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This scene and related chase were a result of everything lining up perfectly, something that doesn't happen too often on Pan Am. The previous night while I was at work, PORU had gone up the Rumford Branch with a pair of high hoods bracketing a widecab GP40, and doing some quick math, and throwing in a hopeful estimation of their departure time from Rumford being between 5 and 6 AM, and an optimistic weather report, I decided to go after them in the morning. I got out of work around 0300, and after a quick stop for some food and caffeine, I made the hour and a half drive out to Rumford, arriving just as they were putting the finishing touches on their train, and starting their brake test.
With their train ready to go about twenty minutes later, and the sun just starting to peek over the horizon, they called District 1 for their Form D west, and I headed out for the first shot of the day. Fast forward about forty-five minutes later, and the sun had risen enough to eliminate most of the shadows, and was still far enough to the north to get some killer lighting along the River Road in Canton, where the road parallels the tracks for about a mile and a half with just fields between the two. With 10 mph trackspeeds, it was easy to nab several different shots in just a few minutes, like this one of them rounding one of the curves, with the foothills near Rumford raising up in the distance.
These are the residential high-rise buildings around the Indian Nations Park, a noble area of Campo Grande, capital of Mato Grosso do Sul, a central-western state of Brazil in the "cerrado" area. The city is nicknamed "Cidade Morena" in Portugueses ("Swarthy City") in English because of the reddish-brown color of the region's soil. It has a population of 906,092, according to a 2020 IBGE estimate, On the Metropolitan Area, probably around 1 million people. Very hospitable people.
Estes são os prédios residenciais no entorno do Parque das Nações Indígenas, área nobre de Campo Grande, capital do Mato Grosso do Sul, estado do centro-oeste do Brasil na área do cerrado. A cidade é apelidada de "Cidade Morena" em português ("Cidade Swarthy") em inglês por causa da cor marrom-avermelhada do solo da região. Tem uma população de 906.092 habitantes, segundo estimativa do IBGE para 2020, na Região Metropolitana, provavelmente em torno de 1 milhão de pessoas. Pessoas muito hospitaleiras.
Estos son los edificios residenciales de gran altura alrededor del Parque de las Naciones Indias, una zona noble de Campo Grande, capital de Mato Grosso do Sul, un estado centro-occidental de Brasil en el área del "cerrado". La ciudad es apodada "Cidade Morena" en portugués ("Ciudad morena") en inglés debido al color marrón rojizo del suelo de la región. Tiene una población de 906,092, según una estimación del IBGE 2020, en el Área Metropolitana, probablemente alrededor de 1 millón de personas. Gente muy hospitalaria.
Ce sont les immeubles résidentiels de grande hauteur autour du Parc des Nations Indiennes, une zone noble de Campo Grande, capitale du Mato Grosso do Sul, un État du centre-ouest du Brésil dans la région du « cerrado ». La ville est surnommée « Cidade Morena » en portugais (« Swarthy City ») en anglais en raison de la couleur brun rougeâtre du sol de la région. Il a une population de 906 092 habitants, selon une estimation de l’IBGE de 2020, sur la région métropolitaine, probablement environ 1 million de personnes. Des gens très hospitaliers.
Dit zijn de residentiële hoogbouw rond het Indian Nations Park, een nobel gebied van Campo Grande, de hoofdstad van Mato Grosso do Sul, een centraal-westelijke staat van Brazilië in het "cerrado" -gebied. De stad heeft de bijnaam "Cidade Morena" in het Portugees ("Swarthy City") in het Engels vanwege de roodbruine kleur van de bodem van de regio. Het heeft een bevolking van 906.092, volgens een 2020 IBGE-schatting, Op de Metropolitan Area, waarschijnlijk ongeveer 1 miljoen mensen. Zeer gastvrije mensen.
Si tratta dei grattacieli residenziali intorno all'Indian Nations Park, zona nobile di Campo Grande, capitale del Mato Grosso do Sul, stato centro-occidentale del Brasile in zona "cerrado". La città è soprannominata "Cidade Morena" in portoghese ("Swarthy City") in inglese a causa del colore bruno-rossastro del suolo della regione. Ha una popolazione di 906.092, secondo una stima IBGE del 2020, sull'area metropolitana, probabilmente circa 1 milione di persone. Persone molto ospitali.
Dies sind die Wohnhochhäuser rund um den Indian Nations Park, eine noble Gegend von Campo Grande, der Hauptstadt von Mato Grosso do Sul, einem zentral-westlichen Bundesstaat Brasiliens im "Cerrado"-Gebiet. Die Stadt trägt den Spitznamen "Cidade Morena" auf Portugiesisch ("Swarthy City") auf Englisch wegen der rötlich-braunen Farbe des Bodens der Region. Es hat eine Bevölkerung von 906.092, nach einer 2020 IBGE Schätzung, Auf der Metropolregion, wahrscheinlich rund 1 Million Menschen. Sehr gastfreundliche Leute.
هذه هي المباني السكنية الشاهقة حول حديقة الأمم الهندية، وهي منطقة نبيلة في كامبو غراندي، عاصمة ماتو غروسو دو سول، وهي ولاية وسط غرب البرازيل في منطقة "سيرادو". ويطلق على المدينة اسم "سيدادي مورينا" باللغة البرتغالية ("مدينة سوارثي") باللغة الإنجليزية بسبب اللون البني المحمر تربة المنطقة. يبلغ عدد سكانها 906,092 نسمة، وفقا لتقديرات IBGE لعام 2020، في منطقة العاصمة، ربما حوالي مليون شخص. أناس مضيافون جدا
これらは、インド諸国の国立公園、カンポグランデの高貴なエリア、マトグロッソ・ド・スルの首都、ブラジルの中西部の「セラード」地域の高層ビルです。この都市は、この地域の土壌の赤褐色のため、ポルトガル語(「スワーシーシティ」)で英語で「シダーデ・モレナ」の愛称で親しまれています。2020年のIBGEの推定によると、人口は906,092人で、首都圏では、おそらく約100万人です。 非常に親切な人々。
Αυτά είναι τα οικιστικά πολυώροφα κτίρια γύρω από το Πάρκο των Ινδικών Εθνών, μια ευγενή περιοχή του Campo Grande, πρωτεύουσα του Mato Grosso do Sul, μιας κεντροδυικής πολιτείας της Βραζιλίας στην περιοχή "cerrado". Η πόλη έχει το παρατσούκλι "Cidade Morena" στους Πορτογάλους ("Swarthy City") στα αγγλικά λόγω του κοκκινωπού-καφέ χρώματος του εδάφους της περιοχής. Έχει πληθυσμό 906.092, σύμφωνα με εκτίμηση της IBGE για το 2020, στη Μητροπολιτική Περιοχή, πιθανώς περίπου 1 εκατομμύριο ανθρώπους. Πολύ φιλόξενοι άνθρωποι.
Électricien, plombier et chauffagiste de formation, Philippe Jourdain est passionné de montres anciennes. Après avoir perdu son emploi il a ouvert au 2, rue de la Cité, une boutique entièrement dédiée à ces objets qu'il connaît et affectionne. Collectionneur, il possède des montres anciennes. Dans sa boutique, il présente une grande partie de sa collection.
La pièce la plus ancienne date de 1830. La plus récente a dû donner l'heure pour la première fois, au début des années quatre-vingt-dix. Dans ce magasin unique à Limoges, Philippe Jourdain achète, vend, restaure, répare aussi les pièces qui lui sont confiées.
Il vend aussi des outils, des livres consacrés aux marques prestigieuses et même un tour d'horloger. La pièce la plus originale vient de Chine. Sur le cadran, Mao lève les bras et ce sont eux qui donnent l'heure.
Sinon, derrière les vitrines marques mythiques comme Lip, Omega, Longine, Zénith entre autres, occupent une place de choix. Comme c'est un grand spécialiste, Philippe Jourdain donne des estimations. Ces expertises sont gratuites.
Trained as an electrician, plumber and heating engineer, Philippe Jourdain is passionate about antique watches. After losing his job he opened at 2, rue de la Cité, a shop entirely dedicated to these objects he knows and loves. A collector, he owns old watches. In his shop, he presents a large part of his collection.
The oldest coin dates from 1830. The most recent must have given the time for the first time, at the beginning of the nineties. In this unique store in Limoges, Philippe Jourdain buys, sells, restores and also repairs the parts entrusted to him.
