View allAll Photos Tagged electrocution
See it in the book: rutgerspress.rutgers.edu/acatalog/How_Fast_Can_A_Falcon_D...
The red "raptor hood" seen on the left hand phase protects raptors like this Bald Eagle from accidental electrocution. If a raptor makes contact with two phases, or a phase and a ground, they get fried (fried meaning they can have their feet blown off, catch on fire, and even have a 'sub-lethal' where the electricity courses through their body, causing internal injury, and yet the raptor can still fly away to die elsewhere. I once participated in the recovery and rescue of a Red-tailed Hawk that had one blown pupil, burns on it's feet, and an exit burn near it's "elbow" on one wing).
Covering the middle phase, and eliminating a ground wire, will prevent electrocutions on most poles without additional hardware. The "industry standard" is sixty inches (five feet) of clearance between energized hardware, yet eagles have a much wider wingspan.
In this case, this pole is much safer--the new style raptor hoods are very good, and by covering the center phase, a raptor is very unlikely to be electrocuted. There is still a possibility that an eagle coming in at an odd angle could make contact beyond the cover--but I think I remember that most eagles approach from above, so it's not likely.
This is an old, but very good, article on the raptor electrocution issue: audubonmagazine.org/incite/incite0001.html
The Twin Sisters are Armed with a Pair of Electric shields that can either Stun, or Electrocute their Opponent!
Electrocuting an Elephant, a short film by the Edison Film Co. was the first depiction of such a death....
45146 awaits departure with the 12.57 Scarborough - Bangor. Some stations were renowned for certain smells. Bank Quay was synonymous with the smell of soap from the Unilever factory right by the station formerly Lever Brothers. On doing a bit of cursory research on the factory I was saddened to hear that the factory closed in October 2020 with the loss of 123 jobs. A factory had been at the site of Bank Quay since 1814. Other stations that spring to mind were Bridgwater and 'The Pong' from the British Cellophane works that was sometimes so bad I felt like throwing up. That was closed in 2005 with the loss of 250 jobs. The smell at both these stations was very strong but mostly I was passing through and not spending time there. Other stations that come to mind were Burton-On-Trent with its abattoir and disgusting smells mixed in with the aroma of the brewing process. I only alighted here once and had to spend just short of an hour listening to squealing pigs being electrocuted. Anyway the morals of meat eating, what we wrap our food in and how we keep clean are a long way from this Toton EH beast which I boarded at the unfamiliar surrounds of Earlestown and took to Bangor and back to Rhyl for beers in The Load Of Mischief by the station before retiring to the Peak Army caravan for the night. I spent a day spotting at Warrington Bank Quay in 1975 after a tip off that it was one of the best places in Britain for sheer volume and variety of traffic and locos. I would probably add Doncaster and Newport to that spotting heaven list. There was a road just away from the station in a triangle of lines that you could see everything on the low level lines and Arpley freight line. Just on this three minute stop I observed 25069 & 25048 on coal empties to the north of the station as well as 86030 on goods. 47305 was on an MGR and 40099 on railfreight. To the south of the station 56057 & 56064 were paired on a Llandudno Jn - Fidlers Ferry MGR and 40196 on sodium tanks.
www.warringtonguardian.co.uk/news/18799572.crosfields-lev...
Fontaine Stravinsky,
La fontaine Stravinsky et, au fond, l'église Saint-Merri
La fontaine Stravinsky, ou fontaine des Automates, réalisée en 1983 est l'œuvre conjointe de Jean Tinguely et Niki de Saint Phalle. Elle est créée dans le cadre du pourcentage du budget de la construction du Centre national d'art et de culture Georges-Pompidou. C'est une commande publique entre la ville de Paris, le ministère de la culture et le Centre Pompidou. L'œuvre est la propriété de la ville de Paris qui se charge de son entretien.
Ce monument évoque l'œuvre musicale du compositeur russe Igor Stravinsky. Compositeur russe du xxe siècle, celui-ci est un symbole de l'éclectisme et de l'internationalisme artistique.
La fontaine Stravinsky est bâtie sur la place Igor-Stravinsky près de l'IRCAM (le centre de recherche en musique contemporaine). Elle est composée de 16 sculptures rendant hommage aux compositions du musicien. Sept sont de Jean Tinguely, six de Niki de Saint Phalle et trois des deux artistes. Les sculptures ont été réalisées en résine ou assemblage d'élément en résine et d'éléments métalliques ou assemblage d'éléments métalliques. C'est une œuvre composite conçue pour un espace public et une œuvre en mouvement. Les sculptures sont toutes mécanisées, noires ou colorées et sont animées par des jets d'eaux.
Une fontaine, en général, est (ou était) un lieu de repos et de rencontre dans la cité. La fontaine Stravinski recrée cela. Les sons que produit la fontaine évoquent la musique. Et l'œuvre de par son emplacement et de par sa nature offre une multiplicité de points de vue. La mobilité des sculptures couplées à la richesse de l'environnement offre au spectateur une œuvre en perpétuelle mouvance et nous interroge sur la pérennité de l'œuvre d'art.
Stravinsky Fountain
From Wikipedia, the free encyclopedia
Stravinsky Fountain
ArtistJean Tinguely; Niki de Saint Phalle
Year1983
TypeFiberglass, steel
LocationParis, France
Coordinates: 48.8595°N 2.3515°E
The Stravinsky Fountain (fr: La Fontaine Stravinsky) is a whimsical public fountain ornamented with sixteen works of sculpture, moving and spraying water, representing the works of composer Igor Stravinsky. It was created in 1983 by sculptors Jean Tinguely and Niki de Saint Phalle, and is located on Place Stravinsky, next to the Centre Pompidou, in Paris.
The Stravinsky Fountain is a shallow basin of 580 square meters located in Place Stravinsky, between the Centre Pompidou and the Church of Saint-Merri. Within the basin are sixteen works of sculpture inspired by Igor Stravinsky's The Rite of Spring, and his other major works. The black mechanical pieces of sculpture are by Jean Tinguely, the colored works by Niki de Saint Phalle.
The sculptures in the fountain represent:
L'Oiseau de feu (The Firebird)
La Clef de Sol (the musical key of G)
La Spirale (the spiral)
L'Elephant (the elephant)
Le Renard (the fox)
Le Serpent (the serpent)
La Grenouille (the frog)
La Diagonale (the diagonal)
La Mort (death)
La Sirène (the mermaid)
Le Rossignol (the nightingale)
L'Amour (Love)
La Vie (Life)
Le Cœur (the heart)
Le Chapeau de Clown (the clown's hat)
Ragtime (Ragtime)
The basin covers some of the rooms and offices of IRCAM, the Institut de recherche et coordination acoustique/musique, an organization devoted to promoting modern music and musicology, connected with the Pompidou Center. The founder of the IRCAM, composer and conductor Pierre Boulez, suggested the work of Stravinsky as a theme for the fountain. Because of the offices and rooms below, the fountain was designed to be as light as possible, with very shallow water, a bottom of stainless steel, and sculptures composed of plastics and other light materials.
The Stravinsky Fountain was part of a larger sculptural program, launched by the City of Paris in 1978, to build seven contemporary fountains with sculpture in different squares of Paris. Besides the Stravinsky Fountain, this project included new fountains at the Hotel de Ville and within the gardens of the Palais Royal. They were to be the first public fountains built in Paris since the fountains of the Palais de Chaillot were built for the Paris Exposition of 1937. It was also parmajor project by the City of Paris to redevelop the area around the old city markets, Les Halles, which had been torn down in 1971, and to re-animate the area with pedestrian streets, squares and works of art.
In October, 1981, the mayor of Paris, Jacques Chirac, announced that a new fountain would be built near the Centre Pompidou, and announced that Jean Tinguely and Niki de Saint Phalle had been selected to design the fountain. "Such a work must necessarily have modern lines, marrying with those of the Centre Pompidou, Chirac said, and he noted the success of the fountain that Tinguely had recently done in Basel, Switzerland.[2] The City of Paris paid two million French francs for the project, which was matched by two million francs from Jack Lang, the Minister of Culture. The financial agreement agreement was formally signed on December 15, 1982, allowing the project to go ahead. Other contribution came from private sponsors; la société Lyonnaise des eaux (500,000 francs), la fondation Scaler (150 francs) and the Swiss government.[3]
One sensitive artistic issue had to be resolved; the commission had originally been given to Jean Tinguely alone, and therefore the work would have been entirely composed of his black-painted mechanical sculptures. But in May 1982 he asked that brightly colored works by Niki de Saint Phalle (who was also Tinguely's wife) also be included. This caused concerns at the Sous-Direction du Patromoine culturel of the Bureau of Monuments of Paris, which had originally commissioned the sculpture; they feared that the brightly colored works of Niki de Saint Phalle would visually overwhelm the dark works of Tinguely. Officials of the Ministry of Culture and Sous-Direction du Patrimoine persuaded Tinguely to reduce the number of works by Niki de Saint Phalle to four or five, and both the Ministry of Culture and City of Paris agreed that it would be a joint project by Tinguely and Saint Phalle.[4]
A few technical issues also needed to be resolved. Tingueley did not want the water treated, and preferred that moss be allowed to grow. Tinguely also wanted to use very low power electric motors for the fountains, to avoid any danger of electrocuting people wading in the fountains. The sculptures were not attached to the bottom of the basin, but simply placed there.
The finished fountain was dedicated on March 16, 1983, by Mayor Chirac, Minister of Culture Jack Lang, and Madame Pompidou, the widow of President Georges Pompidou. During the ceremony, Mayor Chirac and Culture Minister Lang, who were political enemies, avoided looking or speaking to each other.
Under French law and practice, the French state has the legal obligation to maintain fountains, but artists and their descendants have the moral right to control their work. In 1985, Niki de Saint Phalle asked for modifications to be made to one part of the sculpture, Rossignol, to make it more harmonious with other parts of the work. Five years later, she asked that one sculpture, Sirène, be replaced by another earlier work by her, called Nana, seated in a bathing suit. Because of the cost, the substitution was never made.[5]
At one of the staffed Camps that we passed through in Philmont, we were asked: "Why y'all here?" to which I replied: "We came for Weather" (note the absence of the word 'the' in that sentence ;-)
It rained *every* day between the hours of 2-5pm, and we were generally under direct threat of being electrocuted by serious lightening! Temps varied from Low-40's (F) to Low-90's (F) daily; even hailed so hard the last day it looked like snow had accumulated in some parts.
