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HDR using a Canon 7D and Tokina 11-16mm F2.8 lens. AEB +/-3 total of 7 exposures at F8. Processed with Photomatix.
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
Reseña de Bailes Tipicos de Bolivia
Las danzas propiamente originarias se distinguen a primera vista por el empleo de plumas y cueros de animales en la vestimenta. De estas las danzas que quedan son las siguientes: Kachua, cintakaniris, sicuris, choqquelas, chiriguanos,pallapallas, qquenaqquenas, lichihuayus, chunchus, callahuadas, llameros, huitiquis, liphis, cañeros, cullahuas, tarkafucus, salquis, pacpacu, tairari, etc.
La Kachua fue una danza del amor. La ejecutaba la juventud soltera de ambos sexos, formando una gran rueda de personas que giraban de uno a otro lado, en la cual cada varon seguido por la moza con quien mantenia realciones amorosas, al verificarse los rapidos y generales movimientos de la rueda, bailaba a su vez con ella, agarrandola, algunos momentos, de la mano y otros enganchandola del brazo y haciendola dar vueltas aisladas, pero sin desprenderse del circulo comun ni alterar su orden. Los instrumentos mas usados en la kachua y el cintakaniris son flautas y tambores tocados solo a ratos, porque mas se rigen en sus movimientos coreograficos por el canto.
Los Sicuris o sopladores de zampoña son de tres clases: los suri-sicuris, los laquitas y los sulka-sicuris o yungueños. Los primeros llevan enormes plumeros sobre la cabeza en forma de paraguas adornados el centro por plumas de colores; visten pollerines de Genero blanco almidonado y planchado; sobre las espaldas les cubre diagonalmente un paño blanco. La musica es variada y es indudablemente una de las mejores y mas armoniosas del folklore boliviano.
Los laquitas llevan sombreros adornados de plumas, paños de colores sobre la espalda y tocan cuatro clases de zampoñas de gran tamaño de una sola fila. Son de numero indefinido y los preside un hombre que conduce sobre la cabeza un condor disecado con las alas extendidas (antiguamente); su musica es entusiasta.
Los Sulka-sicuris o yungueños visten ponchos vistosos y su mejor traje, tocan zampoñas de una sola fila de ocho flautas, y cajas pequeñas en forma de tambores; su musica es alegre, de ritmo vivo y energico. En estas danzas particularmente los suri-sicuris, las mujeres se presentan vestidas de chaquetillas de merino de colores y polleras de castilla, la cabeza con cintas y chaquiras, y en la mano derecha un pañuelo que se agita a menudo. La musica de los sicuris llamada ayarichi se destaca por sus notas variadas y su armoniosa ejecucion. En el canton de Italaque, de la antigua provincia Muñecas, se encuentran los mejores musicos de ese orden.
Los choqquelas llevan un cuero curtido de vicuña sobre la espalda, adornandose las extremidades con horlas de colores y pedazos de cintas. Visten pollerines de lienzo blanco, almidonados y encarrujados; la copa de los sombreros esta rodeada de plumas, unas veces blancas y otras rosadas. Dos o tres bailarines llevan colgados de las manos zorros y vicuñas disecadas, los que hacen representar en los intermedios.
Los lichihuayus, que anualmente bailan por la fiesta de Santiago en la region de Oruro, tocan la qquena y se compone cada grupo de seis o diez personas, vestidos con polleras blancas, una chaqueta de terciopelo bordada con lentejuelas y un sombrero plano que remata en un penacho de plumas.
Los llameros se diferencias por su traje, compuesto de un ponchillo matizado de diversos colores y guarnecido con flecos, de calcetas de lana blanca, que se las colocan como polainas, de un sombrero de copa aplastado por sus costados y terminado en punta. Se cubren el rostro con una mascara de yeso de aspecto agradable, en la cual la boca esta figurada en actitud de silbar. A cada varon sigue en el baile una moza con la rueca en la mano y un ovillo de hilo prendido al pecho en ademan de hilar. Los hombres a medida que bailan acostumbran agitar y hacer sonar la honda que traen consigo, aparentando espantar o arrear llamas. La musica es ejecutada con qquena, tocada con cierta dulzura, que se hace escuchar con agrado.
Con el nombre de chunchus, se conocia un baile establecido en epoca remotas por los indigenas del tropico sojuzgados por los kollas, que venian atavidos segun su costumbre a las fiestas de estos. Posteriormente les imitaron los kollas, cubriendose el cuerpo de plumas y simulando acciones propias de aquellos. Los bailarines llevaban flechas que descargaban segun la exigencia de la musica. Ultimamente han sustituido el uniforme de plumas con sayas de terciopelo cortas, de varios colores, bordadas con hilos de oro y plata y recargas de lentejuelas. Esta danza es propia de Tarija y es aun posible verla en la fiesta de San Roque.