He also sells tools, books on prestigious brands and even a watchmaker's lathe. The most original piece comes from China. On the dial, Mao raises his arms and it is they who tell the time.
Otherwise, behind the windows of mythical brands such as Lip, Omega, Longine, Zénith among others, occupy a prominent place. As he is a great specialist, Philippe Jourdain gives estimates. These expertises are free.
L'assassin
Selon diverses estimations, depuis 2000, le nombre annuel moyen de décès humains causés par le moustique était d'environ 2 millions. Les humains sont arrivés loin derrière avec 475 000, suivis des serpents (50 000). A titre de comparaison, le terrible COVID 19 qui nous impacte tous a à ce jour fait 219 182 victimes. La femelle Aedes albopictus (moustique tigre) transmet diverses maladies qui peuvent être mortelles comme le chikungunya ou la dengue. En 2005, une épidémie de chikungunya a touché La Réunion faisant plus de 250 morts.
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The assassin
Taking a broad range of estimates into account, since 2000, the average annual number of human deaths caused by the mosquito was around 2 million. Humans came in a distant second at 475,000, followed by snakes (50,000). For comparison, the terrible COVID 19 that impacts us all has to date claimed 219,182 victims to date. The female Aedes albopictus (tiger mosquito) transmits various diseases which can be fatal like chikungunya or dengue. In 2005, an epidemic of chikungunya affected La Réunion, killing more than 250 people.
© 2013 Alan Mackenzie.
www.alanmackenziephotography.com
Fly resting on a Peppery Milkcap Mushroom in Friston Forest. I recall the temperatures being like summer and many dragonflies prematurely emerging from the chrysalis. Evolution doesn't understand sudden, unseasonal heatwaves; the dragonflies would have perished during the first air frosts.
In other news, British photographic retailer, Jessops has gone into administration and they are no longer accepting pre-paid gift cards. It was therefore fortuitous that I redeemed mine yesterday, as part payment for a Hähnel Giga T Pro II wireless remote controller. The swines at Jessops quite happily accepted gift card purchases until Christmas Eve and now all unredeemed cards are worthless. I had the feeling Jessops wouldn't last the year. My estimations were overly-optimistic, at any rate. It's hard on the 2000 people whose jobs are at risk.
I'm looking forward to putting my wireless controller to good use on deer, foxes and badgers. I'll leave their favourite food out; I will be hidden nearby, waiting to trigger the camera and capture some epic close-ups, like the images you see in National Geographic.
Sometimes you're the windshield, and sometimes you're the bug. Today, I was the bug. Estimations had this train leaving Driftwood westbound around 2 or 3pm, but upon arrival in Driftwood at 2:30 it was apparent that they had not yet arrived. I headed west, passed them, and was finally able to get back ahead just in time for this shot. They never made it west in daylight. On the bright side I enjoyed wings at the Driftwood Tavern, got this shot, scouted the area a little bit, and saw some elk. All in all not terrible, but certainly a reminder that once in a while there's a failure in the cards!
Spent some time watching Kingfishers today never tire of these fabulous birds of our water systems such a pleasure to watch let alone photograph. In my estimation they come top of my list and are well worth the wait.
Just on the Eastern side of the Continental Divide, at Pipestone Montana, is a rare geological feature called the Ringing Rocks. When struck with a hammer, the stones ring, similar to striking a thick metal bell. The only other place in the US that I am aware of that has these features is a better known state park in Pennsylvania.
The pile of boulders is, by my estimation, a few hundred feet across and 50-100 feet high. Here I'm at the top looking southeast toward the Continental Divide and Interstate 90, which you can just make out in the right-hand portion of the photo.
You just need to imagine first what you want to shoot and then you need to place the required articles accordingly around the subject. For example in case of water droplets; broadly there would be three possibilities, drop just collapsed, about to touch the surface and de-bounce. It is bit difficult to predict these three conditions specifically when viewing through view finder and then result may be miss timed and blurred shots. To avoid this following procedure may be tried out:
1. Place a water pan on level of your camera which must be mounted on tripod.
2. Place a tiny steady object such as nail onto the place of your interest. May be center point of the water pan!
3. Set your camera with working distance allowed by macro lens.
4. Focus the nail as sharp as possible.
5. Set shutter speed faster around 1/200 to 1/300 to freeze the droplets.
6. Set aperture as large as possible, F/5 and 1.200 may give good results.
7. WB=Auto and ISO=100 may give desired results.
8. Once the object is well focused, replace it with a controlled water stream
9. Look this water stream through view finder and ensure whether is in focus or not.
10. Do slight adjustments in working distance if required to get the sharp picture.
11. Reduce down the speed of water stream up till one drop/seconds.
12. Wait and understand for the duration between two consecutive drops and once acclimatize with the frequency of dropping droplets, release the shutter with some estimation.
13. Just collapsed, about to touch the surface and de-bouncing drops can be frozen based upon synchronization of shutter release timing and some time estimation of drops.
Your setup is ready to produce some one of the fantastic shots. You may keep some colorful objects in the back ground to achieve diffused colorful DOF.
All the best.
This formation reminded me of a mystical kingdom. Photo taken with a Nikon D70s DSLR camera using a Nikon AF-S Nikkor 18-70mm f/3.5-4.5G DX Lens equipped with a Hoya HMC Super 67mm Skylight [1B] Filter and Nikon HB-32 Lens Hood. In my estimation this combination has rendered some of my best photography. Amazing for a 6 megapixel camera and kit lens.
No prizes for correctly guessing the location of this interesting line up of AC power.
82002 has just whisked our excursion from Manchester Piccadilly to here where 45142 will take over onwards to Starcross. A close look at the numerals of the 82 will reveal they are not exactly in a straight line.
81002 in the background is in between duties along with an unknown 86. All that can be said is that it is an 86/0 and it is wishful thanking that it might be 86002.
Drivers in both seem to be prepared for the "off".
One of the joys of New Street is the variety of different routes that can be taken on the approach. It wasn't always the case that a loco change for the SW had to have the AC removed first. There was always the prospect of coming in or out either direction.
On this occasion, 82002 has treated us to a run past Bescot I think.
Scenes such as this featuring the BR AC fleet have long gone. It may have been a bit bland - apart from the pre 86 locos. Or AL6 as they initially were designated. When it came to performance, it was another matter. Small wonder that AC power was seen as the future with diesel power a stop gap between that and the retiring steam locos.
The mileage accumulated could be massive and the estimation of such puts individual locos in the category a darned good investment. It is estimated that a well used AC loco could have possibly accumulated around 11 million miles in its lifetime. They were available 24 hours a day.
Creating a photographic composition of previous works of art, as part of the work of documenting my works already and in the future.
A bunch of keys to measure
Sketches, drawing, and design, in different techniques.
Pen and ink, pencil, gouache, and watercolor.
The eighties, and also 2009.. and after.
I have always drawn while listening to music. Many times over the years through the radio.. simply due to convenience while sitting for a long time sometimes for many hours to draw, without getting up.
In recent years, I need music more, without the broadcaster's texts between songs. Since chatter is not always appropriate.
While painting I cannot speak, as this is the way of painting I learned, due to the work of the brain.
And if I still had to talk while doing it, I would prefer to put my brushes aside, so as not to make a mistake in the painting. For example, dip the brush in the coffee, instead of water.
Since I don't really sing, but I enjoy music a lot, and I can't even hum while painting... I occasionally enjoy whistling, it's possible while painting.
In my estimation, the period when the drawings above were drawn, is the period when I stopped playing music and was drawing, painting much more, in fact, all my time was dedicated to drawing painting, and designing. Which was, is LOVE for me.
And this is probably why I chose to mention musical instruments and notes in a different way, in creation.
This is also the period when I listened to music while painting, in which I also started whistling, while painting.
I could not combine talking and drawing. Draw and whistle yes.
Thanks for visiting.
In respect to the safe private life, of the individual & artist in particular.
Copyrights (c) Nira Dabush.
The Shock of the New
This is another series of my images, this time that show how Modern Architecture has inbedded itself with the more Traditional styles. Some successful, some not to my estimation. But we’re all different in our tastes, you may even like them yourselves.
