View allAll Photos Tagged develop
Watchtower Bay, Barry
Hasselblad 503CX, Distagon CF 40mm, Lee .6 ND grad, Velvia 50
Developed in Tetenal E6 kit
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties, which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs, leading to improved versions like the VF-1N and P. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards. Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECM measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters in several variants.
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N. Spacy Marines
Accommodation:
Single pilot in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Powerplant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including:
- 12x AMM-1 hybrid guided multipurpose missiles (3/point), or
- 12x MK-82 LDGB conventional bombs (3/point), or
- 6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
- 4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
- or a combination of above load-outs
The kit and its assembly:
Another spontaneous interim build in a busy time - if I want to build something "on autopilot", an ARII VF-1 in fighter mode is a safe bet. The trigger was that I realized that I had, despite having built far more than twenty VF-1s so far, none of them carried a US Navy "low viz" paint scheme? No idea why this had slipped my attention - even though I had already built one in a USAF "Egypt One" scheme and a modified (non-transformable) VF-1D in a low contrast Keith Ferris splinter scheme with USN colors.
I dug out VF-1 fighter from the pile and built the kit mostly OOB - but with some detail updates. This time, the kit would receive an extended landing gear and an open canopy for ground display. Consequently, I added side consoles and a dashboard extension to the cockpit. On the wings, the slats and the flaps were lowered, but not extended, and for additional excitement I opened the spoilers on the wings - because their red interior would be a nice contrast to the overall grey aircraft (see below).
Characteristic blade antennae were added to the nose flanks and on the spine, and the pilot figure was only added for the beauty pics.
The ordnance was in part taken OOB, too, with six AMM-1 missiles on the outer pylons but an 1:100 AN/ALQ-131 ECM pod (from a Revell 1:100 A-10) and a single stand-off missile (an 1:144 AGM-86 ALCM, left over from an Academy B-1B kit, just mounted upside down) on the inner pair of pylons.
Even though the model would later stand on its own legs, I added the option to attach a display (my almost-patented wire construction that uses the OOB display base) to the back of the ventral gun pod.
Painting and markings:
I am not certain if the "Compass Ghost" paint scheme is actually canonical for the Macross universe - Hasegawa offered such a "low viz" VF-1 as an option in one of their fighter kits, but I haven't found any sign of a USN paint scheme in official source material, except for some all light-grey Battroids that do not look like a "Compass Ghost" aircraft/mecha. After 2009, many VF-1s were officially painted in a low-viz scheme - but this would rather be an overall FS 36440 (Light Gull Grey) livery with full color markings than a totally subdued multi-grey paint scheme?
However, I found the idea plausible, and also took it as a challenge. Consequently, the aircraft was painted in typical USN colors: FS 36320 (Dark Compass Ghost Grey) from Modelmaster on the upper surfaces and FS 36375 (Light Compass Ghost Grey, Humbrol 127) from below. The area around the cockpit was painted with FS 35237 (Grey Blue, Humbrol 145), inspired by USN F-14 Tomcats, as well as the head unit.
Air intakes, the gun pod and some details were painted with Revell 77 (RAL 7012), the land gear was painted glossy white. The cockpit was held in standard colors, with medium gray interior, a black ejection seat and reddish brown upholstery and brown "black boxes". As a stark contrast to the all-grey exterior, I painted the interior of the spoilers on the wings in bright red (Revell 330, RAL 3000 Feuerrot) and added thin red decal strips to the lowered slats, too.
Many markings like the roundels and the modex' were designed and printed on clear decal sheet with an inkjet printer, and any other bright marking was replaced with grey alternatives from the decal scrap box. The lightning markings on the fins come belong to a Malaysian MiG-29, taken from a Begemot sheet. All in all I wanted a very "dry" and subdued look, with only the ordnance not being light bluish grey.
Once painted the kit received a light black ink wash and the engraved panel lines were traced with a very soft pencil, with some additional thin panel lines and details. Finally, the kit was sealed with matt acrylic varnish (Italeri).
I guess that I might be able to build this kit blindfolded, and the whole affair was completed in just three days, since the paint scheme itself was not complex. The result is interesting, though, and a nice contrast to the normally very bright and colorful VF-1s in my collection.
Taken with a Zodiak-8 (Зодиак-8) 30mm fisheye lens on the Kiev 60 medium format camera that I first used in week 14 of my 52 film cameras in 52 weeks project:
lomography ISO 800 film, developed in the Tetenal C41 kit.
The BMW i8 is a plug-in hybrid sports car developed by BMW. The i8 is part of BMW's electric fleet "Project i" being marketed as a new sub-brand, BMW i. The 2015 model year BMW i8 has a 7.1 kWh lithium-ion battery pack that delivers an all-electric range of 37 km under the New European Driving Cycle. Under the United States Environmental Protection Agency cycle, the range in EV mode is 24 km with a small amount of gasoline consumption. Its design is heavily influenced by the BMW M1 Homage concept car, which in turn pays homage to BMW's last production mid-engined sports car prior to the i8: the BMW M1.
The BMW i8 can accelerate from a dead-stop to 100 km/h in 4.4 seconds and has an electronic limited top speed of 250 km/h. The BMW i8 has a fuel efficiency of 2.1 L/100 km (134.5 mpg‑imp; 112.0 mpg‑US) under the NEDC test with carbon emissions of 49 g/km. The EPA rated the i8 combined fuel economy at 76 MPGe (3.1 L gasoline equivalent/100 km; 91 mpg-imp gasoline equivalent) and 29 miles per gallon (6.7L) when running in pure gasoline mode (after the battery is drained empty).
The initial turbodiesel concept car was unveiled at the 2009 International Motor Show Germany. The production version of the BMW i8 was unveiled at the 2013 Frankfurt Motor Show. The i8 was released in Germany in June 2014. Deliveries to retail customers in the U.S. began in August 2014. By early November 2016 global sales since mid-2014 totaled more than 10,000 BMW i8s, making the i8 the world's top selling plug-in electrified sports car. The top selling markets are the United States, the United Kingdom and Germany.