Picture of us Southern Californians experiencing more rain, clouds, and temp variations in one(1) day than we do in a WHOLE YEAR in SoCal (I'm semi-serious when saying that).
Philmont Scout Ranch, New Mexico.
Woke up, got out of bed, walked the dog, fed the dog, turned on the computer(oh, who am i kidding, the computer's always on), managed Flickr, read the NY & LA Times(online), then decided a nap is what i needed.
and that's when the dream began:
-My building was a hotel room, and at the top was a catered meal, where one of the servers was a guy i'd met at a film shoot a few weeks earlier.
-Trying to check in, i left my bags in the elevator, then had to rush down the stairs, and of course, back up the stairs, to catch them.
-Both Jason Schwartzman, Sarah Silverman and Jenny Lewis live in my building. Jason Schwartzman I'm not so impressed with, hasn't done a good movie in awhile, but i take care to ask Sarah Silverman about Jimmy Kimmel, as i'd heard he was ill. I call him Jimmy, then apologize for being so familiar.
-They are shooting a movie right next to my building, which makes parking impossible, and so i have to park far away, causing me to walk quite a ways to get back to my apartment, where, at the front steps, i find Electrocuted. She looks, well, she looks like she just woke up, crusties in the corners of the eyes, hair matted down on one side, dried drool at her lips. I know, weird. it is a dream. but i've been trying to get ahold of her for weeks, so i figure, she's here, why not finally take more pix. so i take her up to the apartment, where she's acting all weird and depressed, down in some deep hole, and i'm at a loss.
-Avolare shows up, knows just what to say to Electrocuted, she gets freshened up, and now we're all doing a photo shoot, only Avolare keeps turning her head to the side, much likeOlivia does in many of her photos. So it's up to me to reprogram her model's instincts.
Then I wake up. The moral of the story is:
be careful what you do before taking a nap. or, never have two flickr models in the same place. or, never live in a hotel or near a movie set.
We headed towards the sunrise today and got lost in Indiana on a little beer run.
We ended up in a beautiful place talking about how genius Nikolai Tesla was and what a dick Thomas Edison was.
You know that dude kidnapped people's dogs and cats in order to electrocute them and try to convince people that Tesla's version of electricity was more dangerous?
We also talked about the color receptors in the eyes of various animals and the fact that Mantis Shrimp can see about five times as many colors as we can.
Colors that we don't have names for and can't even comprehend.
Where we see a rainbow made of three colors the mantis shrimp sees 'a thermonuclear explosion of color .'
Getting lost in a beautiful place on a beautiful day in good and interesting company is alright.
I hope you're feelin' the love today and havin' a good time with your peeps.
First Appearance - Detective Comics #181 (March 1952)
David Wist was a jeweller and secretly a small time thief who wanted to go big time with a gang. After being rejected by mob bosses, Wist decided to go it alone by robbing a mansion. But he tripped the alarm and Batman and Robin turned up. In Wist's escape he climbed the fence in to a nuclear power plant, and somehow got electrocuted by low hanging cables. Batman and Robin left assuming he was dead, and to avoid radiation. But Wist survived and realised that he now had magnetic hands, with a positive charge in his right hand, and a negative charge in his left. Becoming The Human Magnet, he then proceeded to go on a crime spree each time evaifing Batman and Robin through some metalic means such as spraying them in metalic paint, or covering them in metallic tinsel and then pushing them away. Batman finally beat Wist when he tricked him in to clapping his hands together, attracting the positive and negative charges, and leaving him unable to pull them apart.
I went to Nicaragua with a goal in mind; it was to have an impact on the people I met. Whether it be in the present moment or vicariously through what is done with my photos, I wanted to help make a positive change.
I feel like I achieved that while I was there, but I was surprised with how much Nica changed ME.
Yes, it's true, everyone should visit a third world country. In the U.S. we are certainly lucky people. We don't want for much and when we do want something we can usually just go out and get it. We can take a shower whenever we want and we can have hot water if we wish and we don't run the risk of being electrocuted in the process. (Look, bathing in nica was just really stressful, okay?)
Most of us have air conditioning and dishwashers and washing machines and don't have to really worry about wasting water or not having any at all.
But in Nicaragua those things aren't really the norm.
A lot of Americans would be fed up quite quickly and want to pack up and get back home to Netflix, but the Nicaraguans are just as happy as can be despite the things we would consider an inconvenience.
They are seemingly stress free!
They aren't bogged down with the things we get senselessly wrapped up in here in the U.S. They go outside and sit on the stoop with their neighbors, they cook meals as a family and eat as a family. They buy food from their friends' markets. They take naps in the shade in their hammock. The kids play games in the streets and when the home baseball team wins a game, the ENTIRE town runs outside to celebrate and makes AS MUCH NOISE AS POSSIBLE... for hours. (Seriously, if what I saw ever happened in the states, people would have been arrested.)
What I'm trying to say is, even though we have "everything" in the USA, these people have something we don't.
They have what you get when you are experiencing life. It's something so special and everyone deserves to know what it tastes like.
So go outside with a parrot on your head!
Live your life and be with the people who are around you. Make friends! Laugh! Cook and eat good food. Introduce yourself to your neighbor. Walk somewhere. Don't take things that don't matter so seriously and be happy you have a life and you can do anything with it.
It's a beautiful way to be and I thank Nica for showing me that
This is my favourite graveyard shot for all sorts of reasons.
One is that I'm still amazed I managed to convert the camera to infrared without electrocuting myself.
It's gothic and a bit creepy obviously. But beyond that I like to think the skulls are looking at one another tenderly.
Faversham, Kent, England. Infrared.
Thanks to Skeletalmess for the texture.
so now he has a scar from how the energy leak (as seen in The End of Time) was sort of electrocuting him from the inside out. it's meant to be glowing (i used metallic paint)
I apologize ahead of time to anyone I might offend by the posting of this photo--but I have to say that its one of the strangest things I've ever seen. We stopped in at the local marina to see how frozen things are and were getting ready to leave when an object on the overhead powerline caught my eye. I have no good theory as to what led to this squirrel's demise.
Indiana State Prison MICHIGAN CITY, IND.
Date: 1908
Source Type: Postcard
Printer, Publisher: J. H. King (#50)
Postmark: August 7, 1908, Chicago, Illinois (Logan Square Station)
Collection: Steven R. Shook
Remark: The state prison at Michigan City, LaPorte County, Indiana, was originally referred to as State Prison West. The first prison for the state was located in Jeffersonville, Indiana, which was referred to as State Prison East.
The Indiana State Prison in Michigan City dates to 1859 when the state appropriated $50,000 for the construction of a new prison. The following year, 100 acres of land was purchased in Michigan City for the sum of $4,500. The first building to be erected at the site was called the Temporary Prison Building, a 200-foot long red brick structure. Numerous structures were added on the prison grounds through the 1920s.
Executions in Indiana for state crimes are carried out at this prison. Executions taking place through 1913 were done by hanging. From 1914 through 1994, death sentences were carried out by electrocution. Lethal injection became the standard method of execution in 1995.
One of the most notable prisoners of this facility was John Dillinger, who was released on parole in 1933.
Copyright 2023. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Woody Welch-Original Art
Posted with the kind permission of the artist.
Monstrous Art www.woodywelch.net/
Woody (Artboy) Welch
Born in: New Yawk City
Lives in: Hollywood, CA
Occupations: Writer/Illustrator, Photographer, Storyboard Artist, Concept Illustrator, Portrait Artist, Sculptor and Creature Designer
Woody Welch is following in the tradition of Basil Gagos who’s art graced the covers of Forrest J Ackerman’s, Famous Monsters of Filmland since 1958.
www.youtube.com/watch?v=hOBn-g5VTfM
This is an obscure little British sci-fi, from producers who did everything but sci-fi before (or after). This might explain why Devil Girl from Mars (DGfM) is such a departure from the usual sci-fi formulae. On the surface of things, DGfM is akin to the usual saucer-alien-invasion motif. That kinship is only skin deep, though. Beneath the surface is a delightfully different movie.
Synopsis
Reports come in of a strange meteor landing the remote area of Scotland. A professor of astrophysics and a newspaper reporter are traveling up from London to find it. They stop for the night at a country inn. Meanwhile, a man who escaped from prison has snuck into the inn to seek help from his girlfriend who works there. Also staying at the inn is a fashion model hiding/sulking from a failed romance, and a young boy, the nephew of the man and woman who run the inn. With a grand flash, a flying saucer lands dramatically near the inn. Inside is Nyah, a tall shapely woman dressed in black leather, a black leather skull cap and long black leather cape. She announces that she's from Mars. The male population has grown weak and feeble on Mars, so they are looking for breeding stock. She's the first of what will be a wave of invaders taking the best men, now her trip has proven the success of "organic metal" ships. The people are powerless to stop her. She cannot be shot or electrocuted. Nyah has a force field around the inn, so no one can escape or get help. Nyah has a big robot which can disintegrate things with his head-beam, so resistance is futile. The professor does some recon aboard the ship. He feels the ship's power source is its achilles heel. The men draw straws to see who will go with Nyah -- essentially a suicide mission to destroy her ship. While they argue, the convict tells Nyah that he's the one. Her ship leaves and blows up high in the sky. The earth is safe. The end.
Sure, it's low on action and very talky. It was adapted from a stage play, after all. But there's just so many little touches in DGfM that are delightful. One thing is the total reversal of the usual they're-after-our-women trope. This is so refreshing. What makes this even more fun is that the men do not act all wolfish and slobbery about being a stud for martian women. Instead, they act like it's exile to Siberian salt mines. This, despite Nyah being a hot chick in her own way. Hollywood could not have done this story. Another very fun visual is Nayh herself, all in black with Vulcan-like eyebrows and stoic demeanor. She's like Spock's evil sister or Darth Vadar's wife. This is just great fun for viewing. The model work and matte art are pretty good for a low-budget B-film.