Los callahuayas, se distinguen por las bolsas elegantes y grandes que traen bajo el brazo. Eran estas provenientes del ayllu de los curanderos y herbolarios del dominio kolla. Llevan sombreros comunes adornados con flores. El cuerpo cubierto de una camisa almidonada de genero blanco. La espalda y el pecho cruzados por bandas anchas, bordadas y acondicionadas en direcciones opuestas; encima de las bandas levan dos bolsas, cubiertas de monedas antiguas.
En varias de las danzas anteriores habia un actor que desempeñaba el papel comico con el nombre de kusillo o sea mono, haciendo cabriolas y visajes. El kusillo anima el buen humor de los danzantes, haciendo reir con frecuencia a los espectadores con sus dichos picarescos y las licencias que se toma. Ademas en las fiestas habia otro personaje bajo cuya autoridad se desenvolvian bailarines y concurrentes, era el brujo; y a falta de este el anciano mas caracterizado de la marca o pueblo.
Remontandonos a investigar el origen de estos bailes, considerados como propios de la raza, se nota que cada cual emana de la necesidad de venerar al animal u objeto material, bajo cuya proteccion se pone el ayllu (comunidad), y a quien suponia deber su existencia. Asi los qquenaqquenas, danza exclusivamente kolla, llevaban el cuero de tigre en señal de que provenian de el sus antepasados y de que, al usar esa piel se hacian invulnerables; los choqquelas se conceptuaban protegidos de la vicuña y el zorro, y se tendia a imitar la ligereza de la una y la estucia del ultimo. Los sicuris (baile kolla) era dedicado al suri y al condor, aves que entre ellos simbolizan la tormenta y la fuerza. Cada ayllu observa el uso de totems, segun la tradicion que tenian en su origen, pero el dios comunmente acatado por todos los ayllus kollas, fue el titi o tigre; por eso el cuero de este animal sagrado, rara vez dejaba de ser parte de sus disfraces en alguna forma. El baile entre los indigenas no constituia una simple diversion, tenia por objeto recordar su pasado y rendir culto a sus dioses penantes.
Algunas representaciones, a cual mas grotesca, tambien fueron introducidas por los españoles e impuestas a los indigenas. Como ejemplo esta la "mojiganga" que llamaban Juan de la Coba, se componia de tres negros vestidos con sacos y bonetes encarnados cabalgados en mulas o asnos, con timbales cubiertos de trapos del mismo color. Una multitud de muchachos andrajosos, de negros y sambos de mayor edad, hacian el acompañamiento con desordenada griteria. Entre Juan de la Coba y el pueblo habia una especie de dialogo compuesto de palabras toscas e indecentes.
De las muchas danzas implantadas en el regimen colonial, que han sobrevivido al tiempo, se distinguen la conocida con el nombre de huaca-tocoris o sea toros bailadores y los tinti caballos. El uniforme del huaca-tocoris consiste en un cuero de toro disecado sobre un fuste de madera, que tiene la forma de este animal, con una abertura circular en el lomo, por donde se introduce la persona y se sujeta a la cintura. Por delante va un indigena con la cara pintada de hollin, vestido de pantalon blanco; en una mano empuña una espada de madera y con la otra agita un pañuelo. Esta danza es la caricatura vulgar y ruda de la corrida de toros. La musica es monotona y estridente.
Los tinti caballos llevan fustes de caballitos de yeso, por cuyo centro se introduce un bailarin. Con una una mano agarra una campañilla y con la otra un pañuelo que segun las circunstancias las dan aplicacion. Siguen a los huaca-tocoris, con quiene forman la supuesta y burlesca cuadrilla de toreros.
Los danzantes es un baile en el que los bailarines se cubren las cabezas de grandes y pesados cascos de yeso, pintados de colores caprichosos. Se bailaba en Achacachi, en la fiesta de san Pedro. Este baile debio ser una derivacion de los Gigantones.
La diablada es una danza compuesta de individuos disfrazados todos ellos de diablos, con trajes vistosos y bordados con hilos de oro y plata, mascaras que representan figuras pintadas de vivos colores, y con grandes espuelas en los pies. Los grupos suelen constar de muchos miembros en cuyo centro domina el que esta disfrazado de arcangel San Miguel. Cuando mas soberbios y pagados de si mismos andan los diablos, se presenta San Miguel, reta a Satanas, lo humilla y lo abate; lo hace contemplar en el espejo que lleva consigo su rostro horroroso; luego se ponen a bailar juntos en una danza llena de satisfaccion y contento. Es un baile que encierra un simbolismo religioso propio del caracter y preocupacion de los españoles. La diablada tiene algo de satira porque refleja la rebeldia de los mitayos mineros contra la opresion y conquista española y la danza fue asi utilizada para expresar sus ansias de libertad. Su musica tiene cierto aire marcial pero esta llena de vitalidad. En la ciudad de Oruro es donde este baile se manifiesta con todo su esplendor.