HISTORY
First introduced as the Concept Vision EfficientDynamics, the i8 is part of BMW's "Project i" and it is being marketed as a new brand, BMW i, sold separately from BMW or Mini. The BMW i3, launched for retail customers in Europe in the fourth quarter of 2013, was the first model of the i brand available in the market, and it was followed by the i8, released in Germany in June 2014 as a 2015 model year. Other i models are expected to follow.
The initial turbodiesel concept car was unveiled at the 2009 International Motor Show Germany, In 2010, BMW announced the mass production of the Vision Efficient Dynamics concept in Leipzig beginning in 2013 as the BMW i8. The BMW i8 gasoline-powered concept car destined for production was unveiled at the 2011 Frankfurt Motor Show. The production version of the BMW i8 was unveiled at the 2013 International Motor Show Germany. The following are the concept and pre-production models developed by BMW that preceded the production version.
BMW VISION EFFICIENT DYNAMICS (2009)
BMW Vision EfficientDynamics concept car is a plug-in hybrid with a three cylinder turbo-diesel engine. Additionally, there are two electric motors with 139 horsepower. It allows an acceleration to 100 km/h in 4.8 seconds and an electronically limited top speed of 250 km/h.
According to BMW, the average fuel consumption in the EU test cycle (KV01) is 3.76 liters/100 kilometers, and has a carbon dioxide emission rating of 99 grams per kilometer (1,3 l/100 km and 33g CO2/kabelham; EU-PHEV ECE-R101). The estimated all-electric range is 50 km, and the 24-liter petrol tank extends the total vehicle range to up to 700 km. The lightweight chassis is made mainly from aluminum. The windshield, top, doors and fenders are made from polycarbonate glass, with the body having a drag coefficient of 0.22.
The designers of the BMW Vision EfficientDynamics concept were Mario Majdandzic for the exterior and Jochen Paesen for the interior.
The vehicle was unveiled in 2009 International Motor Show Germany, followed by Auto China 2010.
BMW i8 CONCEPT (2011)
BMW i8 Concept plug-in hybrid electric vehicle includes an electric motor located in the front axle powering the front wheels rated 96 kW (131 PS; 129 hp) and 250 N⋅m, a turbocharged 1.5-liter 3-cylinder gasoline engine driving rear wheels rated 164 kW (223 PS; 220 hp) and 300 N⋅m of torque, with combined output of 260 kW (354 PS; 349 hp) and 550 N⋅m, a 7.2 kWh (26 MJ) lithium-ion battery pack that allows an all-electric range of 35 km. All four wheels provide regenerative braking. The location of the battery pack in the energy tunnel gives the vehicle a low centre of gravity, enhancing its dynamics. Its top speed is electronically limited to 250 km/h and is expected to go from 0 to 100 km/h in 4.6 seconds. Under normal driving conditions the i8 is expected to deliver 80 mpg‑US (2.9 L/100 km; 96 mpg‑imp) under the European cycle. A full charge of the battery will take less than 2 hours using 220 V. The positioning of the motor and engine over the axles results in optimum 50/50 weight distribution.
The vehicle was unveiled at the 2011 International Motor Show Germany, followed by CENTER 548 in New York City, 42nd Tokyo Motor Show 2011, 82nd Geneva Motor Show 2012, BMW i Born Electric Tour at the Palazzo delle Esposizioni at Via Nazionale 194 in Rome, Auto Shanghai 2013.
This concept car was featured in the film Mission: Impossible – Ghost Protocol.
BMW i8 CONCEPT SPYDER (2012)
The BMW i8 Concept Spyder included a slightly shorter wheelbase and overall length over the BMW i8 Concept, carbon-fibre-reinforced plastic (CFRP) Life module, drive modules made primarily from aluminium components, interlocking of surfaces and lines, 22.4 cm screen display, off-white outer layer, orange tone naturally tanned leather upholstery.
The vehicle was unveiled in Auto China 2012 in Beijing and won Concept Car of the Year, followed by 83rd Geneva International Motor Show 2013. The designer of the BMW i8 Concept Spyder was Richard Kim.
BMW i8 COUPE PROTOTYPE (2013)
The design of the BMW i8 coupe prototype was based on the BMW i8 Concept. The BMW i8 prototype has an average fuel efficiency of less than 2.5 L/100 km (113.0 mpg‑imp; 94.1 mpg‑US) under the New European Driving Cycle with carbon emissions of less than 59 g/km. The i8 with its carbon-fiber-reinforced plastic (CFRP) passenger cell lightweight, aerodynamically optimized body, and BMW eDrive technology offers the dynamic performance of a sports car, with an expected 0–100 km sprint time of less than 4.5 seconds using both power sources. The plug-in hybrid system of the BMW i8 comprises a three-cylinder, 1.5-liter BMW TwinPower turbo gasoline engine combined with BMW eDrive technology used in the BMW i3 and develops maximum power of 170 kW (230 hp). The BMW i8 is the first BMW production model to be powered by a three-cylinder gasoline engine and the resulting specific output of 115 kW (154 hp) per liter of displacement is on a par with high-performance sports car engines and is the highest of any engine produced by the BMW Group. The BMW i8's second power source is a hybrid synchronous electric motor specially developed and produced by the BMW Group for BMW i. The electric motor develops maximum power of 96 kW and produces its maximum torque of around 320 N⋅m from standstill. Typical of an electric motor, responsive power is instantly available when starting and this continues into the higher load ranges. As well as providing a power boost to assist the gasoline engine during acceleration, the electric motor can also power the vehicle by itself. Top speed in electric mode is approximately 120 km/h), with a maximum driving range of up to 35 km. Linear acceleration is maintained even at higher speeds since the interplay between the two power sources efficiently absorbs any power flow interruptions when shifting gears. The model-specific version of the high-voltage 7.2 lithium-ion battery has a liquid cooling system and can be recharged at a conventional household power socket, at a BMW i Wallbox or at a public charging station. In the US a full recharge takes approximately 3.5 hours from a conventional 120 V, 12 amp household circuit or approximately 1.5 hours from a 220 V Level 2 charger.