As mentioned above, DGfM reverses the usual alien agenda. Instead of the ruthless alien trying to take away our curvaceous ladies, a leggy lady arrives to take away earth's hunkiest men.
This isn't treated like the usual adolescent fantasy about being the lone guy in the girls' dorm. No, the men at the Bonnie Charlie Inn regard Nyah's plan as a terrible fate. Perhaps the Brits were able to see beyond their underpants that the martian women's plans would mean the subjugation of the entire earth. There was much more at stake than their own personal gratification. How un-Hollywood!
The writer sets up an interesting contrast between earthly love and the martian woman's buisness-like approach to procreation. Between Robert, the convict and Doris, we see her loyalty and charity. Robert shows a sort of desperate reaching out for help, but then the willingness to sacrifice himself for others. Between the reporter, Michael, and Miss Prestwick, the budding of new romance which softens his cynicism and coaxes her out of her funk over a failed prior romance. Mr. and Mrs. Jamison show parent-like concern of little Tommy. The Professor shows an altruism for mankind. All these earthly manifestations of love stand in contrast to Nyah's passionless approach to duty.
DGfM features a little thing that gets attention in films much later. Her ship is made of "organic metal" which can heal itself. She miscalculated the density of earth's atmosphere, so upon entry a part of her ship broke off. That was the meteor people reported. Nyah had to land in Scotland instead of London, as originally planned, so that her ship could heal itself. In the meantime, she figures to take the best of the men at the inn, just to make the side trip worthwhile. We won't see the concept of organic metal and ships healing themselves until the Alien series in the 90s. Stargate Atlantis has it's Wraith ships which are partially organic too. DGfM might be the first film to feature self-healing ships.
The robot in DGfM is tall, but like many other B-movie robots, it's so slow and clumsy it's hard imagine it inspiring fear. Oh sure, it has its disintegrator beam, but it's even slower than a muzzle-loading musket to fire. Instead of running away (or even just walking away) from it, everyone stands "paralyzed" in fear while the walking refrigerator lumbers up to them. This is necessary, of course, since it's a sound-stage production, not an action film, but it looks a little odd. They could have tackled Nayh and taken away her remote control before robo-fridge could manage turning around. Perhaps in the early 50s the concept of killer robots were more frightening.
Many B-films end on a supposedly happy note when the lone alien is killed, as if there was no other threats out there. DGfM might look like one of these loose-thread flicks, but it's not. Nyah's ship was THE experimental prototype of the organic metal ship. Only such a ship could make the trip from Mars and hold up to our harsh Earth conditions. She said that when she returns to Mars, it will prove the success of the organic metal and a whole fleet of ship will be built like hers. By Robert blowing up her ship, the Martians will assume the organic metal ship was a failure and not re-try Nayh's organic metal approach. This buys Earth much needed time. All this assumes Nayh had no radio chats with Mars once she got here. A naive assumption.
Bottom line? Devil Girl is certainly worth watching, not for the effects or action, but just for the sheer role-reversal aspect.
The Philippine long-tailed macaque (Macaca fascicularis Philippensis) is a subspecies of the crab-eating macaque.
It is endemic in the Philippine forests and woodlands, but especially in the mangrove forests of western central
Philippines— particularly in Palawan, the Visayas, and Mindanao. The names M. F. Philippinensis or even M. F. Philippinenesis have also been used, but arise from orthographical error. The Philippine long-tailed macaque has a reddish brown coat. Its tail has an average length of 50 cm to 60 cm. It can reach a height of 40–50 cm (16–20 in). It is the size of a domestic cat. Male macaques weigh 4–8 kg, but females only attain 3–4 kg. It is found on all major Philippine islands (Luzon, Visayas, Mindanao). However, though assessed Near Threatened, it is actually in serious retreat or already extinct in much of its original range.[citation needed] For instance, in Olongapo in Zambales Province (western central Luzon), where a patch of old-growth forest remains, the monkeys have found some refuge; however, they are often road killed, accidentally electrocuted by live wires, and sometimes stoned.
Must Watch: www.youtube.com/watch?v=2iPp9iLihaA&feature=youtu.be
So Congratulations to those who made it in! I am sorry to those who didn't.
So for the next theme, All of you are going get Murdered. But in different ways! Also you get to pick who killed you and how you die.
Requirements:
-Must be broken/Dead
-Dull and dark
-Still look fierce even though dead
-Wearing fancy clothes
-In description:
1.Who Killed you? (Pick another model from the competition)
2. Why Did they Kill you!
-Make sure that in the PHOTO we can see how you died.
So you guys get to pick how you die, 1 girl Per death.
Here is the List:
-Shot In the head: Chloe
-Poisoned: Lexxi www.flickr.com/photos/83876128@N06/8566316386/in/photosof...
-Electrocuted: Haley www.flickr.com/photos/84271682@N06/8581915829/in/photostr...
-Drowned: Rose www.flickr.com/photos/romanticswan/8564827502/in/photosof...
-Pushed Of a tall building:
-Pushed down stairs: Melrose
-Stabbed: Aerith www.flickr.com/photos/glglover78/8565796533/in/photosof-8...
-Gutted: Vanessa www.flickr.com/photos/cutiecatn/8570729752/in/photostream
-Broken Neck: Ryder www.flickr.com/photos/bratzlove/8576475517/in/photosof-86...
-De-capitated:
-Frozen: Tiffany www.flickr.com/photos/xdollywoodx/8576010808/in/photosof-...
-Hung: Misty www.flickr.com/photos/bratzjaderox/8562316949/in/photostream
-Head smashed into a Wall: Felicia www.flickr.com/photos/avery8597/8563465601/in/photosof-86...
-Beaten to death: Paige www.flickr.com/photos/beautiful30bratz/8571145241/in/phot...
Good Inspiration: www.youtube.com/watch?v=IOSfuCTDv5M
Skip to 3:28
Good Luck! Deadline is 21st March!
Byexox
Charing X station. Slightly off-centre composition, but capturing the symmetry would entail walking on the railway tracks, possible electrocution and almost certain arrest.
So after my grisly death last week, Mrs. Flibble had a go at sticking back my shredded body with some domestic strength wood glue. Apparently it took her quite a while, and she tells me she only had a few bits left over.
I think she did a pretty good job, although I've yet to try out all bodily functions.
Anyway. After a quick jump-start I was left with the arduous task of recharging my brain back up to 30 percent. Any more than that and things can go horribly wrong. You wouldn't like to see me when I'm 31 percent, let alone 32.
Splendid.
Strobist info: This photo was excruciatingly painful to make. I really did clamp that clip to my ear and it has a mighty strong spring. Lit with two flashes: main was from above camera left through an umbrella and second was from bottom right reflected off something spangly for a bit of fill. Wide-angle lens about 15cm from gurning idiot.
I know you'd love to:
Fontaine Stravinsky,
La fontaine Stravinsky et, au fond, l'église Saint-Merri
La fontaine Stravinsky, ou fontaine des Automates, réalisée en 1983 est l'œuvre conjointe de Jean Tinguely et Niki de Saint Phalle. Elle est créée dans le cadre du pourcentage du budget de la construction du Centre national d'art et de culture Georges-Pompidou. C'est une commande publique entre la ville de Paris, le ministère de la culture et le Centre Pompidou. L'œuvre est la propriété de la ville de Paris qui se charge de son entretien.
Ce monument évoque l'œuvre musicale du compositeur russe Igor Stravinsky. Compositeur russe du xxe siècle, celui-ci est un symbole de l'éclectisme et de l'internationalisme artistique.
La fontaine Stravinsky est bâtie sur la place Igor-Stravinsky près de l'IRCAM (le centre de recherche en musique contemporaine). Elle est composée de 16 sculptures rendant hommage aux compositions du musicien. Sept sont de Jean Tinguely, six de Niki de Saint Phalle et trois des deux artistes. Les sculptures ont été réalisées en résine ou assemblage d'élément en résine et d'éléments métalliques ou assemblage d'éléments métalliques. C'est une œuvre composite conçue pour un espace public et une œuvre en mouvement. Les sculptures sont toutes mécanisées, noires ou colorées et sont animées par des jets d'eaux.
Une fontaine, en général, est (ou était) un lieu de repos et de rencontre dans la cité. La fontaine Stravinski recrée cela. Les sons que produit la fontaine évoquent la musique. Et l'œuvre de par son emplacement et de par sa nature offre une multiplicité de points de vue. La mobilité des sculptures couplées à la richesse de l'environnement offre au spectateur une œuvre en perpétuelle mouvance et nous interroge sur la pérennité de l'œuvre d'art.
Stravinsky Fountain
From Wikipedia, the free encyclopedia
Stravinsky Fountain
ArtistJean Tinguely; Niki de Saint Phalle
Year1983
TypeFiberglass, steel
LocationParis, France
Coordinates: 48.8595°N 2.3515°E
The Stravinsky Fountain (fr: La Fontaine Stravinsky) is a whimsical public fountain ornamented with sixteen works of sculpture, moving and spraying water, representing the works of composer Igor Stravinsky. It was created in 1983 by sculptors Jean Tinguely and Niki de Saint Phalle, and is located on Place Stravinsky, next to the Centre Pompidou, in Paris.
The Stravinsky Fountain is a shallow basin of 580 square meters located in Place Stravinsky, between the Centre Pompidou and the Church of Saint-Merri. Within the basin are sixteen works of sculpture inspired by Igor Stravinsky's The Rite of Spring, and his other major works. The black mechanical pieces of sculpture are by Jean Tinguely, the colored works by Niki de Saint Phalle.