I’ve been told most women would agree that one key to a harmonious marriage is good communication between a man and a wife. The needed amount of communication, however, seems to vary a lot in the estimation of each sex.
Due to enforced, poorly paid labor during my young farm years, sitting on the bare steel seat of an old Case tractor that had no muffler, I roamed the fields from early spring until the ground was frozen too hard in the fall to plow anymore.
For this, I received the generous gift of developing hearing problems as I got older.
A few years ago at the encouragement of a woman I know who got tired of hearing the words “what did you say?” I got my first hearing aids. It was wonderful. I remember the first time I got out of my car at Walmart early in the morning to shop and on the way in, I heard the chirping of birds for the first time in quite a while.
But it didn’t take too long for the aids to get me in trouble. I was having a casual conversation with a friend of mine and innocently said having hearing aids wasn’t all positive. I related my right ear had the worst deficit and that handicap had come in handy at times, especially when my main squeeze and I were traveling in the car.
Unknown to me, that squeeze was standing behind me and heard that comment.
I was reminded of that incident when I saw this tree swallow communicating with one of the iron sand hill cranes adorning the entrance of the Irving and John Anderson County Park not far from North Branch.
(Photographed near Cambridge, MN)
Photograph was taken from the car window as my husband drove toward Fayetteville, Tennessee. My estimation is that we were on Hwy. 231 just south of Shelbyville, Tennessee.
BNSF 1112, a Heritage 1 paint C44-9W from the early days of BNSF, crawls to the north (railroad east) end of Craig Siding, which lies between Binney Junction in Marysville, and Oroville. Note the WP-era signaling equipment, still standing strong after decades of use; their age meaning nothing, as they still have many years left before replacement.
BNSF 1112 had come south a few days prior on the H-VAWFRS heading to Calwa Yard in Fresno California. Shortly after arriving, it would be assigned to the BNSF H-BARPAS2-30A. Crews came few and far between it seems, as it took a leisure 3 day trek up to Stockton.
As for myself, I planned on catching this train only a few times. Per usual, this sprouted into a 2+ hour long journey from Marysville, all the way into the Feather River Canyon. Unfortunately, I didn't go too far, as I had to race back to Oroville while on fumes. Lesson learned: don't trust your fuel mileage. Of course I already knew this, but I took the 80 mile estimation as "I have 80 miles left" and not "I have, most likely, around 40 miles left, and should head back for fuel." Well, you live and you learn!
This has to be one of the simplest things in the world. 4in wide, 16ft 5in long, and 4ft off of the floor. Deceptively simple. Confoundingly difficult, and mentally exhausting. Can't tell you how many times I've cringed watching gymnasts performing skills on this simple device. Beautify, graceful skills. Only to be thwarted by a misplaced toe here, or a slightly off-center launch there. Just today, Rachel was on this beam, beside a girl with amazing talent, and watched in horror as the girl ever so slightly missed getting her toe firmly on the beam landing a skill she's landed hundreds of times before in practice. In her tumble on the way down, and in an effort to soften the inevitable crash landing four feet below, the girl's foot shot back wildly toward the un-moving beam, where upon contact, the big toe sustained a incapacitating injury, most likely broken in my estimation. This, after training for the last year, and after having only one meet this year. I'm keeping my fingers crossed for this young lady in hopes it is not serious.
The 6th Arte em Peças held on Paredes de Coura, the annual exhibition that my LUG, Comunidade 0937, organizes every year took place on the last weekend of May and on the first of June. It was a blast! I was responsible for the Enchanted Forest display featuring my Bluewater castle, Wedgwood House, Morisledge Cottage, Green Lake Tower Ruins and other MOCs that I made for it. Special thanks to Hugo Santos www.flickr.com/photos/hugosantos0937/ who build the wonderful green roof church and elaborate the display' s scheme (were all the buildings would be, were the rivers would pass, etc).
It has 6 by 14 Baseplates (48x48 studs) and my estimation is that it has more then 500.000 parts.
Every single Baseplate has some texture and elevations and many are elevated 10 or more bricks to give more sense of depth.
The landscape came out a little poor as I ran out of parts for trees and vegetation. I would have liked to give it a sense of a more thick and full forest, but it was not possible. Also, my intention was to put a lot more minifigs, specially on the village center with more activity situations, but I just didn't have the time.
I would like to thank my buddies of 0937 for helping me in every way that they could. This was only possible because of the effort of many.
Hope you like it!
I found out that there was no shortage of eagles in the northwest when I moved there in the mid 70s. You just had to know where to look. I read Silent Spring when I was in Los Angeles and held the notion that they were all but extinct. However, when I began working on the Pitcher Ranch west of Silver Lake, Oregon, I quickly changed my mind.
The calving cows were fed in fields sheltered by old, towering aspen trees along Bridge Creek. One of my jobs that first winter was to ride through the herd to make sure that all the newborn calves got up and nursed.
One day on my rounds, I happened to glance up at the tree tops. There must have been 20 Bald Eagles calmly perched in close proximity. It did not take me long to figure out why they were there. Once a calf starts nursing, it's mother quickly forgets about her afterbirth. She may or may not return to nibble on it but the eagles were there to make sure it didn't go to waste.
I have been researching poems on eagles of late. They are largely a disappointment. Either they're way too romanticized or they are simply inaccurate portrayals based on my observations. Even Robinson Jeffers, who wrote so well about the Big Sir wilderness, fell short in my estimation. The best one was Walt Whitman's "The Dalliance of Eagles."
This Japanese tanka I wrote depicts very precisely an experience I had. It may not be great but at least it isn't "sappy!"
Ranch Hand and Eagle
1
“Is that an Eagle,”
I asked myself and my horse,
“on a wheel-line wheel?”
I rode up. It did not fly
but glanced at the placenta.
2
Klamaths still kill them
and claim their right to in court.
Rachel Carson sent
nest raiding biologists.
Ranchers shelter and feed them.
Samburu National Reserve
Kenya
Africa
This reticulated giraffe is looking to you to help save these graceful creatures from extinction. Currently there are only 15,780 of these giraffes left.
Today is World Giraffe Day. Most giraffe species are currently endangered. Some of the causes are Habitat Loss , Poaching, and Human Population Growth.
In 1999, it was estimated that over 140,000 giraffes existed in the wild, estimations as of 2016 indicate that there are approximately 97,500 members of Giraffa in the wild, down from 155,000 in 1985.
If you’re interested in making a donation to help save giraffes or just want more information as to their plight, visit – giraffeconservation.org/
_____________________
Happy Father's Day too.
I found these in a newly washed out area along the river while kayaking... flakes left from the making of arrowheads, (knapping) by indigenous peoples probably 500 to 1500 years ago. The summer rain has raised the water in the Green Swamp some 4-5 feet in the last 3 weeks. (by my estimation) In a lot of places near Dade City, Florida... you couldn't tell where the main channel of the river was. Water as far as you could see...
Withlacoochee River, Florida
These are the residential high-rise buildings around the Indian Nations Park, a noble area of Campo Grande, capital of Mato Grosso do Sul, a central-western state of Brazil in the "cerrado" area. The city is nicknamed "Cidade Morena" in Portugueses ("Swarthy City") in English because of the reddish-brown color of the region's soil. It has a population of 906,092, according to a 2020 IBGE estimate, On the Metropolitan Area, probably around 1 million people. Very hospitable people.
Estes são os prédios residenciais no entorno do Parque das Nações Indígenas, área nobre de Campo Grande, capital do Mato Grosso do Sul, estado do centro-oeste do Brasil na área do cerrado. A cidade é apelidada de "Cidade Morena" em português ("Cidade Swarthy") em inglês por causa da cor marrom-avermelhada do solo da região. Tem uma população de 906.092 habitantes, segundo estimativa do IBGE para 2020, na Região Metropolitana, provavelmente em torno de 1 milhão de pessoas. Pessoas muito hospitaleiras.
Estos son los edificios residenciales de gran altura alrededor del Parque de las Naciones Indias, una zona noble de Campo Grande, capital de Mato Grosso do Sul, un estado centro-occidental de Brasil en el área del "cerrado". La ciudad es apodada "Cidade Morena" en portugués ("Ciudad morena") en inglés debido al color marrón rojizo del suelo de la región. Tiene una población de 906,092, según una estimación del IBGE 2020, en el Área Metropolitana, probablemente alrededor de 1 millón de personas. Gente muy hospitalaria.