The driver can also select several driving modes: SPORT, COMFORT and ECO PRO. Using the gear selector, the driver can either select position D for automated gear selection or can switch to SPORT mode. SPORT mode offers manual gear selection and at the same time switches to very sporty drive and suspension settings. In SPORT mode, the engine and electric motor deliver extra performance, accelerator response is faster and the power boost from the electric motor is maximized. And to keep the battery topped up, SPORT mode also activates maximum energy recuperation during overrun and braking as the electric motor’s generator function, which recharges the battery using kinetic energy, switches to a more powerful setting. The Driving Experience Control switch on the center console offers a choice of two settings. On starting, COMFORT mode is activated, which offers a balance between sporty performance and fuel efficiency, with unrestricted access to all convenience functions. Alternatively, the ECO PRO mode can be engaged, which, on the BMW i8 as on other models, supports an efficiency-optimized driving style. On this mode the powertrain controller coordinates the cooperation between the gasoline engine and the electric motor for maximum fuel economy. On deceleration, the intelligent energy management system automatically decides, in line with the driving situation and vehicle status, whether to recuperate braking energy or to coast with the powertrain disengaged. At the same time, ECO PRO mode also programs electrical convenience functions such as the air conditioning, seat heating and heated mirrors to operate at minimum power consumption, but without compromising safety. The maximum driving range of the BMW i8 on a full fuel tank and with a fully charged battery is more than 500 km in COMFORT mode, which can be increased by up to 20% in ECO PRO mode. The BMW i8’s ECO PRO mode can also be used during all-electric operation. The vehicle is then powered solely by the electric motor. Only if the battery charge drops below a given level, or under sudden intense throttle application such as kickdown, is the internal combustion engine automatically activated.
The vehicle was unveiled in BMW Group's Miramas test track in France.
PRODUCTION VERSION
The production BMW i8 was designed by Benoit Jacob. The production version was unveiled at the 2013 International Motor Show Germany, followed by 2013 Les Voiles de Saint-Tropez. It features butterfly doors, head-up display, rear-view cameras and partially false engine noise. Series production of customer vehicles began in April 2014. The electric two-speed drivetrain is developed and produced by GKN. It is the first production car with laser headlights, reaching further than LED lights.
The i8 has a vehicle weight of 1,485 kg (DIN kerb weight) and a low drag coefficient (Cd) of 0.26. In all-electric mode the BMW i8 has a top speed of 120 km/h. In Sport mode the i8 delivers a mid-range acceleration from 80 to 120 km/h in 2.6 seconds. The electronically controlled top speed is 250 km/h.
RANGE AND FUEL ECONOMY
The production i8 has a 7.1 kWh lithium-ion battery pack with a usable capacity of 5.2 kWh and intelligent energy management that delivers an all-electric range of 37 km under the NEDC cycle. Under the EPA cycle, the range in EV mode is 24 km, with a gasoline consumption of 0.1 gallons per 100 mi, and as a result, EPA's all-electric range is zero. The total range is 530 km.
The production version has a fuel efficiency of 2.1 L/100 km (134.5 mpg‑imp; 112.0 mpg‑US) under the NEDC test with carbon emissions of 49 g/km. Under EPA cycle, the i8 combined fuel economy in EV mode was rated 76 equivalent (MPG-equivalent) (3.1 L gasoline equivalent/100 km; 91 mpg-imp gasoline equivalent), with an energy consumption of 43 kW-hrs/100 mi and gasoline consumption of 0.1 gal-US/100 mi. The combined fuel economy when running only with gasoline is 28 mpg‑US (8.4 L/100 km; 34 mpg‑imp) for city driving, and 29 mpg‑US (8.1 L/100 km; 35 mpg‑imp) in highway.
The U.S. Environmental Protection Agency's 2014 edition of the "Light-Duty Automotive Technology, Carbon Dioxide Emissions, and Fuel Economy Trends" introduced utility factors for plug-in hybrids to represent the percentage of miles that will be driven using electricity by an average driver, in electric only or blended modes. The BMW i8 roadster has a utility factor in EV mode of 37%, compared with 83% for the BMW i3 REx, 66% for the Chevrolet Volt, 65% for the Cadillac ELR, 45% for the Ford Energi models, 43% for the McLaren P1, 39% for the Porsche Panamera S E-Hybrid, and 29% for the Toyota Prius PHV.
SPECIAL EDITION
The special-edition BMW i8 Protonic Red Edition model was unveiled at the 2016 Geneva International Motor Show.[51] The Protonic Red Edition will be produced at BMW Plant Leipzig from July 2016. This special edition car sports a Protonic Red paint finish with accents in Frozen Grey metallic. The colour scheme is complemented by BMW W-spoke 470 light-alloy wheels painted in Orbit Grey metallic with hubs painted in Aluminium matt and mixed-size tires (front: 215/45 R20, rear: 245/40 R20). Inside the car features red double-stitching and applications in high-grade carbon fibre and ceramic trim.
ROADSTER
The BMW i8 Spyder concept was unveiled at the 2012 Beijing Auto Show. In October 2016, BMW announced that the roadster variant would be added to the BMW i line-up in 2018.
The i8 Roadster is expected to get a longer-range battery and will have only 2 seats. The car's roof is an electric 2-piece unit, which neatly folds into the space where the rear seats would normally be.