The sculptures in the fountain represent:
L'Oiseau de feu (The Firebird)
La Clef de Sol (the musical key of G)
La Spirale (the spiral)
L'Elephant (the elephant)
Le Renard (the fox)
Le Serpent (the serpent)
La Grenouille (the frog)
La Diagonale (the diagonal)
La Mort (death)
La Sirène (the mermaid)
Le Rossignol (the nightingale)
L'Amour (Love)
La Vie (Life)
Le Cœur (the heart)
Le Chapeau de Clown (the clown's hat)
Ragtime (Ragtime)
The basin covers some of the rooms and offices of IRCAM, the Institut de recherche et coordination acoustique/musique, an organization devoted to promoting modern music and musicology, connected with the Pompidou Center. The founder of the IRCAM, composer and conductor Pierre Boulez, suggested the work of Stravinsky as a theme for the fountain. Because of the offices and rooms below, the fountain was designed to be as light as possible, with very shallow water, a bottom of stainless steel, and sculptures composed of plastics and other light materials.
The Stravinsky Fountain was part of a larger sculptural program, launched by the City of Paris in 1978, to build seven contemporary fountains with sculpture in different squares of Paris. Besides the Stravinsky Fountain, this project included new fountains at the Hotel de Ville and within the gardens of the Palais Royal. They were to be the first public fountains built in Paris since the fountains of the Palais de Chaillot were built for the Paris Exposition of 1937. It was also parmajor project by the City of Paris to redevelop the area around the old city markets, Les Halles, which had been torn down in 1971, and to re-animate the area with pedestrian streets, squares and works of art.
In October, 1981, the mayor of Paris, Jacques Chirac, announced that a new fountain would be built near the Centre Pompidou, and announced that Jean Tinguely and Niki de Saint Phalle had been selected to design the fountain. "Such a work must necessarily have modern lines, marrying with those of the Centre Pompidou, Chirac said, and he noted the success of the fountain that Tinguely had recently done in Basel, Switzerland.[2] The City of Paris paid two million French francs for the project, which was matched by two million francs from Jack Lang, the Minister of Culture. The financial agreement agreement was formally signed on December 15, 1982, allowing the project to go ahead. Other contribution came from private sponsors; la société Lyonnaise des eaux (500,000 francs), la fondation Scaler (150 francs) and the Swiss government.[3]
One sensitive artistic issue had to be resolved; the commission had originally been given to Jean Tinguely alone, and therefore the work would have been entirely composed of his black-painted mechanical sculptures. But in May 1982 he asked that brightly colored works by Niki de Saint Phalle (who was also Tinguely's wife) also be included. This caused concerns at the Sous-Direction du Patromoine culturel of the Bureau of Monuments of Paris, which had originally commissioned the sculpture; they feared that the brightly colored works of Niki de Saint Phalle would visually overwhelm the dark works of Tinguely. Officials of the Ministry of Culture and Sous-Direction du Patrimoine persuaded Tinguely to reduce the number of works by Niki de Saint Phalle to four or five, and both the Ministry of Culture and City of Paris agreed that it would be a joint project by Tinguely and Saint Phalle.[4]
A few technical issues also needed to be resolved. Tingueley did not want the water treated, and preferred that moss be allowed to grow. Tinguely also wanted to use very low power electric motors for the fountains, to avoid any danger of electrocuting people wading in the fountains. The sculptures were not attached to the bottom of the basin, but simply placed there.
The finished fountain was dedicated on March 16, 1983, by Mayor Chirac, Minister of Culture Jack Lang, and Madame Pompidou, the widow of President Georges Pompidou. During the ceremony, Mayor Chirac and Culture Minister Lang, who were political enemies, avoided looking or speaking to each other.
Under French law and practice, the French state has the legal obligation to maintain fountains, but artists and their descendants have the moral right to control their work. In 1985, Niki de Saint Phalle asked for modifications to be made to one part of the sculpture, Rossignol, to make it more harmonious with other parts of the work. Five years later, she asked that one sculpture, Sirène, be replaced by another earlier work by her, called Nana, seated in a bathing suit. Because of the cost, the substitution was never made.[5]
Executions down across globe, says Amnesty International
The number of people executed by their own governments fell by 25 per cent last year, with China carrying out the most executions, Amnesty International said Friday.
The human rights organization report — the Annual Death Penalty Statistics — outlines the number of executions and death sentences carried out in the world in 2006.
According to the report, at least 1,591 people were known to be executed by their own governments in 25 countries last year.
Of those executions, 90 per cent took place in six countries:
China - 1,010
Iran - 177
Pakistan - 82
Iraq - 65
Sudan - 65
U.S.A. - 53
Amnesty International believes the Chinese figures are drastically underestimated, suggesting the real total is close to 8,000 executions, based on information from a Chinese legal expert. China keeps its prisoner executions a state secret.
Five of the executions are known to be people under 18: four in Iran and one in Pakistan
"The death penalty is the ultimate cruel, inhuman and degrading punishment," said Amnesty Secretary General Irene Khan. "It must be abolished and a universal moratorium will be an important step forward."
Thousands on death row
The same year, 55 countries handed down 3,861 new death sentences, adding to the more than 20,000 people waiting on death row, said the report.
"A death penalty free world is possible if key governments are willing to show political leadership," said Khan.
Across the globe, Amnesty reports 128 countries have abolished the death penalty either by law or in practice, while 69 countries retain or use the death penalty.
Methods of execution include beheading, electrocution, hanging, lethal injection, shooting, stoning and stabbing.
While Canada abolished capital punishment in 1976, it retained the death penalty for military crimes such as treason or mutiny. All references to the death penalty were wiped from the National Defence Act in 1998.
The final execution in Canada took place in Toronto in December 1962, when two men were hanged for murder www.cbc.ca/world/story/2007/04/27/amnesty-executions.html...
Day 4-5 Trinidad. Not the country, another perhaps more famous UNESCO Heritage site. The town is quite beautiful and the scene lively and full of foreign tourists. We got to stay in a "home stay" here and it was quite an experience. The room was hot and Mark got electrocuted when he touched the shower since hot water is generated by electric heaters. Day 4-5 Trinidad. Not the country, another perhaps more famous UNESCO Heritage site. The town is quite beautiful and the scene lively and full of foreign tourists.
Wall-e grabbed hold of the cord, oh no!! He needed a charge!
From the Weekend Miniseries
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ok, so here's how my day went.
i got up, and immediately knew it was gonna be a shitty day, for no reason other than that's what the chemicals in my brain had decided. this was florian's first day home from school, and his day started with near-electrocution when the hedge trimmer caught -- and shredded -- the extension cord and blew out the outdoor outlet. cranky and sweaty, he came upstairs and saw my face. i saw his, so i said, "let's go to the movies!" "yes!" he answered, adding, "in fact -- let's go to TWO movies!" we'd only done that once before, years and years ago while on vacation in maine. it seemed so decadent -- and we both giggled, and realized it was what we HAD TO DO.
so up to fishkill we drove, for the 2:30 showing of "wanted." (it was fantastic summer schlock.) then a quick break to the shoe outlet -- and much to my utter surprise, i found a pair of converse all-stars on sale that actually fit me.
see, for years i've tried them, and they never fit -- always too narrow in the toe. but these are a size too big, so i said fuck it, why not try 'em on? not only did they fit, but i instantly fell in love with the "rockabilly" pattern (for their 100th anniversary this year, not that anyone was listening to rockabilly in 1908).
the OTHER reason this was so remarkable? esther, all-star queen of all things chuck, is here in new york! we'll be meeting up with her at the eddie izzard show sunday night, and bringing her up to cold spring for a couple of days before she heads back west. i've therefore decreed these will forever be known as my estherchucks.
back to the movie theater for the 4:50 showing of "wall-e," which was adorable. i also think it should be shown in every single school in america. go see it, and you'll see what i mean.
then sushi for dinner, another extravagant treat. and then friendly's for ice cream.
when i got home i knew i had to shoot the chucks for esther, and when i saw how perfectly they go with the fab new faux-leather bag i got from jamie, i got giddy.
when harvey walked into the frame, giving me my six-word story, all was right with the world.
'night.
Willis' mum was electrocuted on powerlines, he survived the shock and fall and came through without a scratch
(he is in the love hearts material)
Bruce is putting on his cute and innocent face.
Photographed near Lime Springs Iowa
June 4th 2016
Lidtke Mill is a historic site on the Upper Iowa River located in the "Old Town" area of Lime Springs, Iowa. It is part of the 10-acre Lidtke Park.
At one time, it not only milled grains but also provided hydroelectric power to surrounding communities. The footprints of a worker nearly electrocuted there can still be seen in the floor of the control room. The mill is now open as a museum. From time to time, events such as the Buckwheat Festival are held at site.
I was assigned to Ladder 137 from 12/88 to 7/97, and became a permanent chauffeur of the company in December 1994. In June of 1997, while responding to an alarm, I was electrocuted by a short circuit when I pressed the horn, tearing a ligament in my right wrist as I regained control of the truck. I was put on medical leave for exactly one month, and then I was re-assigned to Division 13 the following July. That was the injury that ended my career...
Ladder 137 is located at 259 B. 116th Street in Rockaway Park, and we shared the firehouse with Engine 268. The nickname for our firehouse was "The Beach House", obviously because we were situated very close to the beach. Our firehouse gained considerable notoriety for making numerous water rescues, and there's even a surfboard fastened to the right side of the apparatus.
The steps from platform 1 back up the the lifts and stairs.
Aldwych tube station is a closed station on the London Underground, located in the City of Westminster in central London. It was opened in 1907 with the name Strand, after the street on which it is located, and was the terminus and only station on the short Piccadilly line branch from Holborn that was a relic of the merger of two railway schemes. The station building is close to the junction of Strand and Surrey Street, near Aldwych. During its lifetime, the branch was the subject of a number of unrealised extension proposals that would have seen the tunnels through the station extended southwards, usually to Waterloo.
Served by a shuttle train for most of their life and suffering from low passenger numbers, the station and branch were considered for closure several times. A weekday peak hours-only service survived until closure in 1994, when the cost of replacing the lifts was considered too high compared to the income generated.
Disused parts of the station and the running tunnels were used during both World Wars to shelter artworks from London's public galleries and museums from bombing.
