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The extent of my Halloween costume for 2004 or 2005, I forget when. Probably 2005. I had to work that night, so couldn't really wear a real costume, but I got sparkly costume jewelry and an almost-tiara. :P
The extent of the erosion of riverbanks and the sloughing of gabions observed at this location was far greater than observed during the summer of 2017. It is likely that this is a result of the February 2018 flood, which was the highest recorded in nearly 25 years.
The cavernous holes in the riverbanks that penetrate toward the ash pits were not present in the summer of 2017.
View looking upstream.
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
20101210 - Brussels , Belgium - European Consensus , Conference on Homelessness - Key Question 5 - To what extent should people be able to access homeless services irrespective of their legal status and citizenship? © European Union
Every year in London there is one singular opportunity to get caffeinated in a style and to an extent that is far beyond any other. Part festival, part industry gathering and ALL coffee - The London Coffee Festival is, as far as I can tell, the biggest java palaver / caffeine powered and related event in our glorious capital. I look forward to it every year...
Founded back in 2011 and attracting a âmereâ 7,500 visitors, the festival has grown, year on year, with over 23,500 coffee aficionados, neophytes (and everything inbetween) making their way to the legendary Truman Brewery (on Brick Lane) last year. They come for many reasons, amongst these (presumably); the specialty teas, artisan foods, educational seminars, live music/DJs, and a predictably insane combination of coffee - in all its myriad and magical forms. The festival also serves as the focal point/launch for UK Coffee Week, and is the host of the Coffee Masters Competition - where 16 top notch baristas compete for the title, the fame and a £5000 cash prize.
This year saw over 250 stalls - everything from an espresso bar set up by Illy and Campari to chocolate tastings/pairings with Hotel Du Chocolat and tastings of unusual blends from independent coffee roasters such as Caravan and Origin. Asides from this, thereâs an area called Milk & Sugar dedicated to coffee related design and fashion (and restaurants). âBasicâ tickets start at £14.50 - you can quite happily spend no money, floating around purely on a haze of free espressos and cold brew (though youâll have to get in line for most of theseâ¦). That said, half of the proceeds from ticket sales go to the excellent Project Waterfall, a charity that brings sanitation and clean water to coffee-growing communities in Rwanda, Tanzania and Ethiopia.
Visited the headquarters of Army Rangers, the law will go to any extent: General Raheel Sharif
www.publicdemandtv.com/visited-the-headquarters-of-army-r...
The extent of the erosion of riverbanks and the sloughing of gabions observed at this location was far greater than the summer of 2017. It is likely that this is a result of the February 2018 flood, which was the highest recorded in nearly 25 years.
Also, the loss of gabions has exposed leaching of coal ash contaminants.
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Format:
Still image
Extent:
1 photoprint.
NLM Unique ID:
101440958
NLM Image ID:
A014615
Permanent Link:
An extremely rare World WarTwo (one of few in England) 5.25-inch Battery, consisting of three Gun Emplacements, located within the western extent of Weybourne Anti-Aircraft Training Camp, the site is centred on TG 0975 4381. The group consists of a Command Post building and three 5.25-inch Gun Emplacements, one of which was constructed in the post World War Two phase of the camp, potentially post 1953. A national plan was devised in 1944 to construct 5.25-inch batteries across Britain, although the Weybourne guns may have been installed as late as 1946, although there are no available aerial photographs of the camp in between 1941 and June 1946, so it is possible that the guns were constructed earlier. However on the 1946 aerial photographs there are obvious signs of relatively recent construction and activity around the site.
The Command Post building is centred on TG 0982 4387 and measures 55ft 9in by 19ft 8in. This building now houses the Environmental Centre operated by the University of East Anglia.
The eastern emplacement is centred on TG 0977 4381, a circular encasement, 39ft 4in in diameter, surrounds the gun and a 18ft long magazine is located to the immediate southeast. The central emplacement is centred on TG 0972 4381 and the post war gun is located at TG 0968 4382. A loop of access trackway runs to the south, which continues to the south towards the airstrip.
The site of the World War Two and post war Weybourne Anti-Aircraft Training Camp located alongside the cliffs at Weybourne to the north west of the village. The camp originally started out as a temporary summer camp for the Anti-Aircraft Division of the Territorial Army in 1935. At first the majority of the camp consisted of wooden and tented structures, although in 1937 it was decided to make the camp permanent and more fixed structures and defences were erected. The camp closed in 1959. During World War Two the camp was surrounded by a perimeter Anti-Tank Ditch and defended by a system of Gun Emplacements and Barbed Wire obstructions. The interior of the camp consisted of groups of Nissen huts and barracks and other military buildings. The cliff top to the north was covered by a line of Heavy Anti-Aircraft Guns and Batteries, Slit Trenches and Pillboxes.