SALES AND MARKETS
BMW originally planned to sell the i8 in about 50 countries, with the U.S. expected to be the largest sales market. In Europe, BMW expected the UK, Germany and France to be the top markets. On November 14, 2013, BMW announced they are taking orders for the i8 in Japan. Pricing starts at ¥19,170,000 (US$191,500) which includes the 8% consumption tax.
Global deliveries to retail customers totaled 1,741 units in 2014, and 5,456 in 2015, totaling cumulative sales of 7,197 units worldwide through December 2015. In 2015 global sales of the BMW i8 exceeded the combined figure of all other hybrid sports cars produced by other manufacturers. The United States is the leading market with 4,108 units delivered through October 2016, followed by the UK with about 1,700 units sold through October 2016, and Germany with 986 i8s registered through September 2016. Since mid-2014 more than 10,000 BMW i8s have been sold worldwide by early November 2016, representing 10% of BMW global electrified model sales, and making the i8 the world's top selling plug-in
AWARDS AND RECOGNITION
In July 2012 the BMW i8 won the 2012 North American Concept Vehicle of the Year. The BMW i8 Spyder won the 2013 Best Production Preview Vehicle award. The i8 won AutoGuide's 2015 Reader’s Choice Green Car of the Year. BMW’s i8 has been the winner of the coveted title ‘World Green car of the Year’ at Fame India Eco Drive 2015 It also was selected as Autoblog's 2014 Technology of the Year. Top Gear Magazine awarded the i8 with their coveted Car of the Year award for 2014. Green Car Journal awarded the BMW i8 with its 2015 Luxury Green Car of the Year. The i8 won the UK Car of the Year 2015 and also UK Performance Car of the Year 2015. The World Car of the Year organization declared the i8 as the winner of the 2015 World Green Car Award.
WIKIPEDIA
We travelled to Cologne last October (2015). I only got around to developing these recently. I brought my Fuji Klasse S with me, along with my Rollei A110.
Although the image quality is good for 110, I'm not sure if I'll keep shooting it. I have about 5 rolls left in the freezer, including 2 Fuji Superia 200 (exp. 2011).
I can get it developed in Ireland, but not scanned. These were developed and scanned in England. 110 is expensive to dev and scan!
The films are Lomography Orca BW100 (which I think is Shanghai GP3) and Agfa Vista 200 (exp. 2005).
Deb shows some of the botanical illustration skills she learned at the Denver Botanic Gardens a few years ago.
When she took ink drawing, one time the instructor asked to see her preliminary pencil sketch. She asked "My what?" She had been doing ink direct to paper with no preliminary pencil drawing, as she still mostly does. The watercolor follows after the ink is totally dry.
Window in an old grain elevator. Photographed with Kodak Instamatic X-15F Camera. Ilford Delta 100 35mm film Semi-Stand developed in Adonal (Rodinal) 1-100 for about 1 hour.
Collection:
Images from the History of Medicine (IHM)
Publication:
Produced: 1918
Language(s):
English
Format:
Still image
Subject(s):
Hospitals, Military,
Military Personnel,
Nurses, Canada,
Leek Island Military Hospital.
Genre(s):
Photograph
Abstract:
Black and white photograph of a uniformed soldier lying in a chair outside, with a blanket over him, developing film. Standing around him are 2 uniformed soldiers, 2 nurses, and 2 orderlies.
Related Title(s):
Is part of: Leek Island Military Hospital.; See related catalog record: 101744383
Extent:
1 photograph : 11 x 7 cm
Technique:
silver gelatin DOP, black and white
NLM Unique ID:
101766712
Permanent Link:
Developed an obsession with the Ladas in Baku. A relic of the old Soviet era, they are so endearing and many people still use them daily!
I finally developed and scanned these back from my shoot in February! Medium format is just my absolute favorite, and I can't wait until I shoot this wedding in a few months so I can buy another Hasselblad. The last one didn't survive the sand :[ </3
120 Film - Hasselblad
Model: Jessica Rangel
Photography/Costume/Props/MUA: Nico Nordström
Make up/Assistance: Audrey Starks
Props/Assistance: Michael McBride
Travel/Assistance: Decker Derdeyn
HOYSALA ARCHITECTURE
Hoysala architecture is the building style developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.
Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Chalukyan art but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings.
The Karnata Dravida tradition which covers a period of about seven centuries began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an independent style was during the rule of the Hoysalas in the 12th and 13th centuries. Medieval inscriptions displayed prominently at temple locations give information about donations made toward the maintenance of the temple, details of consecration and on occasion, even architectural details.
TEMPLE DEITIES
Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy. Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specific organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Shiva or to Vishnu (two of the popular Hindu gods), but they occasionally built some temples dedicated to the Jain faith as well. Worshippers of Shiva are called Shaivas and worshippers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his descendants were Vaishnava by faith, records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu. Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning "Beautiful Vishnu") while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being Avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity. The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix eshwara meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci. The most striking sculptural decorations are the horizontal rows of moldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.
The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism. However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities.
The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolize objects worshiped independently of the divine image with which they are associated. Any male icon portrayed in this way is Shiva although a female icon may sometimes be portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Lord Shiva exist: showing him naked (fully or partially), in action such as slaying a demon (Andhaka) or dancing on the head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's many manifestations.
A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding these objects, she is seen as his consort, Lakshmi. In all the depictions Vishnu is holding four objects: a conch, a wheel, a lotus and a mace. These can be held in any of the icon's hands, making possible twenty-four different forms of Vishnu, each with a unique name. Apart from these, Vishnu is depicted in any of his ten avataras, which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a lion disemboweling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon (Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure (Vamana), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).
TEMPLE COMPLEX
The focus of a temple is the centre or sanctum sanctorum (garbhagriha) where the image of the deity resides, so temple architecture is designed to move the devotee from outside to the garbhagriha through ambulatory passageways for circumambulation and halls or chambers (mantapas) that become increasingly sacred as the deity is approached. Hoysala temples have distinct parts that are merged to form a unified organic whole, in contrast to the temples of Tamil country where different parts of a temple stand independently. Although superficially unique, Hoysala temples resemble each other structurally. They are characterised by a complex profusion of sculpture decorating all the temple parts chiseled of soft soapstone (chloritic schist), a good material for intricate carving, executed mostly by local craftsmen, and exhibit architectural features that distinguish them from other temple architectures of South India.