The station has long been popular as a filming location and has appeared as itself and as other London Underground stations in a number of films. In recognition of its historical significance, the station is a Grade II listed building.
The Great Northern and Strand Railway (GN&SR) first proposed a station in the Strand area in a private bill presented to Parliament in November 1898.[2] The station was to be the southern terminus of an underground railway line planned to run from Wood Green station (now Alexandra Palace) via Finsbury Park and King's Cross and was originally to be located at the corner of Stanhope Street and Holles Street, north of the Strand. When the two streets were scheduled for demolition as part of the London County Council's plans for the construction of Kingsway and Aldwych, the GN&SR moved the location to the junction of the two new roads.[3] Royal Assent to the bill was given and the Great Northern and Strand Railway Act 1899 was enacted on 1 August.[4]
In September 1901, the GN&SR was taken over by the Brompton and Piccadilly Circus Railway (B&PCR), which planned to build an underground line from South Kensington to Piccadilly Circus via Knightsbridge. Both were under the control of Charles Yerkes through his Metropolitan District Electric Traction Company and, in June 1902, were transferred to Yerkes' new holding company, the Underground Electric Railways Company of London (UERL).[5] Neither of the railways had carried out any construction, but the UERL obtained permission for new tunnels between Piccadilly Circus and Holborn to connect the two routes. The companies were formally merged as the Great Northern, Piccadilly and Brompton Railway (GNP&BR) following parliamentary approval in November 1902.[6][7][8] Prior to confirmation of the merger, the GN&SR had sought permission to extend its line southwards from the future junction of Kingsway and Aldwych, under Norfolk Street to a new interchange under the Metropolitan District Railway's station at Temple. The extension was rejected following objections from the Duke of Norfolk under whose land the last part of the proposed tunnels would have run.[9]
In 1903, the GNP&BR sought permission for a branch from Piccadilly Circus to run under Leicester Square, Strand, and Fleet Street and into the City of London. The branch would have passed and interchanged with the already approved Strand station,[10] allowing travel on the GNP&BR from Strand in three directions. The deliberations of a Royal Commission on traffic in London prevented parliamentary consideration of the proposal, which was withdrawn.[11]
In 1905, with the Royal Commission's report about to be published, the GNP&BR returned to Parliament with two bills for consideration. The first bill revived the 1903 proposal for a branch from Piccadilly Circus to the City of London, passing and interchanging with Strand station. The second proposed an extension and relocation of Strand station to the junction of Strand and Surrey Street. From there the line was to continue as a single tunnel under the River Thames to Waterloo. The first bill was again delayed and withdrawn. Of the second, only the relocation of Strand station was permitted.
The linking of the GN&SR and B&PCR routes meant that the section of the GN&SR south of Holborn became a branch from the main route. The UERL began constructing the main route in July 1902. Progress was rapid, so that it was largely complete by the Autumn of 1906.[13] Construction of the Holborn to Strand section was delayed while the London County Council constructed Kingsway and the tramway subway running beneath it and while the UERL decided how the junction between the main route and the branch would be arranged at Holborn.[14][note 1]
Strand station was built on the site of the Royal Strand Theatre, which had closed on 13 May 1905 and been demolished. Construction of the station began on 21 October 1905,[16] to a design by the UERL's architect Leslie Green in the UERL house style of a two-storey steel-framed building faced with red glazed terracotta blocks, with wide semi-circular windows on the upper floor.[17] The station building is L-shaped, with two façades separated by the building on the corner of Strand and Surrey Street. The Strand façade is narrow with a single semi-circular window above the entrance. The façade in Surrey Street is wider with a separate entrance and exit and a shop unit. In anticipation of a revival of the extension to Waterloo and the City route, the station was built with three circular lift shafts able to accommodate six trapezium-shaped lifts. Only one of the shafts was fitted out, with two lifts.[18] The other two shafts rose from the lower concourse to the basement of the station, but could have been extended upwards into the space of the shop unit when required. A fourth smaller-diameter shaft accommodated an emergency spiral stair.[19]
The platforms are 92 feet 6 inches (28.19 m) below street level and are 250 feet (76 m) long;[16] shorter than the GNP&BR's standard length of 350 feet (110 m).[20] As with other UERL stations, the platform walls were tiled with distinctive patterns, in this case cream and dark green. Only parts of the platform walls were decorated because it was planned to operate the branch with short trains.[16] Due to the reduced lift provision, a second route between the platforms and lifts was never brought into use and was left in an unfinished condition without tiling.
The GNP&BR's main route opened on 15 December 1906, but the Strand branch was not opened until 30 November 1907.[22] Initially, shuttle trains operated to Holborn from the eastern platform into the through platform at Holborn. At peak times, an additional train operated alternately in the branch's western tunnel into the bay platform at Holborn. During the first year of operation, a train for theatregoers operated late on Monday to Saturday evenings from Strand through Holborn and northbound to Finsbury Park; this was discontinued in October 1908.[16]
In March 1908, the off-peak shuttle service began to use the western platform at Strand and the through platform at Holborn, crossing between the two branch tunnels south of Holborn. Low usage led to the withdrawal of the second peak-hour shuttle and the eastern tunnel was taken out of use in 1914.[23][24] On 9 May 1915, three of the Underground stations in the area were renamed and Strand station became Aldwych.[22][note 2] Sunday services ended in April 1917 and, in August of the same year, the eastern tunnel and platform at Aldwych and the bay platform at Holborn were formally closed.[25] A German bombing campaign in September 1917 led the disused platform being used as storage for 300 pictures from the National Gallery until December 1918.
In October 1922, the ticket office was replaced by a facility in the lifts.[25] Passenger numbers remained low: when the station was one of a number on the network considered for closure in 1929, its annual usage was 1,069,650 and takings were £4,500.[27][note 3] The branch was again considered for closure in 1933, but remained open.[25]
Wartime efficiency measures led to the branch being closed temporarily on 22 September 1940, shortly after the start of The Blitz, and it was partly fitted out by the City of Westminster as an air-raid shelter. The tunnels between Aldwych and Holborn were used to store items from the British Museum, including the Elgin Marbles. The branch reopened on 1 July 1946, but patronage did not increase.[28] In 1958, the station was one of three that London Transport announced would be closed. Again it survived, but the service was reduced in June 1958 to run only during Monday to Friday peak hours and Saturday morning and early afternoons.[29][note 4] The Saturday service was withdrawn in June 1962.[29]
Shelterers inside Aldwych station during the Blitz, 1940.
After operating only during peak hours for more than 30 years, the closure announcement came on 4 January 1993. The original 1907 lifts required replacement at a cost of £3 million. This was not justifiable as only 450 passengers used the station each day and it was losing London Regional Transport £150,000 per year. The Secretary of State for Transport granted permission on 1 September 1994 to close the station and the branch closed on 30 September.
Although the Piccadilly Circus to City of London branch proposal of 1905 was never revisited after its withdrawal, the early plan to extend the branch south to Waterloo was revived a number of times during the station's life. The extension was considered in 1919 and 1948, but no progress towards constructing the link was made.[28]
In the years after the Second World War, a series of preliminary plans for relieving congestion on the London Underground had considered various east-west routes through the Aldwych area, although other priorities meant that these were never proceeded with. In March 1965, a British Rail and London Transport joint planning committee published "A Railway Plan for London" which proposed a new tube railway, the Fleet line (later renamed the Jubilee line), to join the Bakerloo line at Baker Street then run via Bond Street, Green Park, Charing Cross, Aldwych and into the City of London via Ludgate Circus, Cannon Street and Fenchurch Street before heading into south-east London. An interchange was proposed at Aldwych and a second recommendation of the report was the revival of the link from Aldwych to Waterloo.[31][32] London Transport had already sought parliamentary approval to construct tunnels from Aldwych to Waterloo in November 1964,[33] and in August 1965, parliamentary powers were granted. Detailed planning took place, although public spending cuts led to postponement of the scheme in 1967 before tenders were invited.[29]
Planning of the Fleet line continued and parliamentary approval was given in July 1969 for the first phase of the line, from Baker Street to Charing Cross.[34] Tunnelling began on the £35 million route in February 1972 and the Jubilee line opened north from Charing Cross in May 1979.[35] The tunnels of the approved section continued east of Charing Cross under Strand almost as far as Aldwych station, but no work at Aldwych was undertaken and they were used only as sidings.[36] Funding for the second phase of the work was delayed throughout the 1970s whilst the route beyond Charing Cross was reviewed to consider options for serving anticipated development in the London Docklands area. By 1979, the cost was estimated as £325 million, a six-fold increase from the £51 million estimated in 1970.[37] A further review of alternatives for the Jubilee line was carried out in 1980, which led to the a change of priorities and the postponement of any further effort on the line.[38] When the extension was eventually constructed in the late 1990s it took a different route, south of the River Thames via Westminster, Waterloo and London Bridge to provide a rapid link to Canary Wharf, leaving the tunnels between Green Park and Aldwych redundant.[39]
In July 2005, Ove Arup & Partners produced a report, DLR Horizon 2020 Study, for the Docklands Light Railway (DLR) examining "pragmatic development schemes" to expand and improve the DLR network between 2012 and 2020. One of the proposals was an extension of the DLR from Bank to Charing Cross via City Thameslink and Aldwych. The disused Jubilee line tunnels would be enlarged to accommodate the larger DLR trains and Aldwych station would form the basis for a new station on the line, although requiring considerable reconstruction to accommodate escalators. The estimated cost in 2005 was £232 million for the infrastructure works and the scheme was described as "strongly beneficial" as it was expected to attract passengers from the London Underground's existing east-west routes and from local buses and reduce overcrowding at Bank station. The business case assessment was that the proposal offered high value, although similar values were calculated for other extension proposals from Bank. Further detailed studies were proposed.