Ce sont les immeubles résidentiels de grande hauteur autour du Parc des Nations Indiennes, une zone noble de Campo Grande, capitale du Mato Grosso do Sul, un État du centre-ouest du Brésil dans la région du « cerrado ». La ville est surnommée « Cidade Morena » en portugais (« Swarthy City ») en anglais en raison de la couleur brun rougeâtre du sol de la région. Il a une population de 906 092 habitants, selon une estimation de l’IBGE de 2020, sur la région métropolitaine, probablement environ 1 million de personnes. Des gens très hospitaliers.
Dit zijn de residentiële hoogbouw rond het Indian Nations Park, een nobel gebied van Campo Grande, de hoofdstad van Mato Grosso do Sul, een centraal-westelijke staat van Brazilië in het "cerrado" -gebied. De stad heeft de bijnaam "Cidade Morena" in het Portugees ("Swarthy City") in het Engels vanwege de roodbruine kleur van de bodem van de regio. Het heeft een bevolking van 906.092, volgens een 2020 IBGE-schatting, Op de Metropolitan Area, waarschijnlijk ongeveer 1 miljoen mensen. Zeer gastvrije mensen.
Si tratta dei grattacieli residenziali intorno all'Indian Nations Park, zona nobile di Campo Grande, capitale del Mato Grosso do Sul, stato centro-occidentale del Brasile in zona "cerrado". La città è soprannominata "Cidade Morena" in portoghese ("Swarthy City") in inglese a causa del colore bruno-rossastro del suolo della regione. Ha una popolazione di 906.092, secondo una stima IBGE del 2020, sull'area metropolitana, probabilmente circa 1 milione di persone. Persone molto ospitali.
Dies sind die Wohnhochhäuser rund um den Indian Nations Park, eine noble Gegend von Campo Grande, der Hauptstadt von Mato Grosso do Sul, einem zentral-westlichen Bundesstaat Brasiliens im "Cerrado"-Gebiet. Die Stadt trägt den Spitznamen "Cidade Morena" auf Portugiesisch ("Swarthy City") auf Englisch wegen der rötlich-braunen Farbe des Bodens der Region. Es hat eine Bevölkerung von 906.092, nach einer 2020 IBGE Schätzung, Auf der Metropolregion, wahrscheinlich rund 1 Million Menschen. Sehr gastfreundliche Leute.
هذه هي المباني السكنية الشاهقة حول حديقة الأمم الهندية، وهي منطقة نبيلة في كامبو غراندي، عاصمة ماتو غروسو دو سول، وهي ولاية وسط غرب البرازيل في منطقة "سيرادو". ويطلق على المدينة اسم "سيدادي مورينا" باللغة البرتغالية ("مدينة سوارثي") باللغة الإنجليزية بسبب اللون البني المحمر تربة المنطقة. يبلغ عدد سكانها 906,092 نسمة، وفقا لتقديرات IBGE لعام 2020، في منطقة العاصمة، ربما حوالي مليون شخص. أناس مضيافون جدا
これらは、インド諸国の国立公園、カンポグランデの高貴なエリア、マトグロッソ・ド・スルの首都、ブラジルの中西部の「セラード」地域の高層ビルです。この都市は、この地域の土壌の赤褐色のため、ポルトガル語(「スワーシーシティ」)で英語で「シダーデ・モレナ」の愛称で親しまれています。2020年のIBGEの推定によると、人口は906,092人で、首都圏では、おそらく約100万人です。 非常に親切な人々。
Αυτά είναι τα οικιστικά πολυώροφα κτίρια γύρω από το Πάρκο των Ινδικών Εθνών, μια ευγενή περιοχή του Campo Grande, πρωτεύουσα του Mato Grosso do Sul, μιας κεντροδυικής πολιτείας της Βραζιλίας στην περιοχή "cerrado". Η πόλη έχει το παρατσούκλι "Cidade Morena" στους Πορτογάλους ("Swarthy City") στα αγγλικά λόγω του κοκκινωπού-καφέ χρώματος του εδάφους της περιοχής. Έχει πληθυσμό 906.092, σύμφωνα με εκτίμηση της IBGE για το 2020, στη Μητροπολιτική Περιοχή, πιθανώς περίπου 1 εκατομμύριο ανθρώπους. Πολύ φιλόξενοι άνθρωποι.
A big fellow with a huge heart.
#tabby #cat #nature #passion #portrait
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A three year old Eagle in my estimation. Looks like it has been battered around a bit by high winds.
Jerusalem, Israel: A young boy, not older, in my estimation, than about eight, or nine, apparently challenging himself, to sidle precariously along a narrow ledge surrounding a park… (1/2)
When shooting dolphins in the bait balls it is difficult to rely only on the basic visual indications - dolphins attack bait ball at high speed and when you notice it it is likely too late to push camera trigger. It is good to know where pod of dolphins is before they start to charge, and rely on long low frequency scream they make while accelerating for estimation of timing of trigger release. It also helps to set strobes to the configuration which will allow multiple shots per second which will give better chance of capturing good scene.
We went to the bottom of Palouse Falls via the route which descends the Palouse River Canyon a quarter mile south of the falls. It was fun to be down at the level of the river. The sound and sight of the Palouse River falling 186 feet was awe-inspiring.
The height of the drop of the waterfall depends on the flow of the river which varies with the seasons resulting in estimations of the height of the falls from 175 to 200 feet. The Northwest Waterfall Survey sets the height at 186 feet.
Photo used by the non-profit organization, the MIND Institute, located in California, USA. As part of a math project, they are compiling a workbook containing photos of many interesting things which middle school kids can utilize to learn Mathematics visually; in addition, the workbook will provide a fun approach in educating these kids about the importance of estimation skills in life.
It is interesting, but a likely fallacy, in my estimation, that humans form bonds on a different, or "higher level" than non-human animals. Most certainly, cooperation has played a major role in the evolution of our species, and in our softer, less tangible aspects, things we might call spirits, or souls. For me, it is no less in a non-human animal. They bond, show affection, cooperate, and have lives that are just as significant as ours. The Universe does not single us out as the "most important" animal - only we are arrogant enough to do that. What we can do, with the skills we have developed, is help other non-human animals to cope with the deleterious impacts we have made on their health and environment. We can use our knowledge and technologies to help them recover, and to build a world that is more harmonious for all. May we do this readily, and with reverence to them, and the Great Spirit that gave them an Earth home.
Revelation 20:10 “And the Devil, who is leading them astray, was cast into the lake of fire and brimstone, where are the beast and the false prophet, and they shall be tormented day and night—to the ages of the ages.”
“Pornography websites will have to check users’ ages, under draft guidelines.”
www.theguardian.com/society/2023/dec/05/pornography-websi...
“The list of measures for proving someone is over 18 include: uploading a photo-ID document; facial age estimation technology; contacting your mobile network provider to allow your phone to access adult content; checking age via credit card details; and using ‘digital identity wallets’ that store evidence of a person’s age.”
Problem, Reaction, Solution
Problem: load the internet with porn and make it easily accessible.
Reaction: we need to crack down on under aged kids looking at porn.
Solution: require ID authentication to access porn, then require digital ID authentication to access the internet. Your digital ID will have your photo, information, medical records, passport, digital CBDC wallet, and social credit score. Your digital ID will be carried on your person via your cell phone. Since cell phones can get lost or stolen, you will eventually need a biometric microchip ID. A microchip ID will never get lost or stolen. This sounds like the Book of Revelation, doesn’t it?
Le Kapellbrücke était le plus ancien, et, après celui de Bad Säckingen, le plus long pont couvert en bois d'Europe.
Le nom de Kapellbrücke (pont de la chapelle) s'explique par la proximité de la chapelle Saint-Pierre. Construit en 1333, il est reconstruit en 1994 après un incendie.
Le pont figure dans la chronique d'Etterlin en 1507 ce qui permet d'avoir une estimation de sa forme à l'époque.
Le pont a été encore raccourci en 1898 lors de la construction d'un quai sur les rives du lac.
La Wasserturm se trouve au milieu du pont. De forme octogonale, elle mesure 34 mètres de haut et aurait été construite aux alentours de 1300. Elle abrita anciennement les archives et les objets précieux de la ville, mais servit également de prison et de local de torture.