Most Hoysala temples have a plain covered entrance porch supported by lathe turned (circular or bell-shaped) pillars which were sometimes further carved with deep fluting and moulded with decorative motifs. The temples may be built upon a platform raised by about a metre called a "jagati". The jagati, apart from giving a raised look to the temple, serves as a pradakshinapatha or "circumambulation path" for circumambulation around the temple, as the garbagriha (inner sanctum) provides no such feature. Such temples will have an additional set of steps leading to an open mantapa (open hall) with parapet walls. A good example of this style is the Kesava Temple at Somanathapura. The jagati which is in unity with the rest of the temple follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation.
Devotees can first complete a ritual circumambulation on the jagati starting from the main entrance by walking in a clockwise direction (towards the left) before entering the mantapa, following the sculptural clockwise-sequenced reliefs on the outer temple walls depicting a sequence of epic scenes from the Hindu epics. Temples that are not built on a jagati can have steps flanked by elephant balustrades (parapets) that lead to the mantapa from ground level. An example of a temple that does not exhibit the raised platform is the Bucesvara temple in Korvangla, Hassan District. In temples with two shrines (dvikuta), the vimanas (the shrines or cellae) may be placed either next to each other or on opposite sides. The Lakshmidevi temple at Doddagaddavalli is unique to Hoysala architecture as it has four shrines around a common center and a fifth shrine within the same complex for the deity Bhairava (a form of Shiva). In addition, four minor shrines exist at each corner of the courtyard (prakaram).
ARCHITECTURAL ELEMENTS
MANTAPA
The mantapa is the hall where groups of people gather during prayers. The entrance to the mantapa normally has a highly ornate overhead lintel called a makaratorana (makara is an imaginary beast and torana is an overhead decoration). The open mantapa which serves the purpose of an outer hall (outer mantapa) is a regular feature in larger Hoysala temples leading to an inner small closed mantapa and the shrine(s). The open mantapas which are often spacious have seating areas (asana) made of stone with the mantapa's parapet wall acting as a back rest. The seats may follow the same staggered square shape of the parapet wall. The ceiling here is supported by numerous pillars that create many bays. The shape of the open mantapa is best described as staggered-square and is the style used in most Hoysala temples. Even the smallest open mantapa has 13 bays. The walls have parapets that have half pillars supporting the outer ends of the roof which allow plenty of light making all the sculptural details visible. The mantapa ceiling is generally ornate with sculptures, both mythological and floral. The ceiling consists of deep and domical surfaces and contains sculptural depictions of banana bud motifs and other such decorations.
If the temple is small it will consist of only a closed mantapa (enclosed with walls extending all the way to the ceiling) and the shrine. The closed mantapa, well decorated inside and out, is larger than the vestibule connecting the shrine and the mantapa and has four lathe-turned pillars to support the ceiling, which may be deeply domed. The four pillars divide the hall into nine bays. The nine bays result in nine decorated ceilings. Pierced stone screens (Jali or Latticework) that serve as windows in the navaranga (hall) and Sabhamantapa (congregation hall) is a characteristic Hoysala stylistic element.
A porch adorns the entrance to a closed mantapa, consisting of an awning supported by two half-pillars (engaged columns) and two parapets, all richly decorated. The closed mantapa is connected to the shrine(s) by a vestibule, a square area that also connects the shrines. Its outer walls are decorated, but as the size the vestibule is not large, this may not be a conspicuous part of the temple. The vestibule also has a short tower called the sukanasi or "nose" upon which is mounted the Hoysala emblem. In Belur and Halebidu, these sculptures are quite large and are placed at all doorways.
The outer and inner mantapa (open and closed) have circular lathe-turned pillars[36] having four brackets at the top. Over each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars may also exhibit ornamental carvings on the surface and no two pillars are alike. This is how Hoysala art differs from the work of their early overlords, the Western Chalukyas, who added sculptural details to the circular pillar base and left the top plain. The lathe-turned pillars are 16, 32, or 64-pointed; some are bell-shaped and have properties that reflect light. The Parsvanatha Basadi at Halebidu is a good example. According to Brown, the pillars with four monolithic brackets above them carry images of salabhanjikas and madanikas (sculpture of a woman, displaying stylized feminine features). This is a common feature of Chalukya-Hoysala temples. According to Sastri, the shape of the pillar and its capital, the base of which is square and whose shaft is a monolith that is lathe turned to render different shapes, is a "remarkable feature" of Hoysala art.
VIMANA
The vimana, also called the cella, contains the most sacred shrine wherein resides the image of the presiding deity. The vimana is often topped by a tower which is quite different on the outside than on the inside. Inside, the vimana is plain and square, whereas outside it is profusely decorated and can be either stellate ("star-shaped") or shaped as a staggered square, or feature a combination of these designs, giving it many projections and recesses that seem to multiply as the light falls on it. Each projection and recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and mouldings, obscuring the tower profile. Depending on the number of shrines (and hence on the number of towers), the temples are classified as ekakuta (one), dvikuta (two), trikuta (three), chatushkuta (four) and panchakuta (five). Most Hoysala temples are ekakuta, dvikuta or trikuta, the Vaishnava ones mostly being trikuta. There are cases where a temple is trikuta but has only one tower over the main shrine (in the middle). So the terminology trikuta may not be literally accurate. In temples with multiple disconnected shrines, such as the twin temples at Mosale, all essential parts are duplicated for symmetry and balance.