Imitando y ridiculizando a la vez, el porte, vanidad y fanfarroneria de los soldados castellanos, los indigenas inventaron el baile de los ppakkacoches. En Oruro se llamaba palampas.
Los catripullis se diferencian por su indumento especial, formado por una saya de genero blanco almidonado y encarrujado, de una camisa del mismo genero y un pañuelo de madras verde que les cruza diagonalmente por la espalda. Sobre la cabeza llevan un casco de carton o lata. Bailan formando circulos, en cuyo centro hay dos indigenas disfrazados de negro y negra (con la cara pintada con betun), que hacen gracias y divierten a los demas.
Las danzas mestizas en las que predominan una mezcla de caracteristicas de bailes y notas indigenas con las extrañas venidas de afuera, como el misti-sicuris, compuesta de dos filas de bailarines, vestidos de chaquetas y pantalon corto, ambas piezas confeccionadas de generos de color, sombrero de falda ancha con plumas y toquilla de color. Tocan zampoñas; su musica es cadenciosa e impresiona agradablemente.
Las danzas indigenas cuando llegan a ser adoptadas por los mestizos son transformadas por completo en su indumento y aun en su musica. Algunos como los auqui-auquis se ponen grandes sombreros de paja tejida, con desproporcionadas faldas y caretas con lengua, barba balanca y rubia. Asi cada una de estas danzas se distingue por su traje, su musica y su significado.
Los hombres de color introducidos en el coloniaje en calidad de esclavos, tuvieron varios bailes peculiares. De estos, solo queda el tundiques y mururatas, que han llegado a popularizarse mucho. El vestido esta compuesto de un pantalon y saco de genero blanco y llevan en las manos dos pedazos de maderas, talladas y condentaduras apropiadas para producir un sonido aspero con el roce de ambas partes, y cascabeles en los pies. Entonan canciones que acompasan con el movimiento de los cascabeles y sonido de las maderas. Cantan y bailan con mucho donaire y mimica ritmica, sin perder un momento el compas
A los bailes españoles la influencia indigena les hizo adquirir nuevas formas y nuevas figuras, de mayor movimiento y de mas alegres cambios como en el Fandango, del que se derivaron el Khaluyu, la celebre Mecapaqueña.
El Khaluyu, como baile es distinto del huayñu , aunque la musica es semejante. La Mecapaqueña y el Khaluyu difieren un poco. La ultima es de menos figuras que la otra, pero mas animada y de mas constante zapateo. La Mecapaqueña fue el baile predilecto de la sociedad paceña y su nombre viene de haberse originado y ejecutado en el pueblo de Mecapaca, a donde en determinadas estaciones del año se retiraban las familias paceñas a descansar.
Actualmente la mecapaqueña ha sido olvidada y se le ha sustituido con un baile de extremados movimientos que ha tomado todas las figuras de la Cuadrilla francesa, son los movimientos y el compas del huayñu criollo.
De los numerosos bailes populares, que en otros tiempos se acostumbraban, solo tres han sobrevivido: el bailecito, el huayñu y la cueca . Los demas como los morenos mistti-sicuris y los auqui-auquis, son una derivacion de las danzas indigenas, con mezcla de figuras y vestimenta apropiada para su representacion y se desenvuelven al aire libre, en hileras y con movimientos agiles. Los tres primeros son ejecutados siempre al son de instrumentos de cuerda, acompañados estos de cantos o de flautas. La musica bailable mestiza se halla dominada por una profunda tristeza, en estos bailes se agita zapateando y se hace contorsiones con el cuerpo.
En el bailecito se colocan frente a frente hombre y mujer a una distancia apropiada, en seguida se mueve la pareja agitando los pañuelos, haciendo contorsiones con el cuerpo y diferentes pasos con los pies; dan dos vueltas enteras primero, dos medias vueltas despues y terminan la danza con una vuelta entera, en la que los movimientos de los danzantes son mas desenvueltos y animados por el jaleo y expresiones de aplauso de los concurrentes, por el furioso rasguear de la guitarra y por el entusiasmo de los cantores en levantar la voz.
El huayñu ha sido propiamente el baile originario de los indigenas. Lo ejecutaban en los intermedios de las demas danzas enfrentandose un hombre y una mujer en el centro de los bailarines que hacian rueda. Esta forma personal de bailar se llama huayñusiña. Actualmente se da el nombre de huayñu a una singular mezcla de las antiguas danzas denominadas agua de nieve, moza mala, bolero, en ciertas figuras y en otras se nota la influencia manifiesta de la muñcira gallega. Todas estas figuras han sido arregladas a la manera de ser y al tono del gusto nacional.