The Kapellbrücke was the oldest and, after the one in Bad Säckingen, the longest covered wooden bridge in Europe.
The name Kapellbrücke (Chapel Bridge) derives from its proximity to St. Peter's Chapel. Built in 1333, it was rebuilt in 1994 after a fire.
The bridge appears in the Etterlin Chronicle in 1507, which allows us to estimate its shape at the time.
The bridge was further shortened in 1898 during the construction of a quay on the lake shore.
The Wasserturm (Water Tower) is located in the middle of the bridge. Octagonal in shape, it is 34 meters high and is believed to have been built around 1300. It formerly housed the city's archives and valuables, but also served as a prison and torture chamber.
A trip to master Greybeard’s house was always an ordeal. They might say say nice things about him off in the court of Northania, but I’m quite sure that none of those fools had ever spent more than a minute in his presence. Me on the other hand, I’d had more than my fill.
By my estimations, I’ve come to conclude that master Greybeard is the most cantankerous man to live on the east side of Northania. In fact, I don’t think I’ve ever heard him say a kind word. Back in Northania, they say he’s the best. Or at least that he was the best. The Champion of the king’s guard they say; the first through the breach of Tranguar they say, the winner of the blackguard’s contest they say. Bah! Grouchybeard is what I say! Grouchybeard the cantankerous!
But here I am again, for all my complaining on the road for another day lectures, and insults from a cranky old man who’s far past his prime. But I know it’ll be worth it, because one day I’ll be the best. One day, I’ll be the teacher. One day, I won’t have to take orders from an old man – I’ll be giving them. I wonder what my pupils will call me…
Well, I decided to take a stab at some castle building - an area where I don't really have a lot of expertise - and so reworked my first castle themed creation I posted over on Mocpages (not visible here on flickr due to it being terrible). The reworked version presents my first real foray into a theme I'm looking forward to building in again. I hope you enjoy!
More views and a look at the previous version can be found over on mocpages
Soli Deo Gloria!
Finnish boat designer and builder Eino Antero Bergius (1884 - 1978) took this picture (here shown restored and digitally hand colorized by me) of two motor cruisers designed by him. The Vapriikki Museum, which owns the original B/W image) gives a wide date frame, 1920 - 1939. My estimation is that Bergius took the photo in the early 1920s.
The museum does not give any additional information about the boats, but based on another of Bergius´s images, the motor yacht on the right appears to be his own (nameless) boat, built in 1920 at his yard in the city of Tampere (located in Finland´s Lake District).
Bergius´ boat (12.80 m x 2.1 m) had a 40 hp engine, which gave it a speed of ab. 11-12 knots.
My understanding is that Bergius built a number of similar yachts primarily intended for use in the Lake District. Regrettably none of them seem to have been saved. His own yacht was burned in a Midsummer bonfire in the end of the 1950s.
I have not been able to find very much information on Bergius as a boat designer and builder. He is today more known as an excellent amateur photographer. The Vapriikki Museum has a collection of ab. 5000 negatives by Bergius.
Bergius had a good technical education. He graduated in 1907 as a Master of Science (Technology).
Civaux, a village with a population of about 1000, has a history rooting very deep. Humans populated the area already, when stepp bisons and mammoths were hunted. Many "pre-historic" artefacts have been excavated in and around Civaux, proving that this place was inhabited over tens of thousands of years.
A settlement stood on the site of the village in Gallo-Roman times, and there are still traces of Roman temples. Excavations have revealed the sites of a theater (capacity 3000), a fortified camp, and the foundations of many villas.
This has been a place of very early christianisation. A funeral stele has been found dating to around 400, a pagan temple and a very early baptisterium were excavated next to the church. The polygonal apse was probably built as well around 400, what actually means that this church, dedicated to Saint Gervais and Saint Protais is one of the oldest in France.
At that time a kind of pilgrimage must have developed. The relics of Saint Gervais and Saint Protais had been miraculously discovered by Saint Ambrose in Milan in 386, so the saints got very popular in Merovingian times, but that does not explain the enigma of Civaux. The village stands in the center of a huge merovingian necropolis.
As many sarcophagi were sold as water basins or troughs in later time, the exact number of graves is unknown. Serious estimations are between 10.000 and 20.000 graves.
There are parallels to nearby Saint Pierre in Cauvigny (16 kms north). The same colours as in Chauvigny were used here during the restauration of the interior. At least one of the capitals is very similar to one in Saint Pierre, but some carvings are absolutely unique. The nave dates back to the 11th century, the apse more than 600 years older.
Two birds drinking from a chalice ("Communion cup") probably a symbol for the Eucharist. This icon can often be found in Ronanesque churches. Sometimes there are griffons instead of birds.
﹕ Sud Lipez, Bolivie
« Une Immensité Salée »
ㄨ Le Salar d’Uyuni en chiffres c’est 11000km² de superficie soit deux départements français. Né il y a près de 14000 ans suite à l’évaporation du lac préhistorique Michin, il est situé à 3658m d’altitude avec une profondeur allant jusqu'à 120m. Couvrant, d'après une estimation, 60 milliards de tonnes de sel, le salar produit également la quasi moitié des ressources planétaire en Lithium.
After my Ricoh camera died, I spent the weekend shooting with my phone. It is a liberating experience, in my estimation. I wrote in a recent blog post, jtinseoul.wordpress.com, about my feelings on the topic.
In Seoul, South Korea. December 2015.
Two African Giraffe giving me the stare across the Savannah. I am not happy with the foreground but still not experienced enough to know how to fix the textures/refraction in the bushes so any advise from you post-production pros?
The giraffe has intrigued various cultures, both ancient and modern, for its peculiar appearance, and has often been featured in paintings, books, and cartoons. It is classified by the International Union for Conservation of Nature as Vulnerable to extinction, and has been extirpated from many parts of its former range. Giraffes are still found in numerous national parks and game reserves but estimations as of 2016 indicate that there are approximately 97,500 members of Giraffa in the wild, with around 1,144 in captivity.
The South African giraffe (G. c. giraffa) is found in northern South Africa, southern Botswana, southern Zimbabwe, and south-western Mozambique. It has dark, somewhat rounded patches "with some fine projections" on a tawny background colour. The spots extend down the legs and get smaller. The median lump of males is less developed.
Pachyrrhynchus congestus ocellatus (Philippines) :
Empilements de 55 photos de 260µm/step en mode manuel 65mm - f/2,8 - 1/80 - ISO 100 - rapport 1:1
Boitier Canon EOS 5D Mark IV + Objectif Canon MP-E 65 mm f/2,8 1:1 ~ 5:1 + flash Canon MT-24EX Macro Twin Lite + lumière arrière LED diffusée + rail macro motorisé et contrôleur Cognisys Stackshot 3X.
Logiciel de stacking : ZereneStacker (DMap estimation radius 10/smoothing radius 5 - contrast treshold 78,4).
Post traitement : ZereneStacker, Lightroom, Photoshop.
This private property has their own collection of sculpted creatures entirely made from spot welded tin. I thought this horse was particularly well done. In my estimation all the proportions as well as the general configuration are fairly well done. Even the rusty color seems accurate.
Well. The architect of the Portland Building [PB] was Michael Graves. On a low budget, the city commissioned the PB, some think only because it was cute. 25 years later, the remodel would cost as much as replacing it.
Cute only goes so far.
From Wiki: Not all commentary has been negative. In the estimation of architectural critic Paul Goldberger:
"For better or for worse, the Portland Building overshadows other things. It is more significant for what it did than how well it does it. It had a profound effect on American architecture and brought a return to classicism that brought us better buildings."[11]
In October 2009, Travel + Leisure magazine called the Portland Building "one of the most hated buildings in America".[21]
This writing desk and stool were inspired by the work of design reformer Edward William Godwin (1833-1866). They are dedicated to the irreverent author Nancy Mitford (1904-1973) who, in Paul P,’s estimation, created the first unpublished homosexual character in popular literature. In her novel “Love in a Cold Climate” 1949. Cedric Hampton (a composite portrait of Mitford’s many pre-war gay friends) not only survives, but also enjoy acceptance and success.
Well - I made my first pizza and was it ever bad! Now that I've said that, even though I followed Charlie's deep-dish recipe, my blunder is no reflection on his recipe or talents. Many of you have had great success with this.