Because it was a self-contained section of the London Underground which was closed at weekends and for extended periods during weekdays, Aldwych station and the branch line from Holborn were popular locations for filming scenes set on the Tube even before their closure. Since the branch's closure in 1994, its use in film productions has continued, with the station appearing as itself and, with appropriate signage, as other stations on the network.[29] The track and infrastructure are maintained in operational condition, and a train of ex-Northern line 1972 tube stock is permanently stabled on the branch. This train can be driven up and down the branch for filming. The physical connection with the Piccadilly line northbound tracks remains, but requires manual operation.[41]
Films and television productions that have been shot at Aldwych include:
The Gentle Gunman (1952)[29]
Battle of Britain (1969)[42]
Death Line (1972)[29]
Superman IV: The Quest for Peace (1986)[29]
The Krays (1990)[43]
Patriot Games (1994)[43]
Creep (2004)[42]
V for Vendetta (2006)[42]
The Good Shepherd (2006)[42]
Atonement (2007)[42]
28 Weeks Later (2007)[42]
The Edge of Love (2008)[42]
Mr Selfridge (2013) [44]
The pre-war operation of the station features in a pivotal scene in Geoffrey Household's novel Rogue Male, when the pursuit of the protagonist by an enemy agent sees them repeatedly using the shuttle service on the branch line. A chase through Aldwych station ends with the agent's death by electrocution on the track.[45] A much modified and expanded version of the station appears as a level in the video game Tomb Raider III.[46] The music video for The Prodigy's song "Firestarter" was filmed in the disused eastern tunnel and one of the unused lift shafts.
My parents give names to the squirrels in their garden. They called this one Gary Baldy, because it's lost some fur. I don't think it's molting and the skin looks a bit scabby. It's also got several Tics. You can see two on its flank.
An update from my dad. Sadly Gary Baldy was killed on the road next to my parents house. Another Squirrel was electrocuted by the transformer on the electric pole in their garden. As if they haven't got enough to contend with!
Fontaine Stravinsky,
La fontaine Stravinsky et, au fond, l'église Saint-Merri
La fontaine Stravinsky, ou fontaine des Automates, réalisée en 1983 est l'œuvre conjointe de Jean Tinguely et Niki de Saint Phalle. Elle est créée dans le cadre du pourcentage du budget de la construction du Centre national d'art et de culture Georges-Pompidou. C'est une commande publique entre la ville de Paris, le ministère de la culture et le Centre Pompidou. L'œuvre est la propriété de la ville de Paris qui se charge de son entretien.
Ce monument évoque l'œuvre musicale du compositeur russe Igor Stravinsky. Compositeur russe du xxe siècle, celui-ci est un symbole de l'éclectisme et de l'internationalisme artistique.
La fontaine Stravinsky est bâtie sur la place Igor-Stravinsky près de l'IRCAM (le centre de recherche en musique contemporaine). Elle est composée de 16 sculptures rendant hommage aux compositions du musicien. Sept sont de Jean Tinguely, six de Niki de Saint Phalle et trois des deux artistes. Les sculptures ont été réalisées en résine ou assemblage d'élément en résine et d'éléments métalliques ou assemblage d'éléments métalliques. C'est une œuvre composite conçue pour un espace public et une œuvre en mouvement. Les sculptures sont toutes mécanisées, noires ou colorées et sont animées par des jets d'eaux.
Une fontaine, en général, est (ou était) un lieu de repos et de rencontre dans la cité. La fontaine Stravinski recrée cela. Les sons que produit la fontaine évoquent la musique. Et l'œuvre de par son emplacement et de par sa nature offre une multiplicité de points de vue. La mobilité des sculptures couplées à la richesse de l'environnement offre au spectateur une œuvre en perpétuelle mouvance et nous interroge sur la pérennité de l'œuvre d'art.
Stravinsky Fountain
From Wikipedia, the free encyclopedia
Stravinsky Fountain
ArtistJean Tinguely; Niki de Saint Phalle
Year1983
TypeFiberglass, steel
LocationParis, France
Coordinates: 48.8595°N 2.3515°E
The Stravinsky Fountain (fr: La Fontaine Stravinsky) is a whimsical public fountain ornamented with sixteen works of sculpture, moving and spraying water, representing the works of composer Igor Stravinsky. It was created in 1983 by sculptors Jean Tinguely and Niki de Saint Phalle, and is located on Place Stravinsky, next to the Centre Pompidou, in Paris.
The Stravinsky Fountain is a shallow basin of 580 square meters located in Place Stravinsky, between the Centre Pompidou and the Church of Saint-Merri. Within the basin are sixteen works of sculpture inspired by Igor Stravinsky's The Rite of Spring, and his other major works. The black mechanical pieces of sculpture are by Jean Tinguely, the colored works by Niki de Saint Phalle.
The sculptures in the fountain represent:
L'Oiseau de feu (The Firebird)
La Clef de Sol (the musical key of G)
La Spirale (the spiral)
L'Elephant (the elephant)
Le Renard (the fox)
Le Serpent (the serpent)
La Grenouille (the frog)
La Diagonale (the diagonal)
La Mort (death)
La Sirène (the mermaid)
Le Rossignol (the nightingale)
L'Amour (Love)
La Vie (Life)
Le Cœur (the heart)
Le Chapeau de Clown (the clown's hat)
Ragtime (Ragtime)
The basin covers some of the rooms and offices of IRCAM, the Institut de recherche et coordination acoustique/musique, an organization devoted to promoting modern music and musicology, connected with the Pompidou Center. The founder of the IRCAM, composer and conductor Pierre Boulez, suggested the work of Stravinsky as a theme for the fountain. Because of the offices and rooms below, the fountain was designed to be as light as possible, with very shallow water, a bottom of stainless steel, and sculptures composed of plastics and other light materials.
The Stravinsky Fountain was part of a larger sculptural program, launched by the City of Paris in 1978, to build seven contemporary fountains with sculpture in different squares of Paris. Besides the Stravinsky Fountain, this project included new fountains at the Hotel de Ville and within the gardens of the Palais Royal. They were to be the first public fountains built in Paris since the fountains of the Palais de Chaillot were built for the Paris Exposition of 1937. It was also parmajor project by the City of Paris to redevelop the area around the old city markets, Les Halles, which had been torn down in 1971, and to re-animate the area with pedestrian streets, squares and works of art.
In October, 1981, the mayor of Paris, Jacques Chirac, announced that a new fountain would be built near the Centre Pompidou, and announced that Jean Tinguely and Niki de Saint Phalle had been selected to design the fountain. "Such a work must necessarily have modern lines, marrying with those of the Centre Pompidou, Chirac said, and he noted the success of the fountain that Tinguely had recently done in Basel, Switzerland.[2] The City of Paris paid two million French francs for the project, which was matched by two million francs from Jack Lang, the Minister of Culture. The financial agreement agreement was formally signed on December 15, 1982, allowing the project to go ahead. Other contribution came from private sponsors; la société Lyonnaise des eaux (500,000 francs), la fondation Scaler (150 francs) and the Swiss government.[3]
One sensitive artistic issue had to be resolved; the commission had originally been given to Jean Tinguely alone, and therefore the work would have been entirely composed of his black-painted mechanical sculptures. But in May 1982 he asked that brightly colored works by Niki de Saint Phalle (who was also Tinguely's wife) also be included. This caused concerns at the Sous-Direction du Patromoine culturel of the Bureau of Monuments of Paris, which had originally commissioned the sculpture; they feared that the brightly colored works of Niki de Saint Phalle would visually overwhelm the dark works of Tinguely. Officials of the Ministry of Culture and Sous-Direction du Patrimoine persuaded Tinguely to reduce the number of works by Niki de Saint Phalle to four or five, and both the Ministry of Culture and City of Paris agreed that it would be a joint project by Tinguely and Saint Phalle.[4]
A few technical issues also needed to be resolved. Tingueley did not want the water treated, and preferred that moss be allowed to grow. Tinguely also wanted to use very low power electric motors for the fountains, to avoid any danger of electrocuting people wading in the fountains. The sculptures were not attached to the bottom of the basin, but simply placed there.
The finished fountain was dedicated on March 16, 1983, by Mayor Chirac, Minister of Culture Jack Lang, and Madame Pompidou, the widow of President Georges Pompidou. During the ceremony, Mayor Chirac and Culture Minister Lang, who were political enemies, avoided looking or speaking to each other.
Under French law and practice, the French state has the legal obligation to maintain fountains, but artists and their descendants have the moral right to control their work. In 1985, Niki de Saint Phalle asked for modifications to be made to one part of the sculpture, Rossignol, to make it more harmonious with other parts of the work. Five years later, she asked that one sculpture, Sirène, be replaced by another earlier work by her, called Nana, seated in a bathing suit. Because of the cost, the substitution was never made.[5]
The rest of the tour behind me as I get my shots! This is looking towards the dead end, the track ends about 25m down this tunnel.
Aldwych tube station is a closed station on the London Underground, located in the City of Westminster in central London. It was opened in 1907 with the name Strand, after the street on which it is located, and was the terminus and only station on the short Piccadilly line branch from Holborn that was a relic of the merger of two railway schemes. The station building is close to the junction of Strand and Surrey Street, near Aldwych. During its lifetime, the branch was the subject of a number of unrealised extension proposals that would have seen the tunnels through the station extended southwards, usually to Waterloo.
Served by a shuttle train for most of their life and suffering from low passenger numbers, the station and branch were considered for closure several times. A weekday peak hours-only service survived until closure in 1994, when the cost of replacing the lifts was considered too high compared to the income generated.
Disused parts of the station and the running tunnels were used during both World Wars to shelter artworks from London's public galleries and museums from bombing.
The station has long been popular as a filming location and has appeared as itself and as other London Underground stations in a number of films. In recognition of its historical significance, the station is a Grade II listed building.