El huayñu lo bailan por parejas de hombres y mujeres colocadas en la misma forma que la anterior danza. Comienza por una vuelta entera, en seguida se para uno de los dos, mientras el otro comienza a danzar solo frente a su pareja el tiempo que considere necesario. Al terminar la figura la agarra de ambas manos y le hace dar una vuelta. Despues la pareja que ha permanecido quieta ejecuta a su vez otra figura distinta a la anterior y asi sucesivamente se van cambiando las figuras, cuidando que no se repitan . Es una danza de extremados movimientos en que las jovenes hacen excitantes quiebres de cintura y hacen diferentes pasos mientras se contonean y mueven los brazos.
La cueca fue el baile de preferencia de las clases aristocratas, durante el coloniaje y en los primeros años de la republica. Se enfrenta la pareja, suena la musica y comienza en canto; los bailarines avanzan y retroceden agitando los pañuelos. El hombre con una mano en la cadera y con otra batiendo el pañuelo acosa a su pareja; esta se hace la indiferente y baila seguida de aquel que continua asediandola. Dan vueltas enteras y medias vueltas, zapatenado y haciendo girar el hombre su pañuelo por sobre la cabeza de la mujer, o lo baja al nivel de sus rodillas. El hombre despliega toda su habilidad, redobla su donaire, ondula, zapatea hasta que la bailarina se para en medio de los palmoteos. El hombre hinca la rodilla a los pies de la mujer y termina el baile.
Otra danza al aire libre es la de los morenos o morenada , notable por el costoso traje que llevan. Este se compone de casaca de terciopelo de color, profusamente bordado con hilos de oro y de plata; chaleco y pantalon corto, igualmente bordados; medias de seda, calzado de charol, peluca y sombrero adornado con plumas.
On Sept. 19, 2018, crews form a cast-in-place wall in the median work zone of SR 167. This work is part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
En la fachada del Templo Nuevo hay una portada, hermosa, que tiene en el centro dos columnas cilíndricas de piedra negra, que sostienen un dintel voladizo, a modo de cornisa, cuya mitad sur era de piedra blanca, en tanto que la del norte era de piedra negra. Hay tres escalones y una vereda que, igualmente, son de piedras blancas hacia el sur y negras hacia el norte.
Las columnas están íntegramente grabadas, con la imagen de dos aves míticas antropomorfas, una hembra al norte y un macho al sur. En la cara visible de la cornisa hay grabadas las figuras de siete aves que van de sur a norte y otras tantas en dirección contraria. Es más, con la misma altura de la portada, que tiene casi 3 m, hay dos hileras de lozas blancas al sur y negras al norte, que servían de zócalo a la gran fachada del templo.
Las aves son falcónidas, es decir representaciones de aves carnívoras, como los halcones, las águilas o los cernícalos, que abundan en los cielos andinos. No son, desde luego, retratos de especies vivas; por el contrario, si bien son sin duda falcónidas, están dotadas de una serie de atributos que las sacralizan o mitifican en función de los códigos chavinenses: tienen, detrás del pico, unas fauces felínicas, con grandes colmillos que se cruzan, sus plumas son serpientes o personajes con atributos de seres vivos. Además, su vientre es una gran boca llena de dientes con colmillos.
Las figuras no representan al mismo personaje; la primera es diferente, pero las que le siguen van en parejas, cada pareja con una falcónida particularizada. Están de perfil, como si estuvieran caminando. En cambio, las falcónidas de las columnas son del tamaño y la forma de un ser humano, con ropa humana, con alas desplegadas y la cabeza de "Waman puma" (una falcónida con atributos de felino). En el cuerpo de estos seres míticos hay una serie de otras pequeñas figuras, ya sea en forma de peces, aves muy pequeñas o cabezas monstruosas con grandes dientes, o simplemente bocas con colmillos. Las serpientes son abundantes. Un detalle interesante es que mientras que el macho aparece como caminando, con los pies uno tras otro, la hembra está parada, con las piernas abiertas y, según algunos arqueólogos, con el órgano sexual dentado.
Desde luego, no son las únicas representaciones de aves; hay muchas otras en el ornato de los templos. Las cornisas que coronaban todo el frente oriental de la gran pirámide tenían grabadas -en la parte visible- personajes similares, sólo que ellas eran aves y no seres antropomorfos; con las alas desplegadas, como si estuvieran volando. En la cornisa del lado occidental, en cambio, se ha encontrado imágenes del felino en las cornisas, junto a figuras de grandes serpientes.
Mas fotos:
flickr.com/photos/javi270270/sets/72157603759242523/
Callejon de Conchucos.
Huantar.
Ancash, Peru 2008
Casapueblo atelier-museu, Punta Bellena - Punta del Este, UY.
Residence and atelier of Carlo Paez Vilaró.