RAF Weybourne was a World War Two Anti-Aircraft Establishment, ''X'' Flt, No. 1 Anti-Aircraft Co-Operation Unit were based at the station between 16th May and 14th September 1939, with ''T'' Flt, No. 1 Anti-Aircraft Co-Operation Unit there between 25th February and 29th April 1942. No. 6 Anti-Aircraft Co-Operation Unit were based there between 7th December 1942 and 30th November 1943. Associated with the Anti-Aircraft Gunnery, the station operated the De Havilland DH-82B Queen Bee target drone aircraft, a radio-controlled target tug version of the Tiger Moth II.
Although the published closure date known for this airfield relates to the World War Two airfield, the Army maintained an Anti-Aircraft Training Camp across from RAF Weybourne using Bofors 40mm Anti-Aircraft Guns linked to AA4 Mk.7 Gun-Laying Radar. When that closed in 1958 the radars were transferred to the RAF. A very small permanent detachment was maintained there using the obsolete radar into the 1980's for cross-tell training, decoy work and to extend low level coverage. In the late 1980's, after the obsolete radars were removed, trials were carried out to confirm the site's suitability for deployment of the new mobile radars that were coming into service.
A Marconi Type 91 ''Martello'' radar was moved from RAF Trimingham to Weybourne in September 1996, operated by 432 Signals Unit acting as a Ready Platform (along with RAF Hopton and RAF Trimingham) for the IUKADGE Series II (United Kingdom Air Defence Ground Environment) Radar System controlled from the R3 Underground Control Centre at RAF Neatishead. In October 1997 the Type 91 at RAF Weybourne was de-built, replaced when the Type 93 at RAF Trimingham became operational.
Information sourced from -
en.m.wikipedia.org/wiki/RAF_Weybourne
www.heritagegateway.org.uk/Gateway/Results_Single.aspx?ui...
Extention from concept of the daily light & shadow in Autumn, after explore the " rainy night" ,"dream light " , "mysterious light " & "cold night" , for the Series V, I am more interest about the contrast of light & shadow , and the light in between the noisy & calm space. Here are my presentation. Kindly advise what you thought.
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
this was the extent of my view at the empire state building today. the wait to get up to the observation deck was 2 hours! i was there on an extended lunch break, so i didn't get to take part in the festivities of jolie's last day of project 365. i spotted capsizing & elizabetht in the line for tickets and said a quick hello, then went to wait by the main entrance to see if i could catch jolie. luckily for me, she was wearing her pink coat, so i spotted her and waited in line with her until she got up to the line for tickets. sorry i missed the fun girls! hope you all had a great time.
Lake Wawayanda, Sussex County, New Jersey - 1870
Jasper Francis Cropsey (American, 1823 - 1900)
Lake Wawayanda is situated in Sussex County, New Jersey, just south of the New York-New Jersey border and just west of Greenwood Lake and was, therefore, not far from Cropsey's home, Aladdin. Indeed, the New Britain canvas, painted the year after Aladdin was built, depicts the region in which Cropsey’s art and life co-mingled to a greater extent than in any of the other locations in which he lived or spent time. He was most comfortable with the sort of tamed, welcoming, and lush environs that he found there, which blend rolling forested hills, low mountains, rich farmland, lakes, rivers, and streams. (1) The Hudson River area, of course, has similar terrain. Perhaps such surroundings best nurtured the lovingly faithful yet idealizing approach to nature that was characteristic of Cropsey’s Hudson River School style.
The New Britain scene is typical of his art in this regard; lyrically beautiful in mood, its carefully rendered imagery evokes a state of absolute peace, together with bounty and leisure in a world where nature and humanity are at one. A bit of cleared land and perhaps the home of a farmer amid verdant growth are visible in the middle distance at the right, while children and a dog play in the water in the right foreground and cows, one of the ubiquitous bucolic motifs in landscape painting, ford into the lake in the middle distance at the left. The mirror-like surface of the water and the almost cloudless sky softly glow with the light of the sun, which has just set behind the shoreline coulisse of land forms and foliage at the left, backlit to emphasize the reds, oranges, yellows, and greens of an autumnal palette. Aside from this latter construct, which is thickly and richly pigmented, the canvas is thinly painted.
The atmosphere of tranquility is enhanced by the horizontal Claudian composition that Cropsey has used. It found its way into American landscape painting by the 1820s, somewhat tentatively at first in the work of Thomas Doughty and Alvan Fisher. Cole and especially Durand made it even more popular. Cropsey used it frequently, particularly when he sought idealizing effects, as in the New Britain canvas, where the left to right expansion is contained by the coulisse at the left and the attention-getting repoussoir devices at the right: the beach, dog, sailboat, and children.