The Great Northern and Strand Railway (GN&SR) first proposed a station in the Strand area in a private bill presented to Parliament in November 1898.[2] The station was to be the southern terminus of an underground railway line planned to run from Wood Green station (now Alexandra Palace) via Finsbury Park and King's Cross and was originally to be located at the corner of Stanhope Street and Holles Street, north of the Strand. When the two streets were scheduled for demolition as part of the London County Council's plans for the construction of Kingsway and Aldwych, the GN&SR moved the location to the junction of the two new roads.[3] Royal Assent to the bill was given and the Great Northern and Strand Railway Act 1899 was enacted on 1 August.[4]
In September 1901, the GN&SR was taken over by the Brompton and Piccadilly Circus Railway (B&PCR), which planned to build an underground line from South Kensington to Piccadilly Circus via Knightsbridge. Both were under the control of Charles Yerkes through his Metropolitan District Electric Traction Company and, in June 1902, were transferred to Yerkes' new holding company, the Underground Electric Railways Company of London (UERL).[5] Neither of the railways had carried out any construction, but the UERL obtained permission for new tunnels between Piccadilly Circus and Holborn to connect the two routes. The companies were formally merged as the Great Northern, Piccadilly and Brompton Railway (GNP&BR) following parliamentary approval in November 1902.[6][7][8] Prior to confirmation of the merger, the GN&SR had sought permission to extend its line southwards from the future junction of Kingsway and Aldwych, under Norfolk Street to a new interchange under the Metropolitan District Railway's station at Temple. The extension was rejected following objections from the Duke of Norfolk under whose land the last part of the proposed tunnels would have run.[9]
In 1903, the GNP&BR sought permission for a branch from Piccadilly Circus to run under Leicester Square, Strand, and Fleet Street and into the City of London. The branch would have passed and interchanged with the already approved Strand station,[10] allowing travel on the GNP&BR from Strand in three directions. The deliberations of a Royal Commission on traffic in London prevented parliamentary consideration of the proposal, which was withdrawn.[11]
In 1905, with the Royal Commission's report about to be published, the GNP&BR returned to Parliament with two bills for consideration. The first bill revived the 1903 proposal for a branch from Piccadilly Circus to the City of London, passing and interchanging with Strand station. The second proposed an extension and relocation of Strand station to the junction of Strand and Surrey Street. From there the line was to continue as a single tunnel under the River Thames to Waterloo. The first bill was again delayed and withdrawn. Of the second, only the relocation of Strand station was permitted.
The linking of the GN&SR and B&PCR routes meant that the section of the GN&SR south of Holborn became a branch from the main route. The UERL began constructing the main route in July 1902. Progress was rapid, so that it was largely complete by the Autumn of 1906.[13] Construction of the Holborn to Strand section was delayed while the London County Council constructed Kingsway and the tramway subway running beneath it and while the UERL decided how the junction between the main route and the branch would be arranged at Holborn.[14][note 1]
Strand station was built on the site of the Royal Strand Theatre, which had closed on 13 May 1905 and been demolished. Construction of the station began on 21 October 1905,[16] to a design by the UERL's architect Leslie Green in the UERL house style of a two-storey steel-framed building faced with red glazed terracotta blocks, with wide semi-circular windows on the upper floor.[17] The station building is L-shaped, with two façades separated by the building on the corner of Strand and Surrey Street. The Strand façade is narrow with a single semi-circular window above the entrance. The façade in Surrey Street is wider with a separate entrance and exit and a shop unit. In anticipation of a revival of the extension to Waterloo and the City route, the station was built with three circular lift shafts able to accommodate six trapezium-shaped lifts. Only one of the shafts was fitted out, with two lifts.[18] The other two shafts rose from the lower concourse to the basement of the station, but could have been extended upwards into the space of the shop unit when required. A fourth smaller-diameter shaft accommodated an emergency spiral stair.[19]
The platforms are 92 feet 6 inches (28.19 m) below street level and are 250 feet (76 m) long;[16] shorter than the GNP&BR's standard length of 350 feet (110 m).[20] As with other UERL stations, the platform walls were tiled with distinctive patterns, in this case cream and dark green. Only parts of the platform walls were decorated because it was planned to operate the branch with short trains.[16] Due to the reduced lift provision, a second route between the platforms and lifts was never brought into use and was left in an unfinished condition without tiling.
The GNP&BR's main route opened on 15 December 1906, but the Strand branch was not opened until 30 November 1907.[22] Initially, shuttle trains operated to Holborn from the eastern platform into the through platform at Holborn. At peak times, an additional train operated alternately in the branch's western tunnel into the bay platform at Holborn. During the first year of operation, a train for theatregoers operated late on Monday to Saturday evenings from Strand through Holborn and northbound to Finsbury Park; this was discontinued in October 1908.[16]
In March 1908, the off-peak shuttle service began to use the western platform at Strand and the through platform at Holborn, crossing between the two branch tunnels south of Holborn. Low usage led to the withdrawal of the second peak-hour shuttle and the eastern tunnel was taken out of use in 1914.[23][24] On 9 May 1915, three of the Underground stations in the area were renamed and Strand station became Aldwych.[22][note 2] Sunday services ended in April 1917 and, in August of the same year, the eastern tunnel and platform at Aldwych and the bay platform at Holborn were formally closed.[25] A German bombing campaign in September 1917 led the disused platform being used as storage for 300 pictures from the National Gallery until December 1918.
In October 1922, the ticket office was replaced by a facility in the lifts.[25] Passenger numbers remained low: when the station was one of a number on the network considered for closure in 1929, its annual usage was 1,069,650 and takings were £4,500.[27][note 3] The branch was again considered for closure in 1933, but remained open.[25]
Wartime efficiency measures led to the branch being closed temporarily on 22 September 1940, shortly after the start of The Blitz, and it was partly fitted out by the City of Westminster as an air-raid shelter. The tunnels between Aldwych and Holborn were used to store items from the British Museum, including the Elgin Marbles. The branch reopened on 1 July 1946, but patronage did not increase.[28] In 1958, the station was one of three that London Transport announced would be closed. Again it survived, but the service was reduced in June 1958 to run only during Monday to Friday peak hours and Saturday morning and early afternoons.[29][note 4] The Saturday service was withdrawn in June 1962.[29]
Shelterers inside Aldwych station during the Blitz, 1940.
After operating only during peak hours for more than 30 years, the closure announcement came on 4 January 1993. The original 1907 lifts required replacement at a cost of £3 million. This was not justifiable as only 450 passengers used the station each day and it was losing London Regional Transport £150,000 per year. The Secretary of State for Transport granted permission on 1 September 1994 to close the station and the branch closed on 30 September.
Although the Piccadilly Circus to City of London branch proposal of 1905 was never revisited after its withdrawal, the early plan to extend the branch south to Waterloo was revived a number of times during the station's life. The extension was considered in 1919 and 1948, but no progress towards constructing the link was made.[28]
In the years after the Second World War, a series of preliminary plans for relieving congestion on the London Underground had considered various east-west routes through the Aldwych area, although other priorities meant that these were never proceeded with. In March 1965, a British Rail and London Transport joint planning committee published "A Railway Plan for London" which proposed a new tube railway, the Fleet line (later renamed the Jubilee line), to join the Bakerloo line at Baker Street then run via Bond Street, Green Park, Charing Cross, Aldwych and into the City of London via Ludgate Circus, Cannon Street and Fenchurch Street before heading into south-east London. An interchange was proposed at Aldwych and a second recommendation of the report was the revival of the link from Aldwych to Waterloo.[31][32] London Transport had already sought parliamentary approval to construct tunnels from Aldwych to Waterloo in November 1964,[33] and in August 1965, parliamentary powers were granted. Detailed planning took place, although public spending cuts led to postponement of the scheme in 1967 before tenders were invited.[29]
Planning of the Fleet line continued and parliamentary approval was given in July 1969 for the first phase of the line, from Baker Street to Charing Cross.[34] Tunnelling began on the £35 million route in February 1972 and the Jubilee line opened north from Charing Cross in May 1979.[35] The tunnels of the approved section continued east of Charing Cross under Strand almost as far as Aldwych station, but no work at Aldwych was undertaken and they were used only as sidings.[36] Funding for the second phase of the work was delayed throughout the 1970s whilst the route beyond Charing Cross was reviewed to consider options for serving anticipated development in the London Docklands area. By 1979, the cost was estimated as £325 million, a six-fold increase from the £51 million estimated in 1970.[37] A further review of alternatives for the Jubilee line was carried out in 1980, which led to the a change of priorities and the postponement of any further effort on the line.[38] When the extension was eventually constructed in the late 1990s it took a different route, south of the River Thames via Westminster, Waterloo and London Bridge to provide a rapid link to Canary Wharf, leaving the tunnels between Green Park and Aldwych redundant.[39]
In July 2005, Ove Arup & Partners produced a report, DLR Horizon 2020 Study, for the Docklands Light Railway (DLR) examining "pragmatic development schemes" to expand and improve the DLR network between 2012 and 2020. One of the proposals was an extension of the DLR from Bank to Charing Cross via City Thameslink and Aldwych. The disused Jubilee line tunnels would be enlarged to accommodate the larger DLR trains and Aldwych station would form the basis for a new station on the line, although requiring considerable reconstruction to accommodate escalators. The estimated cost in 2005 was £232 million for the infrastructure works and the scheme was described as "strongly beneficial" as it was expected to attract passengers from the London Underground's existing east-west routes and from local buses and reduce overcrowding at Bank station. The business case assessment was that the proposal offered high value, although similar values were calculated for other extension proposals from Bank. Further detailed studies were proposed.
Because it was a self-contained section of the London Underground which was closed at weekends and for extended periods during weekdays, Aldwych station and the branch line from Holborn were popular locations for filming scenes set on the Tube even before their closure. Since the branch's closure in 1994, its use in film productions has continued, with the station appearing as itself and, with appropriate signage, as other stations on the network.[29] The track and infrastructure are maintained in operational condition, and a train of ex-Northern line 1972 tube stock is permanently stabled on the branch. This train can be driven up and down the branch for filming. The physical connection with the Piccadilly line northbound tracks remains, but requires manual operation.[41]
Films and television productions that have been shot at Aldwych include:
The Gentle Gunman (1952)[29]
Battle of Britain (1969)[42]
Death Line (1972)[29]
Superman IV: The Quest for Peace (1986)[29]
The Krays (1990)[43]
Patriot Games (1994)[43]
Creep (2004)[42]
V for Vendetta (2006)[42]
The Good Shepherd (2006)[42]
Atonement (2007)[42]
28 Weeks Later (2007)[42]
The Edge of Love (2008)[42]
Mr Selfridge (2013) [44]
The pre-war operation of the station features in a pivotal scene in Geoffrey Household's novel Rogue Male, when the pursuit of the protagonist by an enemy agent sees them repeatedly using the shuttle service on the branch line. A chase through Aldwych station ends with the agent's death by electrocution on the track.[45] A much modified and expanded version of the station appears as a level in the video game Tomb Raider III.[46] The music video for The Prodigy's song "Firestarter" was filmed in the disused eastern tunnel and one of the unused lift shafts.