Bicycle racks line the entire path on the street outside an MTR station in Hong Kong.
# SML Data
+ Date: 2013-02-22
+ Dimensions: 4766 x 3177
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 215 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'8" N 114°13'34" E
+ Location: 中國香港馬鞍山馬鐵恆安站對出西沙路單車徑 中国香港马鞍山马铁恒安站对出西沙路自行车道 Bicycle lane at Sai Sha Road near the Heng On MTR Station in Ma On Shan, Hong Kong, China
+ Serial: SML.20130222.7D.24245
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms
“單車架 Bicycle Racks” / 人流設施之形 Human Logistics Infrastructure Forms / SML.20130222.7D.24245
/ #人流 #HumanLogistics #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #街 #Street #城市 #Urban #攝影 #摄影 #photography #單車 #自行车 #Bicycle
This is my finished model of the TARDIS in its original form. Although the ship doesn't have a base in 'The Name Of The Doctor' I felt that it looked unfinished without it. So I added a base and fitted a thicker, more sturdy door
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Clocks - went up a tower and they had thousands of clocks all over the place!
Harrison's Garden
An installation of over 5000 clocks creates an imagined landscape in the derelict 'unloved' rooms of the keep.
You needed a token to go up here, and only a certain number of people were allowed up here at each time.
Well, 2014 finds me continuing the same activity; documenting colour forms of globular springtails in the genus Sminthurinus.
Towards the end of December 2013, I started seeing darkly-pigmented forms of what looked like Sminthurinus reticulatus. Sminthurinus reticulatus are similar to the reticulata form of Sminthurinus aureus but the reticulate abdominal patterning contains dark pigment.
Here's a selection of Sminthurinus sprintails from today. All show some degree of reticulate patterning but it is very variable and barely noticeable in some. 4 and 5 do show some of the "dark form" characteristics that I've been seeing locally though, with an area of dark pigmentation between the eyes and a "moustache" radiating out underneath with a number of dark "spokes" (compare with 2 and 6).
It's all of little import really, but it keeps me amused!
Canon 5D3 + MP-E 65mm (at 5x) + 1.4x Extender + 36mm extension tube + MT24-EX Flash. Magnification x8. All cropped significantly for the collage.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
II
El estigma de puta no está a disposición de ser derogado o eliminado porque forma parte del imaginario social y este a su vez deviene una de los principales pilares del sistema patriarcal. El estigma de puta se asocia a aquellas mujeres que faltan a la castidad, es decir a las mujeres que mantienen comportamientos incastos. De esta manera, y retomando la definición de incasta (Todas somos putas I) veremos las diferentes vertientes del significado de la falta de castidad que propician la estigmatización de las mujeres como putas.
Falta de castidad = Sexo ilícito
La mujer puede resultar objeto del estigma de puta en el momento de participar en una relación sexual considerada ilícita legal o moralmente. Existen una serie de conductas encuadradas tradicionalmente dentro del dominio de la sexualidad prohibida para las mujeres: sexo antes o fuera del matrimonio, sexo en caso de ser divorciada o viuda, sexo con más de una pareja, sexo diferente del coito heterosexual (anal, oral o sadomasoquista), sexo con otra mujer, sexo que cruce las barreras del color. Es más la iniciativa sexual, el conocimiento, y la destreza sexual en mujeres son signos de conducta incasta.
Falta de castidad = Mancilla
La falta de castidad como mancilla hace referencia a la experiencia sexual. La virginidad femenina se ha considerado tradicionalmente lo opuesto a la mancilla. La mancilla hace referencia a la contaminación física o violación. Se puede estigmatizar a las mujeres jóvenes como putas una vez se han encontrado expuestas al sexo, ya sea a la fuerza o por propia elección. Dado que este estigma tiene consecuencias tan devastadoras para el futuro de la mujer joven, los padres/madres son socializados para proteger la reputación de sus hijas, incluso a costa del libre desarrollo de éstas. De manera implícita se hace responsable a la chica de incitar el asalto sexual masculino.
Falta de castidad = Indecencia y Libertinaje
Indecente se define como “indecoroso, impúdico, obsceno”; libertinaje se dice de la conducta de alguien que “no cuida las formas, que carece de autocontrol, inmoderado, exagerado”. Las putas o mujeres estigmatizadas como tal son mujeres que enseñan demasiado, dicen demasiado, ríen demasiado, comen demasiado, llevan demasiado maquillaje o joyas o perfume. Demasiado de lo que sea resulta incasto para las mujeres, se considera obsceno. Así pues, se establece una doble dicotomía: exceso = puta/ discreción = mujer virtuosa.