Such repoussoir imagery is common in Cropsey's work and had, of course, long been a mainstay of landscape painting. Indeed, it is almost obligatory in the horizontal Claudian composition to create a balance between left and right, not to mention near and far. J. M. W. Turner was particularly inventive with such repoussoir devices. Cropsey saw the first posthumous exhibition of Turner’s work, selected by John Ruskin, which opened at Marborough House in 1856, the year Cropsey arrived in London for his second stay abroad. Also pertinent to the Wawayanda scene is the way in which Turner used repoussoir imagery in combination with water in almost all of his designs engraved for his “Rivers of France”, which Cropsey probably owned.
Cropsey portrayed Lake Wawayanda in a number of works, most of which date to the 1870s. His earliest depiction of the site appears to be an oil signed and dated 1846 (whereabouts unknown) that served as the basis for an engraved vignette that Cropsey designed for “The Home Book of the Picturesque”, published in 1852.) There are, however, no known drawings related to the New Britain canvas or any entries on the work in Cropsey’s journal.
Almost nothing is known of the picture’s provenance before it came to Vose Gallery of Boston, in 1959; there is no exhibition history before the 1960s. A tantalizing comment on one of Cropsey’s depictions of the stream called Wawayanda appears in an 1884 issue of “Manhattan Magazine”. “One large and delicious ‘Autumn on the Wawayandah’" by Cropsey, the author observes, “was bought by an English collector while on a visit to this country and carried off to England before it had a chance to be seen here.” Perhaps the New Britain oil was “carried off” in this manner as well, before it returned to reside at the Museum.
Jasper Francis Cropsey, a second generation Hudson River School painter, is best known for his views of American scenery, especially those of autumn. He was also a professionally trained architect and took on architectural commissions intermittently throughout his long career. He worked in watercolor as well as oil and in 1867 joined the American Society of Painters in Water-colors (later the American Watercolor Society). His oeuvre includes a great number of views made abroad, and, like his older contemporaries Thomas Cole and Asher B. Durand, both first generation Hudson River School painters, Cropsey produced imaginary landscape compositions, some with allegorical, historical, or literary content, considered during the first half of the century to be of a higher order than pure landscape. Despite the range in Cropsey’s output, he was mainly concerned with painting American scenery, employing the meticulously truthful, albeit idealizing, approach to nature common to the first American school of painting, the Hudson River School.
Cropsey was born in Staten Island and apprenticed to the New York architect Joseph Trench from 1837 to 1842. He displayed a talent for painting that was nurtured not only by Trench but also by his exposure to other painters in New York. Beginning in 1843, Cropsey, having set his sights on landscape painting, regularly visited the Greenwood Lake area, which extends from Orange County, New York, south into Passaic and Sussex Counties, New Jersey. He was attracted to the region for the beauty of its scenery, much admired at the time, which in 1844 he portrayed in a painting (whereabouts unknown) that won him election as an associate member of the National Academy, the youngest artist ever to win that honor.
Cropsey was also drawn to the Greenwood Lake area by one Maria Cooley of a locally prominent family from West Milford, New Jersey. He married Miss Cooley in May 1847 and they departed almost immediately for a trip to England, Scotland, and the Continent. After traversing the Alps and northern Italy, the couple arrived in October in Rome, where they settled in Thomas Cole’s former quarters. They remained in Italy for two years. Cropsey painted industriously in Rome, in the Campagna, and at important sites to the south. In 1849 the couple retraced their steps through the Continent, stopping in Paris, Fontainebleau, and the Barbizon Forest, before returning to England, where, after more sketching that took them to Wales, they set sail for New York.
During the 1850s, while maintaining a studio in New York in the winters, Cropsey traveled in Pennsylvania, New York, New England, and as far west as Michigan, recording the scenery. He also worked up countless subjects made abroad, mainly in England and Italy. He became a full member of the National Academy in 1851.
After a successful sale of his paintings in April 1856, Cropsey and his family departed for England, where they settled in London for seven years. He was prolific in painting both American and English views and received several commissions for illustrations for volumes of poetry. The high point of his artistic activity in London was the greatly successful exhibition of “Autumn on the Hudson River” (National Gallery, Washington, D.C.), first in 1860 in his studio and then at the Exhibition of the Industry of All Nations in the Crystal Palace in London in 1862. The work garnered him a presentation at court, appointments from Queen Victoria, and eventually a medal honoring him for his service to the Crown.
