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Operation AVRO is a forcewide initiative that delivers a surge of extra resources and specialist officers to a different district within Greater Manchester each month.
The operation targets crimes that members of the public in that district have told us give them the most concern.
Members of the press and key partners, including local representatives, are invited to attend Operation AVRO deployments to see results first-hand and conduct important multi-agency work, such as welfare visits.
More details on AVRO can be found by visiting gmp.police.uk and following us on social media.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Patients and staff of the Neu-Ulm hospital watching the "Nabada" on the close-by Danube on "Schwörmontag" 2012.
Our late winter break in Tenerife was a bit different this year. The weather was forecast to break the day we arrived – and it did! Rain wasn’t the problem it was gale force winds – the same winds that caused the dust storms in Africa that caused the pollution and sand in the UK. We have witnessed gales in Tenerife before but this was worse than we’d seen it in the past . The palm trees were bending, the sand drifting like snow and the sea was raging. We usually walk around 150 miles on a ten day break but for five days we just walked with a brief spell on the beach, then the gales came back. We covered 22 miles some days and totalled 192 miles, not bad for a beach holiday. In some of the photos it looks stunning but look at the tops of the palm trees, like inside out umbrellas, the beach beds are empty and the waves were up to ten feet high and smashing thirty feet in the air. For five days everyone stood taking photos of the sea. For two days all boats stayed in harbour, only the big ferries sailed, there wasn’t a thing at sea, not even the surfers, we’ve never known that happen before. To add to this jellyfish in their hundred were washing up on shore and there was a severe risk of a burn from them. Even when red flags were flying and flags warning about the jellyfish were up the occasional nutter would go in the water and some people took staggering risks with their children including one couple with a baby, dangling it over the waves, just to get a photo, playing chicken as monster waves crashed in.
One day I had to catch my club sandwich as it went flying from my plate in the wind, empty glasses slid off the table and seat cushions went cartwheeling down the pavement. A couple of days were dull and cool but the menacing clouds made impressive photos, the sea was like a boiling cauldron. We did have days of beautiful weather as well, the second half of the holiday was normal sunny Tenerife. I haven’t hired a car for ages on Tenerife, it adds a degree of hassle to – what is supposed to be – a sun and relax holiday so again we didn’t go up El Teide. Next time perhaps. I took my racing bike once just to cycle from sea level to 8000 feet nonstop – twice! it’s a seventy mile round trip and a long drag to the top. On the way home we had to make an emergency landing in Dublin, fire tenders with foam jets pointing at us, unfortunately I was facing the setting sun and couldn’t take photos as the sun was shining straight through the window. Seven and a half hours on the plane, not much fun.
To see more about the history of J B Schofield & Sons Ltd and their plant and vehicles look here: www.jbschofieldandsons.co.uk/
Zebra. iSimangaliso Wetland Park. South Africa. Dec/2019
Zebra
Zebras are several species of African equids (horse family) united by their distinctive black and white striped coats. Their stripes come in different patterns, unique to each individual. They are generally social animals that live in small harems to large herds. Unlike their closest relatives, horses and donkeys, zebras have never been truly domesticated.
There are three species of zebras: the plains zebra, the mountain zebra and the Grévy's zebra. The plains zebra and the mountain zebra belong to the subgenus Hippotigris, but Grévy's zebra is the sole species of subgenus Dolichohippus. The latter resembles an ass, to which zebras are closely related, while the former two look more horse-like. All three belong to the genus Equus, along with other living equids.
The unique stripes of zebras make them one of the animals most familiar to people. They occur in a variety of habitats, such as grasslands, savannas, woodlands, thorny scrublands, mountains, and coastal hills. However, various anthropogenic factors have had a severe impact on zebra populations, in particular hunting for skins and habitat destruction. Grévy's zebra and the mountain zebra are endangered. While plains zebras are much more plentiful, one subspecies, the quagga, became extinct in the late 19th century – though there is currently a plan, called the Quagga Project, that aims to breed zebras that are phenotypically similar to the quagga in a process called breeding back.