Falta de castidad = Mujeres Autónomas, Inteligentes, Conspicuas
La última definición de la falta de castidad es la de carente de sencillez. Una mujer casta debe ser una mujer simple. “Simple” se define como “no desarrollada, carente de adorno, inocente alocada, no experimentada, insignificante”. De esta definición surgen tres categorías: (1) el estigma asociado a la autonomía de las mujeres, es decir, al desarrollo, la experiencia; (2) el estigma asociado a la inteligencia y la sofisticación, es decir, lo opuesto al carácter alocado o inocente; y (3) el estigma asociado a una apariencia conspicua, es decir, el adorno, la afirmación, la visibilidad.
Es incasto e incorrecto ser demasiado inteligente y demostrarlo públicamente. A la mujer inteligente se la degrada como aberración del género femenino y a la mujer banal se la degrada por ser la típica mujer.
De la exigencia a las mujeres de simplicidad se deduce que se espera de las mujeres que “encajen” mostrándose agradables, apropiadas, discretas. Por ejemplo se supone que las mujeres gordas, discapacitadas o culturalmente distintas deben o bien permanecer fuera de la vista o hacerse a si mismas inconspicuas quedándose sentadas o escondiendo su cuerpo dentro de ropa negra, suelta, sin ajustar.
Mujeres negras o de otras étnias distinta a la blanca, mujeres de clase trabajadora, mujeres divorciadas, mujeres gordas, mujeres maltratadas, mujeres violadas o agredidas son más vulnerables al estigma de puta que las mujeres blancas, de clase media, delgadas y otras supuestamente no echadas a perder. Independientemente de su actividad o historia sexual, a tales mujeres marcadas se les supone mayor grado de experiencia sexual y una disponibilidad sexual mayor.
La amenaza del estigma de puta actúa como el látigo que mantiene a la humanidad femenina en un estado de subordinación pura. De esta manera no debemos avergonzarnos del estigma que nos impone un sistema de poderes que rechazamos, que luchamos por destruir y que ni tan siquiera reconocemos; porque en definitiva, TODAS SOMOS PUTAS.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Royal Ceylon Air Force (RCyAF) was formed on 2 March 1951 with RAF officers and other personnel seconded to the RCyAF. Ceylonese were recruited to the new RCyAF and several Ceylonese who had served with the RAF during WWII were absorbed in the force. Initial objective was to train local pilots and ground crew, early administration and training was carried out by exclusively by RAF officers and other personnel on secondment. The first aircraft of the RCyAF were de Havilland Canada DHC-1 Chipmunks used as basic trainers to train the first batches of pilots locally while several cadets were sent to Royal Air Force College Cranwell. These were followed by Boulton Paul Balliol T.Mk.2s and Airspeed Oxford Mk.1s for advanced training of pilots and aircrew along with de Havilland Doves and de Havilland Herons for transport use, all provided by the British. By 1955 the RCyAF was operating two flying squadrons based at RAF Negombo. The first helicopter type to be added to the service was the Westland Dragonfly.
Following Prime Minister S. W. R. D. Bandaranaike's negotiated the closure of British air and naval bases in Ceylon in 1956, the RCyAF took over the former RAF stations; Katunayake and China Bay, becoming RCyAF operational stations while ancillary functions were carried out at Diyatalawa and Ekala. The RAF headquarters, Air HQ Ceylon, was disbanded on 1 November 1957. However, RAF officers remained with the RCyAF till 1962.
In 1959 de Havilland Vampire jet aircraft were acquired, five fighter bombers and five trainers. The Vampire was developed and manufactured by the de Havilland Aircraft Company and its development as an experimental aircraft began in 1941 during the Second World War, to exploit the revolutionary innovation of jet propulsion. From the company's design studies, it was decided to use a single-engine, twin-boom aircraft, powered by the Halford H.1 turbojet (later produced as the Goblin). Aside from its propulsion system and twin-boom configuration, it was a relatively conventional aircraft. In May 1944 it was decided to produce the aircraft as an interceptor for the Royal Air Force (RAF), but it came too late for operati9onal use in the war. It was eventually the second jet fighter to be operated by the RAF, after the Gloster Meteor, and the first to be powered by a single jet engine. In 1946 the Vampire entered operational service with the RAF, only months after the war had ended.
The Vampire quickly proved to be effective and was adopted as a replacement of wartime piston-engined fighter aircraft. During its early service it accomplished several aviation firsts and achieved various records, such as being the first jet aircraft to cross the Atlantic Ocean. The Vampire remained in front-line RAF service until 1953 when its transfer began to secondary roles such as ground attack and pilot training, for which specialist variants were produced. Many of these aircraft were sold to foreign air forces. The RAF retired the Vampire in 1966 when its final role of advanced trainer was filled by the Folland Gnat. The Royal Navy had also adapted the type as the Sea Vampire, a navalised variant suitable for operations from aircraft carriers. It was the service's first jet fighter.