Fontaine Stravinsky,
La fontaine Stravinsky et, au fond, l'église Saint-Merri
La fontaine Stravinsky, ou fontaine des Automates, réalisée en 1983 est l'œuvre conjointe de Jean Tinguely et Niki de Saint Phalle. Elle est créée dans le cadre du pourcentage du budget de la construction du Centre national d'art et de culture Georges-Pompidou. C'est une commande publique entre la ville de Paris, le ministère de la culture et le Centre Pompidou. L'œuvre est la propriété de la ville de Paris qui se charge de son entretien.
Ce monument évoque l'œuvre musicale du compositeur russe Igor Stravinsky. Compositeur russe du xxe siècle, celui-ci est un symbole de l'éclectisme et de l'internationalisme artistique.
La fontaine Stravinsky est bâtie sur la place Igor-Stravinsky près de l'IRCAM (le centre de recherche en musique contemporaine). Elle est composée de 16 sculptures rendant hommage aux compositions du musicien. Sept sont de Jean Tinguely, six de Niki de Saint Phalle et trois des deux artistes. Les sculptures ont été réalisées en résine ou assemblage d'élément en résine et d'éléments métalliques ou assemblage d'éléments métalliques. C'est une œuvre composite conçue pour un espace public et une œuvre en mouvement. Les sculptures sont toutes mécanisées, noires ou colorées et sont animées par des jets d'eaux.
Une fontaine, en général, est (ou était) un lieu de repos et de rencontre dans la cité. La fontaine Stravinski recrée cela. Les sons que produit la fontaine évoquent la musique. Et l'œuvre de par son emplacement et de par sa nature offre une multiplicité de points de vue. La mobilité des sculptures couplées à la richesse de l'environnement offre au spectateur une œuvre en perpétuelle mouvance et nous interroge sur la pérennité de l'œuvre d'art.
Stravinsky Fountain
From Wikipedia, the free encyclopedia
Stravinsky Fountain
ArtistJean Tinguely; Niki de Saint Phalle
Year1983
TypeFiberglass, steel
LocationParis, France
Coordinates: 48.8595°N 2.3515°E
The Stravinsky Fountain (fr: La Fontaine Stravinsky) is a whimsical public fountain ornamented with sixteen works of sculpture, moving and spraying water, representing the works of composer Igor Stravinsky. It was created in 1983 by sculptors Jean Tinguely and Niki de Saint Phalle, and is located on Place Stravinsky, next to the Centre Pompidou, in Paris.
The Stravinsky Fountain is a shallow basin of 580 square meters located in Place Stravinsky, between the Centre Pompidou and the Church of Saint-Merri. Within the basin are sixteen works of sculpture inspired by Igor Stravinsky's The Rite of Spring, and his other major works. The black mechanical pieces of sculpture are by Jean Tinguely, the colored works by Niki de Saint Phalle.
The sculptures in the fountain represent:
L'Oiseau de feu (The Firebird)
La Clef de Sol (the musical key of G)
La Spirale (the spiral)
L'Elephant (the elephant)
Le Renard (the fox)
Le Serpent (the serpent)
La Grenouille (the frog)
La Diagonale (the diagonal)
La Mort (death)
La Sirène (the mermaid)
Le Rossignol (the nightingale)
L'Amour (Love)
La Vie (Life)
Le Cœur (the heart)
Le Chapeau de Clown (the clown's hat)
Ragtime (Ragtime)
The basin covers some of the rooms and offices of IRCAM, the Institut de recherche et coordination acoustique/musique, an organization devoted to promoting modern music and musicology, connected with the Pompidou Center. The founder of the IRCAM, composer and conductor Pierre Boulez, suggested the work of Stravinsky as a theme for the fountain. Because of the offices and rooms below, the fountain was designed to be as light as possible, with very shallow water, a bottom of stainless steel, and sculptures composed of plastics and other light materials.
The Stravinsky Fountain was part of a larger sculptural program, launched by the City of Paris in 1978, to build seven contemporary fountains with sculpture in different squares of Paris. Besides the Stravinsky Fountain, this project included new fountains at the Hotel de Ville and within the gardens of the Palais Royal. They were to be the first public fountains built in Paris since the fountains of the Palais de Chaillot were built for the Paris Exposition of 1937. It was also parmajor project by the City of Paris to redevelop the area around the old city markets, Les Halles, which had been torn down in 1971, and to re-animate the area with pedestrian streets, squares and works of art.
In October, 1981, the mayor of Paris, Jacques Chirac, announced that a new fountain would be built near the Centre Pompidou, and announced that Jean Tinguely and Niki de Saint Phalle had been selected to design the fountain. "Such a work must necessarily have modern lines, marrying with those of the Centre Pompidou, Chirac said, and he noted the success of the fountain that Tinguely had recently done in Basel, Switzerland.[2] The City of Paris paid two million French francs for the project, which was matched by two million francs from Jack Lang, the Minister of Culture. The financial agreement agreement was formally signed on December 15, 1982, allowing the project to go ahead. Other contribution came from private sponsors; la société Lyonnaise des eaux (500,000 francs), la fondation Scaler (150 francs) and the Swiss government.[3]
One sensitive artistic issue had to be resolved; the commission had originally been given to Jean Tinguely alone, and therefore the work would have been entirely composed of his black-painted mechanical sculptures. But in May 1982 he asked that brightly colored works by Niki de Saint Phalle (who was also Tinguely's wife) also be included. This caused concerns at the Sous-Direction du Patromoine culturel of the Bureau of Monuments of Paris, which had originally commissioned the sculpture; they feared that the brightly colored works of Niki de Saint Phalle would visually overwhelm the dark works of Tinguely. Officials of the Ministry of Culture and Sous-Direction du Patrimoine persuaded Tinguely to reduce the number of works by Niki de Saint Phalle to four or five, and both the Ministry of Culture and City of Paris agreed that it would be a joint project by Tinguely and Saint Phalle.[4]
A few technical issues also needed to be resolved. Tingueley did not want the water treated, and preferred that moss be allowed to grow. Tinguely also wanted to use very low power electric motors for the fountains, to avoid any danger of electrocuting people wading in the fountains. The sculptures were not attached to the bottom of the basin, but simply placed there.
The finished fountain was dedicated on March 16, 1983, by Mayor Chirac, Minister of Culture Jack Lang, and Madame Pompidou, the widow of President Georges Pompidou. During the ceremony, Mayor Chirac and Culture Minister Lang, who were political enemies, avoided looking or speaking to each other.
Under French law and practice, the French state has the legal obligation to maintain fountains, but artists and their descendants have the moral right to control their work. In 1985, Niki de Saint Phalle asked for modifications to be made to one part of the sculpture, Rossignol, to make it more harmonious with other parts of the work. Five years later, she asked that one sculpture, Sirène, be replaced by another earlier work by her, called Nana, seated in a bathing suit. Because of the cost, the substitution was never made.[5]
Now I think this piece can be taken in either one of two ways:
1) It is in reference to the fact that the subject finds it incredibly difficult to love or be loved
2) It is in reference to the fact that when the subject eventually hits the heady heights of orgasm it hits them like a freight train and they writhe around like they've electrocuted with an ecstatic rictus grin plastered on their frightening looking mug.
As it stands i'm probably leaning towards the idea that she finds it near impossible to find love but looking at those eyes it's difficult to be sure...
Cheers
id-iom
Title: Love Comes Hard
Materials: Paint pen, acrylic, ink, charcoal and Tipp Ex
Size: A4
had this idea while on my way to the gym this afternoon. I'm not sure how it ranks among my other recent work. Not too sure on the electric effect. I feel like I was off my game tonight!!
i got electrocuted today! :[
so now i harness awesome powers.
at the time: i was pushing something on my light (that broke) to show will that it was broken and touched something i shouldnt've. then my fingers started vibrating and it travelled down the left side of my body. all i remember was thinking: "why am i vibrating?!" then i realised and it hurt in my brain a bit. then i screamed and moved and turned around to will and went: I JUST GOT ELECTROCUTED!! he hugged me.
IT WAS SCARY. :P
apparently im over-exaggerating. whatever, it still hurt ;P
025/365
Robe OOAK handmade de la nouvelle collection pour pullip de ma marque Electrocute. Le set comprend une robe et un bloomer assorti. SOLD OUT
nekounette-toxicmushroom.blogspot.com/
Merci ^^
Hi! This is the last from my new limited collection "Monarque Bleu". The outfit is handmade and fit to Obitsu s & m , and bodies type 3 & 4. The full set is composed from : the dress, a petticoat, a headdress and a bloomer. Fm me for more details ^^.
My country: France
___________________________
Bonjour ^^. Voici le dernier exemplaire de ma collection limitée "Monarque Bleu" qui recherchent une gentille pullip à habiller. Les vêtements sont faits à la main. Le set comprends la robe, le jupon, l'accessoire pour cheveux et le petit panty. Le set va aux obitsus s et m et aux corps types 3 et 4.
Envoyez moi un message privé pour plus de détails ^^.
Was going to upload this the other day but got lazy.
So I was playing as my son-sim Jason & he was on a date with Bella Bachelor, for some reason the game thought this a good time for all hell to break loose.
Firstly my husband-sim, Jared Frio, was trying to fix the garbage disposal & got electrocuted, he then died. While this was going on a meteor struck in the middle of the park & killed 3 sims. :|
Death-count of the day;
Jared Frio
Madison VanWatson
Jocelyn Fairchild
VJ Alvi