Source: Wikipedia
Zebra
As zebras são mamíferos que pertencem à família dos cavalos, os equídeos, nativos da África central e do sul. A pelagem deste animal consiste num conjunto de listras contrastantes de cor, com o seu corpo todo branco e algumas listras pretas, dispostas na vertical, exceptuando nas patas, onde se encontram na horizontal. São geralmente animais sociais que vivem desde pequenos harém a grandes manadas. Ao contrário de seus parentes mais próximos, cavalos e burros, zebras nunca foram verdadeiramente domesticadas.
É nas savanas africanas onde as zebras habitam. Estes animais, por serem atacados habitualmente por leões, podem se tornar animais extremamente velozes, pois para fugirem dos predadores, utilizam a fuga e seus fortes coices, podendo quebrar até a mandíbula de um felino. As listras das zebras vão escurecendo com a idade, e estes animais, embora se pareçam, não são todos iguais.
Há três espécies de zebras: a zebra-da-planície, a zebra-de-grevy e a zebra-da-montanha. A zebra-das-planícies e a zebra-da-montanha pertencem ao subgénero Hippotigris, mas a zebra-de-grevy é a única espécie do subgénero Dolichohippus. Esta última se assemelha a um jumento, ao qual está intimamente relacionada, enquanto as duas anteriores são mais parecidas com cavalos.. Todas as três pertencem ao género Equus, junto com outros equídeos vivos.
Não se encontram à beira da extinção, embora a zebra-das-montanhas esteja ameaçada. A subespécie de zebra-das-planícies conhecida como cuaga(do inglês quagga, que designa o som que o animal produzia cuahaa), Equus quagga quagga, estava extinta, mas projetos de cruzamento entre zebras com coloração semelhante já recuperaram a espécie antes extinta, e o projeto liberou com sucesso vários exemplares na natureza.
As zebras são animais herbívoros, e se alimentas preferencialmente em pastagens da savana africana
Fonte: Wikipedia
iSimangaliso Wetland Park (previously known as the Greater St. Lucia Wetland Park) is situated on the east coast of KwaZulu-Natal, South Africa, about 275 kilometres north of Durban. It is South Africa's third-largest protected area, spanning 280 km of coastline, from the Mozambican border in the north to Mapelane south of the Lake St. Lucia estuary, and made up of around 3,280 km2 of natural ecosystems, managed by the iSimangaliso Authority. The park includes: Lake St. Lucia, St. Lucia Game Reserve, False Bay Park, Kosi Bay, Lake Etrza Nature Reserve, Lake Sibhayi, St. Lucia Marine Reserve, St. Lucia Marine Sanctuary, Sodwana Bay National Park, Mapelane Nature Reserve, Maputaland Marine Reserve, Cape Vidal, Ozabeni, Mfabeni, Tewate Wilderness Area, and Mkuze Game Reserve
The park was previously known as the Greater St. Lucia Wetland Park, but was renamed effective 1 November 2007. The word isimangaliso means "a miracle" or "something wondrous" in Zulu. The name came as a result of Shaka's subject having been sent to the land of the Tsonga. When he came back he described the beauty that he saw as a miracle.