The highest point of the temple (kalasa) has the shape of a water pot and stands on top of the tower. This portion of the vimana is often lost due to age and has been replaced with a metallic pinnacle. Below the kalasa is a large, highly- sculptured structure resembling a dome which is made from large stones and looks like a helmet. It may be 2 m by 2 m in size and follows the shape of the shrine. Below this structure are domed roofs in a square plan, all of them much smaller and crowned with small kalasas. They are mixed with other small roofs of different shapes and are ornately decorated. The tower of the shrine usually has three or four tiers of rows of decorative roofs while the tower on top of the sukanasi has one less tier, making the tower look like an extension of the main tower (Foekema calls it the "nose"). One decorated roof tier runs on top of the wall of a closed mantapa above the heavy eaves of an open mantapa and above the porches.
Below the superstructure of the vimana are temple "eaves" projecting half a meter from the wall. Below the eaves two different decorative schemes may be found, depending on whether a temple was built in the early or the later period of the empire. In the early temples built prior to the 13th century, there is one eave and below this are decorative miniature towers. A panel of Hindu deities and their attendants are below these towers, followed by a set of five different mouldings forming the base of the wall. In the later temples there is a second eave running about a metre below the upper eaves with decorative miniature towers placed between them. The wall images of gods are below the lower eaves, followed by six different mouldings of equal size. This is broadly termed "horizontal treatment". The six mouldings at the base are divided in two sections. Going from the very base of the wall, the first horizontal layer contains a procession of elephants, above which are horsemen and then a band of foliage. The second horizontal section has depictions of the Hindu epics and Puranic scenes executed with detail. Above this are two friezes of yallis or makaras (imaginary beasts) and hamsas (swans). The vimana (tower) is divided into three horizontal sections and is even more ornate than the walls.
SCULPTURE
In Hoysala art Hardy identifies two conspicuous departures from the more austere Western (Later) Chalukya art:ornamental elaboration and a profusion of iconography with figure sculptures, both of which are found in abundance even on the superstructure over the shrine. Their medium, the soft chlorite schist (Soapstone) enabled a virtuoso carving style. Hoysala artists are noted for their attention to sculptural detail be it in the depiction of themes from the Hindu epics and deities or in their use of motifs such as yalli, kirtimukha (gargoyles), aedicula (miniature decorative towers) on pilaster, makara (aquatic monster), birds (hamsa), spiral foliage, animals such as lions, elephants and horses, and even general aspects of daily life such as hair styles in vogue.
Salabhanjika, a common form of Hoysala sculpture, is an old Indian tradition going back to Buddhist sculpture. Sala is the sala tree and bhanjika is the chaste maiden. In the Hoysala idiom, madanika figures are decorative objects put at an angle on the outer walls of the temple near the roof so that worshipers circumambulating the temple can view them.
The sthamba buttalikas are pillar images that show traces of Chola art in the Chalukyan touches. Some of the artists working for the Hoysalas may have been from Chola country, a result of the expansion of the empire into Tamil-speaking regions of Southern India. The image of mohini on one of the pillars in the mantapa (closed hall) of the Chennakeshava temple is an example of Chola art.
General life themes are portrayed on wall panels such as the way horses were reined, the type of stirrup used, the depiction of dancers, musicians, instrumentalists, and rows of animals such as lions and elephants (where no two animals are identical). Perhaps no other temple in the country depicts the Ramayana and Mahabharata epics more effectively than the Hoysaleshwara temple at Halebidu.
Erotica was a subject the Hoysala artist handled with discretion. There is no exhibitionism in this, and erotic themes were carved into recesses and niches, generally miniature in form, making them inconspicuous. These erotic representations are associated with the Shakta practice.
Apart from these sculptures, entire sequences from the Hindu epics (commonly the Ramayana and the Mahabharata) have been sculpted in a clockwise direction starting at the main entrance. The right to left sequence is the same direction taken by the devotees in their ritual circumambulation as they wind inward toward the inner sanctum. Depictions from mythology such as the epic hero Arjuna shooting fish, the elephant-headed god Ganesha, the Sun god Surya, the weather and war god Indra, and Brahma with Sarasvati are common. Also frequently seen in these temples is Durga, with several arms holding weapons given to her by other gods, in the act of killing a buffalo (a demon in a buffalo's form) and Harihara (a fusion of Shiva and Vishnu) holding a conch, wheel and trident. Many of these friezes were signed by the artisans, the first known instance of signed artwork in India.
RESEARCH
According to Settar, surveys in modern times have indicated that 1000–1500 structures were built by the Hoysalas, of which about a hundred temples have survived to date. The Hoysala style is an offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries. It is distinctively Dravidian, and according to Brown, owing to its features, Hoysala architecture qualifies as an independent style. While the Hoysalas introduced innovative features into their architecture, they also borrowed features from earlier builders of Karnata like the Kadambas, Western Chalukyas. These features included the use of chloritic schist or soapstone as a basic building material. Other features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from the Kadambas. Hoysala sculptors made use of the effect of light and shade on carved walls, which poses a challenge for photography of the temples. The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith. The abundance of jewellery worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times.
NOTABLE CRAFTSMEN
While medieval Indian artisans preferred to remain anonymous, Hoysala artisans signed their works, which has given researchers details about their lives, families, guilds, etc. Apart from the architects and sculptors, people of other guilds such as goldsmiths, ivory carvers, carpenters, and silversmiths also contributed to the completion of temples. The artisans were from diverse geographical backgrounds and included famous locals. Prolific architects included Amarashilpi Jakanachari, a native of Kaidala in Tumkur district, who also built temples for the Western Chalukyas. Ruvari Malithamma built the Kesava Temple at Somanathapura and worked on forty other monuments, including the Amruteshwara temple at Amruthapura. Malithamma specialised in ornamentation, and his works span six decades. His sculptures were typically signed in shorthand as Malli or simply Ma. Dasoja and his son Chavana from Balligavi were the architects of Chennakesava Temple at Belur; Kedaroja was the chief architect of the Hoysaleswara Temple at Halebidu. Their influence is seen in other temples built by the Hoysalas as well. Names of other locals found in inscriptions are Maridamma, Baicoja, Caudaya, Nanjaya and Bama, Malloja, Nadoja, Siddoja, Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari.