I kept it fairly simple with his 48 hour fermented dough, his sauce, two cheeses - provolone and fresh mozzarella - the basil, and a light touch with ground pepper and oregano. I think my issue came from the olive oil usage. I used virgin oil. It was in the dough recipe, it was on the dough, as I used a bit to cover the dough while proofing, it was in the sauce and, as I knew my lousy non-stick pans would stick, I oiled them with olive oil.
It looked like it cooked nicely. As it turned out, olive oil was absolutely no deterrent to sticking. By the time it was removed from the pan in four pieces, it was not at all photogenic. However, the bottom wasn't burned. Cooked well, but not burned.
The pizza tasted just awful. It had an odd taste, a slightly bitter taste...and seemingly, the cheeses and sauce had no taste. I soon realized it was the olive oil. (side note: Charlie warned of overcooking the garlic as it could make it bitter. I didn't overcook it - but thanks for the warning, Charlie.) I did taste the basil - so all was not lost.
One reason this was my first home-cooked pizza is that I'm not a big pizza eater. Also, I can bake a bit, but "normal" cooking is not my specialty at all.
So, while it was worth a try, I don't know if it is worth another.
For now, I shall carry on with bread.
(Thanks to Jeepy for her estimation of timing for the final rise. I was trying to make this on a schedule. The timing worked out.)
OH - and I did manage to burn the roof of my mouth, so 24 hours later, I'm still feeling this "pizza". :)
1970 Chevrolet Chevelle SS 396 Sport Coupe (man. 4) (model since September 1969 for North America U.S.) car specifications & performance data review
1970 Chevrolet Chevelle SS 396 Sport Coupe (man. 4) .
Specs datasheet with technical data and performance data plus an analysis of the direct market competition of Chevrolet Chevelle SS 396 Sport Coupe (man. 4) in 1970, the model with 2-door hardtop coupe body and V-8 6590 cm3 / 402.2 cui, 261 kW / 355 PS / 350 hp (SAE gross) offered since September 1969 for North America U.S.. According to the ProfessCars™ estimation this Chevrolet would accelerate 0-60 mph in 6 sec, 0-100 km/h in 6.3 sec, 0-200 km/h in 30.1 sec and a quarter mile time is 14.6 sec. The overall dimensions are 5009 mm / 197.2 in of length, 1915 mm / 75.4 in of width (without mirrors) and 1341 mm / 52.8 in of height.
Powertrain
Engine manufacturer: GM Chevrolet Big-Block V-8 396
Engine type: spark-ignition 4-stroke
Fuel type: gasoline (petrol)
Fuel system: carburetor
Charge system: naturally aspirated
Valves per cylinder: 2
Additional features: 4-barrel
Cylinders alignment: V 8
Displacement: 6590 cm3 / 402.2 cui
Bore: 104.8 mm / 4.126 in
Stroke: 95.5 mm / 3.76 in
Compression ratio: 10.25 : 1
Horsepower net:
Torque net:
Horsepower gross: 261 kW / 355 PS / 350 hp (SAE gross)/ 5200
Torque gross: 563 Nm / 415 ft-lb/ 3400
Drivetrain
Gearbox: Muncie M20 wide-ratio
Transmission type: manual
Number of gears: 4
Gear ratios (overall):
I 2.52 (8.34)
II 1.88 (6.22)
III 1.46 (4.83)
IV 1 (3.31)
Quarter mile performance (Standard 396 c.u. engine):
0- 1/4mile (s): 14.5
speed at 1/4mile: 168 km/h / 104.3 mph
______________________________________________
1970 Chevrolet Chevelle SS 454 Sport Coupe 450-hp (man. 4) engine Horsepower / Torque Curve
Engine horsepower and torque curve for Chevrolet Chevelle SS 454 Sport Coupe 450-hp (man. 4) in 1970, the model with 2-door hardtop coupe body and V-8 7443 cm3 / 454.2 cui, 335.5 kW / 456 PS / 450 hp (SAE gross) offered since September 1969 for North America U.S.. Detailed engine characteristics.
Engine manufacturer: GM Chevrolet L-series 454 V-8 (big-block)
Engine type: spark-ignition 4-stroke
Fuel type: gasoline (petrol)
Fuel system: carburetor
Charge system: naturally aspirated
Valves per cylinder: 2
Valves timing:
Additional features: Holley 4-barrel
Cylinders alignment: V 8
Displacement: 7443 cm3 / 454.2 cui
Horsepower net:
Horsepower gross: 335.5 kW / 456 PS / 450 hp (SAE gross)
/ 5600
Torque gross: 678 Nm / 500 ft-lb
/ 3600
Transmission type: manual
Number of gears: 4
Quarter mile performance ( 454 c.u. engine):
0- 1/4mile (s): 12.8
speed at 1/4mile: 181 km/h / 112.4 mph
____________________________________________
Standard tire size for 1970 Chevrolet Chevelle SS 396 Sport Coupe:
(in case of different tires in front and rear the dimensional data are valid for driving or rear wheels)
Standard tire size: G70 - 14
Tire width (mm): 222
Tire sidewall factor: 70
Rim size (in): 14
Total wheel diameter (mm / in): 666 / 26.2
WIDE
Rim size (in): 15
Alternate tire size: 275/55 R 15
Total wheel diameter (mm / in): 684 / 26.9
Percentage diameter difference to the original (%): 2.7
WARNING: wide tire!
VERY WIDE
Rim size (in):Rim size (in): 15
Alternate tire size: 285/50 R 15
Total wheel diameter (mm / in): 666 / 26.2
Percentage diameter difference to the original (%): 0
WARNING: very verywide tire!!
Source: CAR SPECS A-Z
• Car recorded at Cantigny Car Show-2024
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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Maurice Bejart, Innovative Choreographer of Modern Ballet
By Lewis Segal
Maurice Bejart, for four decades an extraordinarily innovative and influential choreographer and company leader in Europe who often received critical scorn in the English-speaking world, has died. He was 80.
Hospitalized last week with heart and kidney trouble, Bejart died at Lausanne's University Hospital in Switzerland. In response to Bejart's death, French Culture Minister Christine Albanel called him "one of the greatest choreographers of our time."
He "played an essential role in making a large number of people love contemporary dance, without ever ceding to the easy way out or renouncing his deep demands as an artist," she said. "He never stopped surprising us, until the end."
Although he began his ballet career dancing the 19th century classics in pristine versions staged from the choreography notebooks of what is now the Kirov Ballet, Bejart eventually developed a complex style of contemporary ballet. It incorporated movement influences from a number of cultures, along with a flamboyant theatricality very much in the neo-Expressionist tradition of Western Europe but foreign to classical dancing. A key element of that new style was its refusal to accept conventional notions of what kind of dancing, roles and prominence "belonged" to males versus females.
Contrary to their original versions, Bejart cast a man in the title role of his "Firebird" and in "Bolero" created a sexually indeterminate ballet: It is danced with 40 men and one woman, 40 women and one man or with an all-male cast.
"I and a few others have fought for men's liberation in ballet -- true equality," he said in a 1985 Times interview, "though, of course, it is normal when you fight for equality that it looks like you are too much on the other side." Above all, his approach to ballet was personal and intuitive, insisting, as he said, that "dance is a tool for expressing myself totally, for being, breathing, living, becoming myself."
He was born Maurice Jean Berger on Jan. 1, 1927, in Marseilles, France, the son of self-taught philosopher Gaston Berger. His mother, Germaine Capellieres, died when he was 7. From age 14, he trained at the school of the Marseilles Opera Ballet where, he told The Times, he remembered being the only boy in a class of 25 to 30 girls.
"It was not right," he said. "Life is a balance between men and women. If I push the boys [as a choreographer], it is because there still needs to be a reaction against the prejudice that it is not good for men to dance."
After earning academic degrees in Marseilles and in Aix en Provence, Bejart continued his dance studies in Paris and London with a number of major ballet teachers, including Vera Volkova. He made his debut as a dancer in 1945, adopting the surname of the playwright Moliere's wife. His performing experience included stints with the Marseilles Opera Ballet, the International Ballet in London, the Cullberg Ballet and the Royal Swedish Ballet, where he choreographed for the first time in 1950.
In 1953, after serving in the French Army, he co-founded the Ballets de l'Etoile in Paris, which he also co-directed.