Source: Wikipedia
iSimangaliso Wetland Park
O iSimangaliso Wetland Park (anteriormente conhecido como Greater St. Lucia Wetland Park) está situado na costa leste de KwaZulu-Natal, África do Sul, a cerca de 275 quilômetros ao norte de Durban. É a terceira maior área protegida da África do Sul, abrangendo 280 km de costa, desde a fronteira moçambicana no norte até Mapelane ao sul do estuário do Lago St. Lucia, e composta por cerca de 3.280 km2 de ecossistemas naturais, gerenciados pela Autoridade iSimangaliso . O parque inclui: Lago Santa Lúcia, Reserva de Caça de Santa Lúcia, Parque da Baía Falsa, Baía de Kosi, Reserva Natural do Lago Etrza, Lago Sibhayi, Reserva Marinha de Santa Lúcia, Santuário Marinho de Santa Lúcia, Parque Nacional da Baía de Sodwana, Parque Nacional da Baía de Sodwana, Reserva Natural de Mapelane , Reserva Marinha Maputaland, Cabo Vidal, Ozabeni, Mfabeni, Área Selvagem Tewate e Reserva de Caça Mkuze
O parque era conhecido anteriormente como o Parque Wetland da Grande St. Lucia, mas foi renomeado em 1 de novembro de 2007. A palavra isimangaliso significa "um milagre" ou "algo maravilhoso" em Zulu. O nome veio como resultado do fato de Shaka ter sido enviado para a terra dos Tsonga. Quando ele voltou, descreveu a beleza que via como um milagre.
Fonte: Wikipedia (tradução livre)
Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam
Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.
The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.
The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.
Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.
Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.
Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta
My combination of different photos just looks weird. I had an extremely hard time figuring out the process and still do not have a good grasp of it. I also realized that I did not have a good variety of photos to make this assignment easier and more interesting. I took a large close up picture of the Paramount sign and put it on top of another picture of the Paramount building. This photo to me just looks weird and not very interesting. I do think the lighting is good and the details of the photo are pretty crisp. It just looks like a lot of elements piled on one another.
Taken at the large waterworks in St. Joe, MI. I would definitely not be partaking with the recent cold we've been having... though they've probably turned off the fountain for the year anyway... Enjoy some snuggly warmth today!
1. Material: Plant, room lighting, phone
2. Idea: To show the different aspects
3. Process: I took this picture when I was walking by the hall way and I thought it looked very good
Peintes vers 1080-1120, les peintures romanes sont très bien conservées et extrêmement bien réali-sées. Bien que lacunaire, ce programme est riche de plusieurs thèmes iconographiques. Sur le mur est, une frise grecque avec effet de relief et différents oiseaux parcourt tout le baptistère. Entre les deux oculi, un Christ avec un nimbe crucifère se tient en majesté dans sa mandorle avec un livre ouvert où est inscrit EGO [SUM V] I [TA] : Je suis la vie (Jean, XIV, 6). Autour de lui, deux anges épousent parfaitement la forme des fenêtres, tous deux tournés vers les Apôtres désignant le Christ. Ceux-ci ne sont pas reconnaissables individuellement, hormis saint Pierre à la droite du Christ. Ils sont en mouvement et marchent sur des vagues représentants le monde sur lequel répandre la parole divine, avec au dessus d'eux une inscription en latin AS-CENDO AD PA-TREM [MEUM E] T PA-TREM [VES-TRVM, DEVM ET DEVM VES-TRVM]. VI[RI G]A[LIL] EI [QVIS S]TA[TIS AS-PI-CIENT] ES IN CELVM. HIC HIESVS QVI ASVMTVS EST A VOBIS : Je monte vers mon Père et votre Père, mon Dieu et votre Dieu. Galilée qui lève les yeux au ciel. C'est Jésus qui vous a été enlevé.
Sous le Christ la main de Dieu représentée dans un médaillon. Sur l’arc en plein cintre, un Agnus Dei et deux anges thuriféraires, avec sous cet arc des personnages non identifiables dans des médaillons. Enfin, sur le dernier registre du mur, deux cavaliers sont situés de part et d’autre, le premier complètement effacé dont ne reste que la tête du cheval. A droite, le cavalier Constantin tenant un sceptre et un orbe, et marchant dans la direction du Christ, est le seul des quatre dont l’identité nous soit parvenue. Sur cette partie du mur se superposent le cavalier roman et les dernières scènes du cycle de la vie de saint Jean-Baptiste, datant du XIIIe siècle.