WIKIPEDIA
In the middle part of our country, it is common practice to put fruit-flavored gelatin into an ornamental bowl with a variety of disparate substances: cottage cheese, crushed pineapple, shredded vegetables, olives, nuts, grass clippings, coffee grounds, what have you. Then, just before dinner, the skillful chef unmolds the jello. It jiggles and shimmers and strikes fear into the hearts of lesser cooks.
In the northern plain states, this dish is euphemistically called, "salad." No kidding. Sometimes, with a dab of mayonnaise on top, for verisimilitude.
That said, I make a mean one, myself.
This fold reminds me of the ornamental bowl used to mold the jello. Unimproved Crease Pattern. Also in Encapsulated Postscript.
Karate For Kids
Karate for kids classes in Cave Creek, Chandler, Mesa, Glendale, Arizona are taught in a method to develop life skills such as respects, enhanced self-discipline, greater confidence and respect in children. The karate for kids programs with the local ATA martial arts schools doesn’t only teach how to kick and punch. The karate classes will teach kids the valuable life lessons of self-control and the ability to defend themselves. All of the Karate Kids classes teach the attributes necessary to be a confident individual within our community.
Our Local ATA Martial Art schools in Cave Creek, Chandler, Mesa, Glendale, Arizona have carefully designed the karate programs for the youth within the community- age appropriate programs that are specifically aimed at the child’s development both physically and mentally. These karate lessons are taught through a top ranked and nationally recognized “Karate For Kids” program, that has a well established training curriculum designed school aged students.
bullying seminars, martial arts business coaching mesa karate, chandler karate, cave creek karate,
#1 with parents in the ATA Karate Schools in Cave Creek, Chandler, Mesa, Glendale, Arizona is the renowned Karate for Kids character development “ATA Life Skills” program designed for personal Victory in Martial Arts with skills such as perseverance, integrity, courtesy, self-esteem and the respect for others while incorporating social life skills that develops naturally within the group.
It is always a good time to start a program at one our three locations as the #1 Karate For Kids schools in Las Vegas and Henderson. Together with kids their own age, every youngster can mature and grow with the self confidence that a karate kids program develops within them.
Martial Arts Classes For Women
In today’s world of fitness, women are looking for a structured and interesting workout in a manner to stay fit that breaks away from their traditional daily routine. Repeating the same exercise every day can be draining and break ones motivation and is rarely goal oriented. It isn’t the normal daily gym workout. ATA Martial Arts of Cave Creek, Chandler, Mesa, Glendale, Arizona is a training facility that women are finding the variety of goal oriented conditioning that is exciting. While the physical nature of martial arts is rewarding and a personal martial arts victory, it also teaches the self defense and survival tactics that is needed in todays ever changing world.
There are many important mental and physical health benefits in our women’s martial art classes in Las Vegas and Henderson. While toning vital muscles and building coordination will enhance self-confidence, awareness and increase cardiovascular is health. Women who Attend ATA karate classes will improve balance, flexibility, increase exercise stamina levels while developing a greater sense of self-esteem, hence the term… “Victory” in Martial Arts.
Martial Arts have been known to provide much needed stress relief, promote self-control, concentration, and boost the ability to remain calm under stress. ATA Martial Arts routines are even helping women keep their memory sharp on a day-to-day basis!
Cave Creek, Chandler, Mesa, Glendale, Arizona ATA Martial Arts facilities are the community martial arts experts that provide rigorous karate classes for women of all ages to develop their strength of body and mind.
It’s a fact! Women are breaking away from their traditional exercise routines such as gym workouts and finding balance, freedom and motivation at ATA Martial Arts. It’s time for you to experience the benefits of karate classes designed for women with the community Martial Art experts in Las Vegas and Henderson.
Adult Martial Arts Classes for Men
Martial Arts classes for men in Cave Creek, Chandler, Mesa, Glendale, Arizona is more then just kicking and punching. ATA Karate Classes create a stronger self awareness, enhanced confidence, greater focus, and a true Victory in Martial Arts for men of all ages.
In an adult class a karate student will train will practical concepts in a safe, clean and enjoyable facility, while incorporating life skills to de-stress from life’s everyday challenges. Las Vegas ATA Martial Arts and Henderson ATA Martial arts offers three location to serve our community. Learning a skill set that will stick with you for life, no matter what age, allowing you to gain the self confidence desired so that you can feel comfortable with confrontation in any real life situation.
As one of the top martial arts training facilities in the community our Martial Arts programs such as Karate for Kids, Taekwondo and MMA and Fitness is a key method of enhancing the body’s functions, including flexibility, coordination, and balance with strength and endurance. Yes! It relieves stress while having some fun as well as meeting new people. As an adult, you do not need to have prior training before you get into a Martial Arts class. ATA Martial Arts has a defined teaching curriculum designed to take each student to the peak of their performance while greatly enhancing their skills creating a personal “Martial Arts Victory”.
KRAV MAGA & MMA FITNESS
Krav Maga and ATA’s MMA and athletic training is combined to provide a diverse full body workout while incorporating real life scenario drills for self defense.
This class features a structured curriculum that is in continuous motion utilizing all levels of MMA and Krav Maga skills with self defense drills in a manner to enhance cardio-respiratory for your cardiovascular system. Krav Maga students don’t’ just perform blocks, punches, kicks and movements you would find at a gym to music or in the mirror, students train in an environment that is preparing them for real life conditions.
The Krav Maga & MMA Fitness in Cave Creek, Chandler, Mesa, Glendale, Arizona is a true Conditioning Program that specializes in a Total Body Workout that doesn’t feel like to boring fitness class you may have taken before. Krav Maga Conditioning Program brings a fresh experience and keeps each and every student motivated in class on a day to day basis.