The Vampire was exported to many nations and was operated worldwide in numerous theatres and climates. Several countries used the type in combat including the Suez Crisis, the Malayan Emergency and the Rhodesian Bush War. By the end of production, almost 3,300 Vampires had been manufactured, a quarter of these having been manufactured under licence abroad.
The Ceylonese Vampires received the official export designation FB.56, but they were in fact refurbished Fairey-built ex-RAF FB.9 fighter bombers, the last single seater fighter bomber variant to be produced. As such, they were tropicalised Goblin-3 powered F.5 fighter-bombers with air conditioning and retrofitted with ejection seats. They had the ability to carry bombs of up to 1.000 lb (454 kg) caliber under each wing, drop tanks or up to eight unguided 3-inch "60 lb" rockets againts ground targets. The trainers were newly-built T.55 export machines with ejection seats.
Following a RCyAF superstition, the machines were allocated tactical codes that the single numerals did not sum up to "13" or a multiple of it, a "tradition" that has been kept up until today. Even more weird: codes that openly sported a "13" were and are used - as long as the whole code number conforms to the cross total rule!
This small fleet formed the 'Jet Squadron' was soon supplemented with five Hunting Jet Provosts obtained from the British, and ten more Vampire FB.56 fighter bombers in 1959. In the 1960s, various other aircraft were procured, most notably American Bell JetRanger helicopters and a Hindustan HUL-26 Pushpak given by India. The force had grown gradually during its early years, reaching a little over 1,000 officers and recruits in the 1960s.
The Vampires' service did not last long, though. The trainers were replaced by the more modern and economic Jet Provosts and mothballed by 1963. In 1968, the Royal Ceylon Air Force started to look out for a more capable multi-role aircraft to replace the Vampire FB.56s and evaluated foreign types like the F-86 Sabre, the Douglas A-4 Skyhawk, the Hawker Hunter and AMD's Mystère IV as well as the SMB.2. The decision fell on the supersonic Super Mystère, which was offered as a bargain from French surplus stock since the fighter was at that time in the process of being gradually replaced by the 3rd generation Mirage III. A total of eight revamped SMB.2s were procured, which conformed to the Armée de l’Air’s standard. The machines arrived in early 1971 and were allocated to the newly established No. 3 Squadron, even though it took some months to make them fully operational, and the Vampires (eleven FB.56s were still operational at that time) soldiered on as a stopgap measure, due to innerpolitical tensions.
These got more and more tense and the Ceylonese Vampires were eventually deployed in a hot conflict in 1971. Together with the Jet Provosts, which had been mothballed since 1970 and quickly revamped, they were used in COIN missions during the Janatha Vimukthi Peramuna (JVP) insurrection, since the new SMB.2s were not ready yet and deemed too valuable and unsuited to be deployed in guerilla warfare. The JVP insurrection was the first of two unsuccessful armed revolts conducted by the communist JVP against the socialist United Front Government of Ceylon under Prime Minister Sirimavo Bandaranaike. The revolt began on 5 April 1971, and lasted until June of that year. The insurgents held towns and rural areas for several weeks, until the regions were recaptured by the armed forces, following strong support from friendly nations that sent men and material. Vampires and Jet Provosts flew from RCyAF Chinabay to RCyAF Katunayake, attacking rebel locations en route, and on the 12 April following a bombing run on a target in Polonnaruwa, one Jet Provost lost power and crashed on its approach to RCyAF Chinabay killing its pilot. Several weeks later, the Jet Provosts were joined by the Bell 47-G2 in ground attacks. After three weeks of fighting, the government regained control of all but a few remote areas. In most cases, the government regained control of townships; insurgent groups melted away into the jungle and continued to operate, with some groups operating into early 1972.
With Ceylon becoming a republic in 1972, the Royal Ceylon Air Force changed its name to the Sri Lanka Air Force (SLAF), along with all insignia, and the last RCyAF Vampire was retired in summer 1972.
General characteristics:
Crew: 1
Length: 30 ft 9 in (9.37 m)
Wingspan: 38 ft (12 m)
Height: 8 ft 10 in (2.69 m)
Wing area: 262 sq ft (24.3 m²)
Airfoil: root: EC1240/0640 (14%); tip: EC1240/0640 (9%)
Empty weight: 7,283 lb (3,304 kg)
Max takeoff weight: 12,390 lb (5,620 kg)
Powerplant:
1× de Havilland Goblin 3 centrifugal-flow turbojet engine, 3,350 lbf (14.9 kN) thrust
Performance:
Maximum speed: 548 mph (882 km/h, 476 kn)
Range: 1,220 mi (1,960 km, 1,060 nmi)
Service ceiling: 42,800 ft (13,000 m)
Rate of climb: 4,800 ft/min (24 m/s)
Wing loading: 39.4 lb/sq ft (192 kg/m²)
Armament:
4× 20 mm (0.79 in) Hispano Mk.V cannon with 600 rounds total (150 rounds per gun)
8× 3-inch "60 lb" rockets or 2× 1.000 lb (454 kg) bombs or two drop-tanks
The kit and its assembly:
A subtle what-if model, and despite the xotic markings the CeyloneseVampire is closer to reality than one might think. In fact, Ceylon actually received Vampire fighter bombers and trainer from the RAF when the country became independent and the RCyAF was founded, but they were never put into service. So, this whif depicts what might have been, and the type's use until the early Seventies is purely fictional.