Sur le mur Nord, de gauche à droite, se situent une figure profane, un paon sous chaque oculi et sous l’arc en mitre un saint anonyme, avec à droite du mur deux apôtres. Sur le mur Ouest, les peintures sont très endommagées, un paon est tou-jours visible bien que pâle, un vase ocre s'y distingue aussi (vase de vie ou pour utiliser le chrême en vue d'oindre les catéchumènes. Un deuxième paon devait se trouver à côté avec, plus bas, deux autres cavaliers dont l’un est complet, couronné et tenant un sceptre. Le quatrième et dernier cavalier est lui aussi endommagé, seul le haut de son corps étant visible tenant les rênes de son cheval.
Sur le mur Sud, deux apôtres, non complets avec sous l’oculus un paon et sous l’arc en mitre, saint Maurice d’Agaune, désigné ici par MAVRICIVS en habit de légionnaire, ses reliques étant conservées dans la cathédrale primitive. Sous le second oculus, un dragon fait face à un homme brandissant une épée, symbole du combat entre le bien et le mal. Entre ces deux figures, une inscription CIL CRIA MARCI ET VRNA : il demanda grâce et s’enfuit (plus vieille inscription connue en langue vernaculaire) (cf. fra.archinform.net).
St Germain, Wiggenhall St Germans, Norfolk
In 2005, I'd written: The setting of this beautiful church is quite different from that of its near neighbours Wiggenhall St Mary and Wiggenhall St Peter, for here the starkness of the fens is softened by a pretty village, the pub standing to the north of the church and a village square with a shop and old houses beyond that. The proximity of the church to the river is again disguised by the levee banks built up to protect the land now that the river level is so much higher than that of the country through which it rolls. Even so, several of the houses have markers to show how high the floods have come, higher than I am as recently as 1953.
In many ways, St Germain is a typical East Anglian church with aisles, a clerestory and an earlier tower; the tower would be quite inconspicuous if it wasn't for the most elegant top stage with battlements and enchanting spires like a fairy castle. These are echoed by the sanctus bell turret at the other end of the nave.
The aisles extend into the chancel, and that to the north has a gabled roof, culminating at the east end in a cross on the top. The view of St Germain from the east is very pleasing. This church is as feminine as St Mary is masculine, but she is a rather shabby old lady, propped up by large 18th century buttresses on the south side, and the red brick Tudor south porch crumbling to ruin.
The Wiggenhalls are synonymous with some of the best late medieval woodwork in England. Across the Ouse at St Mary, there is range after range of benches of the highest quality, but I had felt it rather sombre and museum-like. St Germain is quite different; here, the carvings are quirky and full of life, which suggests that they are by different hands. In the medieval merchant ports of the Ouse delta, it is quite likely that services like carving were bought in from outside, so what we have here are probably two neighbouring parishes competing to outdo each other.
The medieval benches form the two central ranges in the nave. Most of those in the aisles are Victorian copies, but good ones. The main bench ends face into the central walkway. As at St Mary, they consist of a large figure in a niche, two smaller figures or scenes on either side above, and the whole lot surmounted by an elegant poppyhead.
On the south side, the upper subject is the Seven Deadly Sins. The sin is depicted on the left hand side, with an angel on the right hand side indicating the sin. Each sin scene is set in the mouth of a big fish representing the jaws of hell. The surviving scenes, from the west, are Lust, Gluttony, Avarice, Anger and Pride. Sloth and Envy are destroyed, although one survives as a stump. Pride is damaged, but the others are in wonderful condition. The figures in the niches are Apostles.
On the north side are incomplete parts of several sets. Firstly, the seven sacraments of the Catholic Church. The Sins and the Sacraments were popular subjects in the 14th and 15th centuries, at a time when the Church was trying to reinforce Catholic orthodoxy in the face of local superstitions and abuses. The imperative for this had been the rising to prominence of a new middle-class after the old estates had been broken up in the wake of the Black Death. They were most concerned that their souls should be prayed for, especially in the event of a sudden death. Their bequests that made their mark on the imaginations of their parishes transformed the churches of eastern England. In time, this need for control would lead to an embracing of the new big idea beginning to take shape on the continent - protestantism. But that was still in the future.