With a strong dedication and commitment to the Krav Maga and MMA Fitness Training student, Krav Instructors teach a combination of strength training, combatives, flexibility skills, and workouts with our top notch academy training facility. There is a emphasize on muscular strength and cardiovascular endurance for Krav students in Henderson and Las Vegas while instilling the distinctive awareness and self defense techniques needed for street survival in our ever changing world.
Correct body alignment to maximize efficiency can be key, our team of professional instructors will work on refining Krav Maga technique through exciting repetition drills and training.
All levels of Krav Maga, MMA & Fitness from the beginner to the experienced can train at anyone of our three locations. Call today and don’t delay.
4x5, Neopan, Zone VI, 180mm Symmar S, stand developed
If you would like to request license options on my images please contact me directly.
All images on this blog are copyright protected, registered with the US Copyright Office, and vigorously protected. In order to avoid what could be costly contact for you with my attorney, get my written permission before any use, additionally any approved web use of this image is also required to be linked to this URL and properly credited. NO commercial use is allowed without my written approval and compensation. Images are protected and their use is tracked using Digimarc™.
HafenCity Hamburg
HafenCity is being developed from west to east and from north to south – 62 projects are completed in 2017 and another 70 are under construction or in the planning stage; deals through sale of land or exclusive options have been closed on around 1.65 million sqm GFA. In the meantime, HafenCity has established its popularity as a place to live and work. Nowadays more than 1,800 residential units are completed approx. 12,000 people work in HafenCity as a whole, employed by more than 730 companies
HafenCity is among the most outstanding urban development projects on the waterfront anywhere. Based on a sophisticated concept, it is expanding the area of Hamburg City by 40 percent. It also has spin-off effects for the existing city centre, the whole of the Hanseatic city state with its 1.8 million inhabitants and its surrounding metropolitan region with a population of some five million. Hamburg’s identity as a maritime port city will be underscored in the process and HafenCity itself serve as a blueprint for the development of the European city of the 21st century. It is already regarded as a model for major international urban development projects, although its development timescale continues through to 2025/30.
In 2009, Am Sandtorkai/Dalmannkai led the way as the first completed neighbourhood in HafenCity’s development. The beginning of 2017 saw the opening of Hamburg’s outstanding and internationally applauded new Elbphilharmonie Concert Hall, designed by Herzog & de Meuron, which sits atop the historic Kaispeicher A warehouse building. The new Hamburg landmark accommodates two concert auditoria, a five-star hotel and around 45 apartments. Close by, completion of the second large neighbourhood, Am Sandtorpark/Grasbrook, popular with many young families, followed at the beginning of 2011. The first primary school with kindergarten opened here in 2009, followed in 2013 by the popular Grasbrook park – primary school children were also involved in its design. Meanwhile, on Strandkai to the south, the first buildings completed there in 2009, Unilever headquarters and the Marco Polo Tower, an ensemble of office building and residential multi-storey, won multiple awards. At the same time, the first open spaces directly adjoining the River Elbe were opened up
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.
With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.
Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.
Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.
HISTORY
ANCIENT
Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.
In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.
Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.
Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.
The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.
PORTUGUESE CONTACTS
The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.
DUTCH EAST INDIA
In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.
In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:
I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.
The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.
AFTERWARD THE DUTCH GOVERNORS
exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.
n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.
Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.
During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.
INDIPENDENCE FROM THE DUTCH
In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.
CONTEMPORARY
The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.
The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.
As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.
GEOGRAPHY
The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.
Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.
The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.
The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.
Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.
To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.
CLIMATE
Being just 8 degrees south of the equator, Bali has a fairly even climate year round.
Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.
ECOLOGY
Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.
Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.
Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.
Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.
The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.
A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.
Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.
ENVIRONMENT
Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.
From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).
Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.
ECONOMY
Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.
AGRICULTURE
Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.
The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.
TOURISM
The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.
The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.
An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.
In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.
Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.
Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.
In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.
In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.
Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.
Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.
Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.
SEX TOURISM
In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.
Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.
By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.
TRANSPORTATION
The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.
A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.
In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.
A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.
On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.
In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.
On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.
To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.
DEMOGRAPHICS
The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.
ETHNIC ORIGINS
A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.
CASTE SYSTEM
Bali has a caste system based on the Indian Hindu model, with four castes:
- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.
- Wesia (Vaishyas) – the caste of merchants and administrative officials
- Ksatrias (Kshatriyas) – the kingly and warrior caste
- Brahmana (Bramhin) – holy men and priests
RELIGION
Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.
Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.
Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.
Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.
LANGUAGE
Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.
English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.
CULTURE
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.
Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.
Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.
Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.
WIKIPEDIA
Jökulsárlón (Icelandic pronunciation: [ˈjœːkʏlsˌaurˌloun̥] literally "glacial river lagoon") is a large glacial lake in southeast Iceland, on the edge of Vatnajökull National Park. Situated at the head of the Breiðamerkurjökull glacier, it developed into a lake after the glacier started receding from the edge of the Atlantic Ocean. The lake has grown since then at varying rates because of melting of the glaciers. It is now 1.5 kilometres (0.93 mi) away from the ocean's edge and covers an area of about 18 km2 (6.9 sq mi). It recently became the deepest lake in Iceland, at over 248 metres (814 ft), as glacial retreat extended its boundaries. The size of the lake has increased fourfold since the 1970s. It is considered as one of the natural wonders of Iceland.
The lake can be seen from Route 1 between Höfn and Skaftafell. It appears as "a ghostly procession of luminous blue icebergs".
Jökulsárlón has been a setting for four Hollywood movies: A View to a Kill, Die Another Day, Lara Croft: Tomb Raider and Batman Begins, as well as the "reality TV" series Amazing Race. In 1991 Iceland issued a postage stamp, with a face value of 26 kronur, depicting Jökulsárlón.