More successes and financial rewards awaited Cropsey in New York upon his return in 1863. Some of his most important pictures were produced in the 1860s, among them “Wyoming Valley, Pennsylvania” (Metropolitan Museum of Art, New York) and “Starrucca Viaduct” (Toledo Museum of Art, Ohio), both of 1865. Attesting to his success, Cropsey was able to design and build in 1869 a Gothic Revival mansion he named Aladdin on forty-five acres in Orange County, not far from Greenwood Lake and Lake Wawayanda. From 1869 to 1884 Aladdin served as his base in the spring, summer, and fall, while he maintained a studio in New York in the winters. Always prolific, he continued to paint the Hudson River School scenes for which he was so well known, along with subjects drawn from his stays in Europe.
Despite his successful showing in the 1876 Centennial Exhibition in Philadelphia, public taste for Cropsey’s style was waning. American art buyers, bolstered by the post-Civil War boom, increasingly turned to the work of European artists. By the 1880s, interest in Impressionism increased. Cropsey’s art had become “retardataire”, and, consequently, opportunities to sell were diminishing. In order to shore up his income, he increasingly took on architectural commissions from the 1860s through the 1880s, while, ironically, he had to put Aladdin on the market in 1884. With the proceeds, along with those from a sale of his works in 1885, he was able to purchase a much more modest residence in Hastings-on-Hudson. It was there, overlooking the Hudson River, that he lived and worked for the last fifteen years of his life.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Extention from concept of the daily light & shadow in Autumn, after explore the " rainy night" ,"dream light " , "mysterious light " & "cold night" , for the Series V, I am more interest about the contrast of light & shadow , and the light in between the noisy & calm space. Here are my presentation. Kindly advise what you thought.
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Little spores or something on moss beside the sidewalk of blackhawk church, 100mm macro with 36mm extention tube (roughly 1:1.3 ratio). Part of a macro workshop.
Regardless of the extent of the ongoing tyranny and oppression I have been forced to deal with in Greece for nearly a decade under the harshest environment, my efforts in finding Justice and Freedom for my life have not stopped and it never will until my last breath.
Hence, on December 23rd, 2022, while enduring day 140th of my 4th Hunger Strike outside the UNHCR office in Athens, I left my shelter again to reach the Indian Embassy and plead for their help in providing urgent Humanitarian aid and mediation with this UN Agency.
Although I managed to speak with two Embassy representatives and even though they said they would help, ultimately they had gotten the Police involved to take me away. This time I was held in Police Custody for 2-hours before being let go.
Watch the video and read in-depth details here: 👇
Please sign the Petition and Donate if you can.
Thank you. 🙏💔🆘
#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Petition #Crowdfunding #Philanthropy #Europe #Greece #Athens #UnitedNations #UNHCR #India #AnwarNillufary #Hostage #HostageOfEurope
Every year in London there is one singular opportunity to get caffeinated in a style and to an extent that is far beyond any other. Part festival, part industry gathering and ALL coffee - The London Coffee Festival is, as far as I can tell, the biggest java palaver / caffeine powered and related event in our glorious capital. I look forward to it every year...
Founded back in 2011 and attracting a âmereâ 7,500 visitors, the festival has grown, year on year, with over 23,500 coffee aficionados, neophytes (and everything inbetween) making their way to the legendary Truman Brewery (on Brick Lane) last year. They come for many reasons, amongst these (presumably); the specialty teas, artisan foods, educational seminars, live music/DJs, and a predictably insane combination of coffee - in all its myriad and magical forms. The festival also serves as the focal point/launch for UK Coffee Week, and is the host of the Coffee Masters Competition - where 16 top notch baristas compete for the title, the fame and a £5000 cash prize.
This year saw over 250 stalls - everything from an espresso bar set up by Illy and Campari to chocolate tastings/pairings with Hotel Du Chocolat and tastings of unusual blends from independent coffee roasters such as Caravan and Origin. Asides from this, thereâs an area called Milk & Sugar dedicated to coffee related design and fashion (and restaurants). âBasicâ tickets start at £14.50 - you can quite happily spend no money, floating around purely on a haze of free espressos and cold brew (though youâll have to get in line for most of theseâ¦). That said, half of the proceeds from ticket sales go to the excellent Project Waterfall, a charity that brings sanitation and clean water to coffee-growing communities in Rwanda, Tanzania and Ethiopia.
The extent of the erosion of riverbanks and the sloughing of gabions observed at this location was far greater than the summer of 2017. It is likely that this is a result of the February 2018 flood, which was the highest recorded in nearly 25 years.
With the loss of gabions at this location, coal ash contaminants leaching into the river now are visible.