Also on this side are seated figures that are probably the Evangelists. There is also a small selection of carved animals, most of which are quiet, local images of everyday creatures, although there is a super pig-like dragon.
There are two fonts; a rather robust 19th century stone one on marble pillars, and its medieval predecessor relegated to the floor in the south aisle. The north chancel aisle is pleasingly free of clutter, allowing that white Fenland light to spill across it in almost a Dutch way. The rood stair turns inside the chancel arch, and again is pleasingly shabby. The Jacobean pulpit still has its hourglass stand, and a couple of evangelical banners (we are in the Diocese of Ely, after all) add a touch of colour.
I started this account by commenting on the gloom of the chancel, but I should say that there is a dark richness here, fully Victorian with coloured wrought-iron altar rails and heavy wood panelling. I'm glad the whole church isn't like this, but it provides an interesting contrast with the medieval glories of the nave. St Germain was Bishop of Paris, and this is the only church in East Anglia that has him as its dedication. It is fitting that it should be such a special place.
Standing over and bending to get a picture with the light on the correct side to show the gorgeous purple of this Violet Dancer...not much can compare :)
Lucille in the park. Yesterday's flood put an end to the rock wall. I guess I need to start thinking about different locations.
Wow, a non-nature shot!
Studio 26-2 Triangles
The dominant feature, the vanishing point tracks, make the dominant triangle here. I see a large triangle in the bridge underpass and many small triangles in the framework holding the sign in the left of the photo. This is a photo in which I thought about composition while taking the photo, rather than capturing moving animals and cropping afterwards.
Normal daily life along a different timeline - which we cannot find - but have the feeling that it exists - but
Certainly!
Quantum computing represents a groundbreaking advancement in technology, deeply intertwined with the concepts of superposition, entanglement, and interference from quantum physics. Unlike classical computing, which processes information in a linear fashion using bits (0s and 1s), quantum computing utilizes quantum bits or qubits that can exist in multiple states simultaneously. This enables quantum computers to perform numerous calculations at once, effectively navigating through a vast landscape of potential solutions.
The idea of parallel timelines can be likened to the way quantum computers operate. Each decision or computation can be viewed as branching into multiple outcomes, similar to how different timelines might unfold based on various choices. This means that a quantum computer can explore various paths to a solution simultaneously, leading to remarkable efficiencies in solving complex problems.
In practical terms, this capability could revolutionize fields such as cryptography, where quantum computers may break existing encryption methods faster than classical computers. In material science, they could simulate quantum phenomena to discover new materials with desirable properties. Additionally, in optimization problems across various industries, quantum computing offers the potential to find the most efficient solutions more rapidly than traditional methods.
In summary, the link between quantum computing and the concept of parallel timelines highlights a fascinating intersection of technology and theoretical physics, suggesting that our understanding of reality may be more complex and interconnected than we previously imagined.
Like the two preceding "can you tell which thing is not like the others" photos, it is possible to find quite a few ways that four are the same, one is different. I'll give you some starters....see if you can find others.
1. Only one has a baby on the back
2. Only one is wearing pink bedroom slippers
3. Only one has glasses
Okay......what can you find.....?????
This is a shot I've been trying to pull off for some time. I'm always annoyed that the view of the Partners statue is blocked by guests posing for photos, a situation exacerbated by the presence of one or more Photopass photographers. I decided to try and shoot over them by mounting my camera on a monopod and hoisting it up over my head. The result is not quite as I imagined it, but it's not a bad first effort.
Recently posted "Nature's Fanciful Creation" has brought some favorable responses and so I thought I'd add a photo of the same scene but from a wider perspective. It gives you an idea of the wonderful formations found surrounding Watson Lake in the Granite Dells of Prescott, Arizona.
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