es «Calavera Garbancera». «Garbancera» es la palabra con que se conocía entonces a las personas que vendían garbanza que teniendo sangre indígena pretendían ser europeos, ya fueran españoles o franceses (este último más común durante el porfiriato) y renegaban de su propia raza, herencia y cultura.
El detalle del mural Sueño de una tarde dominical en la Alameda Central a la izquierda de La Catrina, Diego Rivera (niño) y Frida Kahlo, a la derecha José Guadalupe Posada.
Esto se hace notable por el hecho de que la calavera no tiene ropa sino únicamente el sombrero, desde el punto de vista de Posada, es una crítica a muchos mexicanos del pueblo que son pobres, pero que aun así quieren aparentar un estilo de vida europeo que no les corresponde.
«...en los huesos pero con sombrero francés con sus plumas de avestruz».
Fue Diego Rivera quien la dibujó por primera vez vestida en su mural Sueño de una tarde dominical en la Alameda Central, donde la calavera aparece como acompañante de su creador: José Guadalupe Posada. También fue el muralista quien la llamó «Catrina», nombre con el que se popularizó posteriormente, convirtiéndola así en un personaje popular mexicano.
La Calavera Catrina ('Dapper Skeleton', 'Elegant Skull') is a 1910–1913 zinc etching by famous Mexican printmaker, cartoon illustrator and lithographer Jose Guadalupe Posada. The image depicts a female skeleton dressed only in a hat befitting the upper class outfit of a European of her time. Her chapeau originally is related to French and European styles of the early 20th century. She is meant to portray a satirization of those Mexican natives who, Posada felt, were over embracing European traditions of the aristocracy in the pre-revolutionary era. She in particular, has become an icon of the Mexican Dia de los Muertos, or Day of the Dead.
Polymer cane slices riveted (with polymer rivets) to dapped and stamped squares of copper-clad steel plumber's tape. My first "production" pieces -- they're still one of a kind, but I made all the components in batches and then assembled the pairs in one work session.
A Decentralized application runs on a peer-to-peer (P2P) blockchain network rather than on a single computer. DApps are both stored and executed on a blockchain system commonly using Ethereum. The DApps Development Company in India makes it more transparent and decentralized. Decentralized applications (DApps) are smart contract-powered digital applications or programs that run on blockchains rather than centralized servers. Visit the company website to get more information about DApps. lbmblockchainsolutions.com/dapps