In 1955, his ballet "Symphonie pour un homme seul" attracted enormous attention as the first classical choreography set to musique concrete, music put together from a number of electronic and other noninstrumental sources.
Two years later, the company changed its name to the Ballet Theatre de Paris de Maurice Bejart.
But during this period he also worked with other institutions, including Belgian television and the Opera in Brussels, where he created an enormously popular version of "The Rite of Spring" in 1959. It became his signature work.
Its acclaim led Bejart to move to Brussels in 1960, where he founded the Ballet du XXieme Siecle based at the city's opera house, the Theatre Royal de la Monnaie. After his arrival, attendance at the Monnaie shot up from 40,000 a year to 250,000, and Bejart's success at home was matched abroad.
However, critics often disapproved of works that were long on philosophical and dramatic content but short on pure dance -- particularly ballets that emphasized sensual and often openly homoerotic male dancing.
In hindsight, many of the attacks seem to be barely veiled homophobia, but Bejart took them in stride. "A creator who does not shock is useless," he said at the time. "People need reactions. Progress is only achieved by jostling."
He also created arena spectacles on the grandest scale, in particular his celebrated stagings of Beethoven's Ninth Symphony in 1964 and Berlioz's "Romeo and Juliet" for Brussels' Royal Circus in 1966. His "Messe pour le Temps Present" premiered at the Papal Palace in Avignon, France, in 1967, and the following year he choreographed "Ni Fleurs, Ni Couronnes" for the Olympic Festival in Grenoble.
He expressed his interest in the music of Wagner not only through choreography for his own company, but also for others, most notably the Wagner festival in Bayreuth, Germany, and the Berlin Opera. Virtually every company on the European continent wanted him or someone with the same unorthodox approach to classical dance.
"Ballet is part of the theater," he told the New York Times in 1983. "I want my dancers to be on stage like human people . . . who give emotion to the audience."
In 1970, he established the Mudra Center, a groundbreaking international performance academy in Brussels. In 1978, Mudra Afrique opened in Senegal. But friction with the Monnaie management caused him to move to Lausanne, Switzerland, in 1987 and found Bejart Ballet Lausanne.
"I want to question, renew myself again," he said to explain the move, downplaying any conflicts. "I want a new start toward the future, to create something new."
In 1992, he founded a school in Lausanne similar to the Mudra Center and began a series of collaborations with international ballet stars, designers and musicians. And his success in Switzerland sustained his reputation as one of the greatest creative artists in all of Europe.
At the beginning of this century, Bejart transformed "The Nutcracker" into an autobiographical fantasy about a young, motherless boy -- and ultimately the ballet became what he called "a kind of hymn to the ideal mother that he does not know of." Eventually, that boy met a woman who might be, in Bejart's words, "the mother and maybe Terpsichore," goddess of dance.
Bejart was a close friend of the late fashion designer Gianni Versace and recently, for the 10th anniversary of Versace's 1997 murder, he choreographed a two-part ballet, "Thank you, Gianni, With Love," in Milan.
His many awards include the Hammarskjold Prize (1973), the Erasmus prize (1974) and the Prize of the Society of Dramatic Authors (1980).
His writings include a number of essays and several books, including a 1963 novel, "Mathilde ou le temps perdu," and two theater pieces: "La Reine vert" (1963) and "La Tentation de Saint-Antoine" (1967).
"I tried to write a few books, but I don't think they are so good," he said seven years ago in a television interview. "But I try to explain myself in every ballet."
He amplified that statement in an interview the same year with the London Independent: "All my ballets are, above all, encounters, with a piece of music, with life, with death, with love," he said, "with beings whose past and work reincarnate themselves in me, just as the dancer who I no longer am is reborn every time in interpreters who surpass him."
Bejart is survived by a sister. His longtime companion, Argentine dancer Jorge Donn, died of AIDS in 1992.
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--> The article appeared on www.latimes.com/
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Maurice Bejart (Obituary)
French choreographer who attracted large new audiences to ballet with showmanship and work of striking originality
By The Times
Maurice Béjart probably did more than any other choreographer in the past century to win vast new audiences for ballet. He was by temperament a populist, eager to make ballet as direct and lively an art as cinema, and to attract the same kind of public; but he found no difficulty in reconciling this with the introduction of philosophical themes into his work, often based on oriental culture and beliefs.
In his native France and its neighbouring countries, most critics and the public saw him as unable to do anything wrong; many reviewers in Britain and the United States found it difficult to allow that he could do anything right. History is likely to assess him nearer to his own estimation, which was that as a man of the theatre he worked constantly to extend his reach, with results that varied in quality but were rarely dull.
At his best, Béjart produced some of the most exciting dance theatre of our time. Among his astonishingly large output of about 220 creations, the three most likely to survive in the repertoire are his devastatingly simple but gripping Bolero and his highly original treatments of Stravinsky's Rite of Spring and The Firebird. In both of these latter, characteristically, he gave more importance than usual to male dancing. His Firebird was the leader of a partisan troop, shot and killed in battle but returning in spirit to inspire continued resistance. For Rite, he abandoned the original idea of a single female sacrificial victim in favour of showing a man and a woman chosen to save their tribe through ritual copulation and death.
Often, Béjart worked on a monumental scale, producing spectacles that demanded large arenas and sometimes involved actors as well as dancers. The huge Forêt National sports stadium in Brussels and the courtyard of the Palais des Papes at Avignon were long among his regular venues, and for the bicentenary of the French revolution, the French Government commissioned him to create 1789...et nous in the great hall of the Grand Palais in Paris.
At the other extreme, however, he could make a fastidiously precise short pure-dance piece such as Webern Opus 5 for just two dancers, and in Ni fleurs, ni couronnes he created variations on episodes from The Sleeping Beauty. The Paris Opera commissioned several ballets from him, and his Le Molière imaginaire, based on the playwright's life and works, had its premiere at the Comédie Française starring Robert Hirsch, doyen of that theatre, in the central role, which Béjart himself later played with distinction.
There was often humour as well as showmanship in his creations; Le Concours, for instance, combined a whodunnit mystery with parodies of ballet life, including recognisable caricatures of some habitual competition judges.
Dancers loved working with him. Among the international stars for whom he created roles were Jean Babilee in Life, Mikhail Baryshnikov, Fernando Bujones, Suzanne Farrell in Nijinsky, Clown of God, Sylvie Guillem repeatedly, Rudolf Nureyev in Songs of a Wayfarer, Maya Plisetskaya in Isadora and Vladimir Vassiliev in a very personal treatment of Petrushka. But he also grew his own stars within his company, especially the male dancers; Paolo Bortoluzzi, Jorge Donn and others brought both poetry and heroism to their roles, leading a marvellous men's ensemble from which new talent constantly emerged at need. Nor did his women soloists ever lack notable roles to show off their gifts.
Born Maurice-Jean Berger in Marseilles in 1927, he was educated at the lycée there and extended his mind by avidly reading the books in the library of his father, a professor of philosophy. He also began ballet classes at the Marseilles Opera, making his inauspicious debut as (by his own account) a weedy-looking grub crawling out of an apple in Le Festin de l'araignée. As a teenager he first tried his hand at choreography with a solo for himself, Petit Page. Moving to Paris, he furthered his studies with some of the best ballet teachers including Lubov Egorova, Madame Rousanne (whom he lovingly depicted in his ballet Gaite Parisienne) and, later in London, Vera Volkova.
After a season in 1948 with Roland Petit's Ballets de Paris (during which he was one of Margot Fonteyn's partners in the Rose Adagio from The Sleeping Beauty), Béjart joined Mona Inglesby's International Ballet, dancing the classical leading roles — Bluebird, Prince Siegfried, the man in Les Sylphides — on tour all over Britain. There followed a period dancing with the Cullberg Ballet in Stockholm, for which he staged an early version of Firebird on Swedish television.
The 1950s were for Béjart a decade of struggling to establish himself with freelance work and his own small companies. He began to make a name with experimental work such as Symphonie pour un homme seul, which in 1955 was the first ballet to use the musique concrète (by Schaeffer and Henry) that was about to become fashionable, and Sonate à trois, a danced version of Sartre's Huis Clos to music by Bartók.
Béjart's breakthrough came in 1959 when the new director of the Théâtre Royal de la Monnaie, Brussels, Maurice Huysman, wanted to present The Rite of Spring and invited Béjart to choreograph it. To provide enough dancers, they added to the local opera-ballet Béjart's own group, Janine Charrat's company from Paris and the Western Theatre Ballet from England.
The enormous public success of this production led Huysman to offer Béjart his own large company based in Brussels but touring widely, which he boldly named The Ballet of the Twentieth Century.
It was only after more than a quarter-century of success with a world-wide public that a dispute over funding with the new director of the Monnaie, Gérard Mortier, led Béjart to move his base from Brussels. In spite of a personal plea from the King of the Belgians, and tempting offers from other cities, he chose to accept an invitation to settle in Lausanne, where he was promised complete artistic freedom, good working conditions for his dancers, and the facilities to continue the dance and theatre school which he had started in Belgium. It is notable that the school's graduates include many choreographers who have never emerged as imitators of Béjart but have been encouraged to find their own way forward.
Béjart had more than once been offered the directorship of the Paris Ballet de l'Opéra, but had declined it. This did not prevent him from announcing the promotion to étoile of two men in that company for whom he had created roles — an announcement that had to be formally contradicted by the management as being without authority. In 1974 Béjart became, jointly with Dame Ninette de Valois, the first from the world of dance to be awarded the highly respected Erasmus Prize.
With maturity and success, Béjart developed an impressive appearance, not tall but with a commanding air, helped by the unexpectedly blue eyes that shone keenly in contrast to his dark complexion, black hair and beard. Besides his prolific work for the dance stage, he produced operas, always controversially, and made a revealing film, Je t'aime, tu danses, in which he appeared with the young dancer Rita Poelvoorde.
He also wrote voluminously: a novel, Mathilde ou le Temps perdu, inspired by his passion for Wagner, two plays and three volumes of autobiography, besides long discursive programme notes for many of his productions. These last could sometimes seem pretentious, but in private life he was a man completely without side: simple, direct, even earthy, and full of admiration for the work of others (Frederick Ashton's choreography was an early and lasting inspiration for him). He neither flaunted nor hid his homosexuality but chose almost always, even in long-term relationships, to live alone.
Advancing years, and sorrow at the death of some close friends, did not interrupt his activity and originality. He continued making new ballets right until this month, in spite of illness (exhaustion plus heart and kidney problems) that required his frequent admission to hospital. His final creation, under the title Round the World in 80 Minutes, will have its premiere on December 20 in Lausanne.
It was characteristic of Béjart that when he reached his 70th birthday he celebrated it with the creation of a big new work, Le Presbytère, to music by Mozart and the group Queen, which took as its theme those who had died young, especially from Aids, but treated it with a startlingly positive outlook and celebratory conclusion.
Maurice Béjart, choreographer and ballet director, was born on January 1, 1927. He died on November 22, 2007, aged 80
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The Obituary appeared on www.timesonline.co.uk/tol/global/
The Meeting of Leo I and Attila is a fresco by the Italian Renaissance artist Raphael. It was painted from 1513 to 1514 as part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.
The painting depicts the meeting between the Pope Leo I and Attila the Hun , which took place in 452 in northern Italy. Initially, Raphael depicted Leo I with the face of Pope Julius II but after Julius' death, Raphael changed the painting to resemble the new pope, Leo X. Leo X appears both as cardinal and as pope. The images of Saint Peter and Saint Paul appear in the sky bearing swords, and were said to have helped keep the king of the Huns from invading Italy.
The left half of the painting is mainly by Raphael, with only minimal work by his students. The result of this fresco exhibits great artistic skill, due to the usage of dark and light pigments which amplify the peaceful and the aggressive movements. It showcases a comparison of good and evil, which ties in the political and religious perspective of the Pope, who commissioned the work.
In 1514, the Pope hired young Raphael to reimagine the project to decorate the rooms of the Vatican as the chief architect. Perhaps, due to Raphael's family's success in the arts, he was given the opportunity to be commissioned for the paintings in the Vatican. However, Raphael had also proven himself to be a more successful painter than his father, while still in his teenage years. Once he was the chief architect for the Vatican, it resulted in the destruction of the previous frescoes that had been created in the Vatican, and marked the time in which Raphael began to create the famous Vatican frescoes that still exist today. Though Raphael is mostly attributed for the creation of The Meeting of Leo the Great and Attila, his assistants painted much of it, as he directed, and they continued to finish the project even after his early death. Some of the accredited assistants include: Raffaellino del Colle, Giulio Romano, and Gianfrancesco Penni. This fresco, amongst the others in the Room of Heliodorus glorified the Church.
The main figure in this painting is Attila, the king of the Huns, who began to seriously threaten Italy in 452 AD. Pope Leo I was sent out to meet the Hun king and to attempt to persuade him to spare Italy. Their meeting is thought to have taken place near Mantua. This area was known for its association to Christianity, adding to the symbolism of finding a peaceful resolve.
The other major figure was Leo I, who reigned from 440. Both the pope and the general Roman public found that it would be best to work towards peace, even by means of begging. Pope Leo I led in hopes to come to an agreement where violence was avoided. The result was peaceful, as the Pope's approach to the situation allowed Attila to cease any plans of warfare.
The Emperor of Rome realized that the odds of them being victorious against Attila and the Huns was slim, and yet Leo exhibited bravery, because he relied on his faith when going against this great foe.
The moment that is shown in this fresco includes political and faith-based themes because of the contrast of the agitated Huns and the religious authorities. Though a battle was expected, Attila the Hun decided to not engage in battle, and there have been various perspectives as to why he changes his mind. Historians prefer the explanation that the Huns withdrew because they may have suffered from lack of food and care, leading them to be ill or hungry. Though this seems to be an explanation that can be easily understood, there is not sufficient evidence to even prove that the Huns were lacking food at all in the northern region of Italy where they were located. This estimation of their location resulted from the careful calculations of academics who were not convinced that God was the only force working to keep Attila and the Huns from fighting.
However, the idea of food scarcity was not accepted by all scholars who wanted to find the reason for the peaceful conclusion., Another theory that was proposed explains that the Huns left early because of the changing seasons, knowing that survival was much more difficult during the winter. So the idea that is being proposed is that they left in order to avoid the cold climate coming due to winter, and that they had all of the food provisions that were necessary.
The painting, however, indicates that the Huns withdrew because of the spiritual presences of the Christian martyrs, Apostle Peter and Paul. They are shown to be working alongside Pope Leo I in order to help prevent Attila from invading. Since Peter and Paul had brought much success to the spreading of the Gospel of Jesus and lived righteous lives, they were able to influence Attila's thoughts, and even remind him of God, who has more power than Attila. This interpretations argues that Attila believed in Leo's words after thinking deeply about what had been said, since he seems to have sided with the papal nobility and have faith as well.
There are interpretations that view the people alongside Attila the Hun as barbarians. The connotation and definition leave the viewer seeing them as being lowly and uncultured, when that was likely not the case. This is significant because the piece also includes one of Attila's men standing his ground, facing the pope, and reaching out his hand towards the pope's entourage. This is significant in showing that there may not be total unity amongst this group. Additionally, the figure who is defying also has a feathered headdress, connecting him to the indigenous people of the Americas. Europeans considered the Native Americans to be barbarians as well, and that they should be conquered, for the benefit of humanity. So, this figure with the feather on his head indicates that Raphael may also want to paint the image of Native American defiance for the public to see. The features of all of the faces including the Native American though, are clearly with European features, because for many years, Europeans did not actually know how Native Americans looked and acted like. Since their form of information was based upon the stories told by the few who visited the Americas in person. Accurate depictions are not expected until the 17th century, and so this piece is shown to lack historical authenticity, as these realities are clarified.
Pancake should have turned one about today (it was an estimation, since I got him at a pet shop). I still owe him a present, and I don't know what to get him! My hams have too many toys and food by now. o.O He got a dish of natural treats (not pictured) and also a run around my bed. He stopped by the robos cage for a bit too, causing Pie to squeak at him. ;)
Ack, I just realised that I don't have enough pictures of him on flickr! There are acutally 190 images of him taken (excluding the deleted ones) since he came to my house. Ah, but a bunch of them look too similar, that's why they're not up. I should still get them up slowly though. His album is a little bare here. Sorry dear Pancake!