The kit is the venerable Heller Vampire FB.5, which has been released under various brand labels (including Airfix and Revell) through the years. While it is a very simple model kit, the level of detail is not bad. You get a decent cockpit with a nice dashboard, separated canopy sections and even the landing gear wells feature details. You can hardly ask for more, even though the fit is rather mediocre - but this might be blamed on the molds' age. PSR was necessary on almost any major seam, and the fit of the tail booms to their adapters on the wings was really poor - the kit's engineers could have copme up with a better and more stable solution for the tail assembly. Another issue is the cockpit: while it's detailed, everything is much too small and tight - it turned out to be impossible to insert a pilot figure for the flight scenes, even just a torso!
Since I wanted to build a standard export Vampire fighter bomber, the kit was built OOB. I just added a gunsight behind the windscreen, replaced the rather massive pitot on the left fin and added some ordnance for the machine's COIN missions using the JVP insurrection. These comsist of a pair of vintage 500 lb iron bombs (from a Monogram F8F Bearcat) on pylons which probably come from an Academy P-47 Thunderbolt, plus four unguided 60 lb rockets and their launch rails from a Pioneer/Airfix Hawker Sea Fury.
Painting and markings:
Conservative. A real RCyAF Vampire would during the late Sixties probably have been painted overall silver, but I found this rather boring and thought that the role as s strike aircraft would justify camouflage. With its origins in the RAF I gave the Vampire consequently the British standard paint scheme in Dark Green/Dark Sea Grey from above, using Humbrol 163 and 156 (Dark Camouflage Grey BS381C/629, the latter on purpose as a lighter alternative to 164, for more contrast). For a slightly odd look I painted the undersides in RAF Azure Blue (Humbrol 157), what also makes a good contrast to the colorful RCyAF roundels.
The cockpit interior was painted in very dark grey (Anthracite, Revell 09) while the landing gear and the respective wells were painted in Humbrol 56 (Aluminum Dope), a metallic grey.
The kit received a lioght black ink washing and some panel shading, especuially from above to simulate sun-bleached paint - after all, the model depicts an aircraft that would soon be retired.
The roundels come from an Xtradecal aftermarket sheet for Jet Provosts, the fictional serial number was created with 3 and 10mm letters in black from TL Modellbau. A personal addition are the RAF-style white individual aircraft code letters on the fin and the front wheel cover. Due to their size, the fuselage roundels had to be placed under the cockpit, but that does not look bad or out of place at all - early Swedish Vampires used a similar solution. Unfortunately, the kit came without decal sheet, so that other details had to be procured elsewhere - but the decal heap provided ample material. The few stencils and the "No step" warnings were taken from a Model decal Vampire sheet; the ejection seat markings came from an Xtradecal Vampire trainer sheet.
After some light traces with dry-brushed silver on the wings' leading edges the model was eventually sealed with matt acrylic varnish.
Simple but exotic, and like the whiffy Sri Lankan SM2.B I built some time ago a very plausible result. I really like the fact that the model is, despite the camouflage and the subdued colors, quite colorful. outcome a lot. The paint scheme already looks unusual, even though it has been patterned after a real world benchmark. But together with the colorful SLAF markings and some serious weathering, the whole package looks pretty weird but also believable. A classic what-if model! 😉
Reseña de Bailes Tipicos de Bolivia
Las danzas propiamente originarias se distinguen a primera vista por el empleo de plumas y cueros de animales en la vestimenta. De estas las danzas que quedan son las siguientes: Kachua, cintakaniris, sicuris, choqquelas, chiriguanos,pallapallas, qquenaqquenas, lichihuayus, chunchus, callahuadas, llameros, huitiquis, liphis, cañeros, cullahuas, tarkafucus, salquis, pacpacu, tairari, etc.
La Kachua fue una danza del amor. La ejecutaba la juventud soltera de ambos sexos, formando una gran rueda de personas que giraban de uno a otro lado, en la cual cada varon seguido por la moza con quien mantenia realciones amorosas, al verificarse los rapidos y generales movimientos de la rueda, bailaba a su vez con ella, agarrandola, algunos momentos, de la mano y otros enganchandola del brazo y haciendola dar vueltas aisladas, pero sin desprenderse del circulo comun ni alterar su orden. Los instrumentos mas usados en la kachua y el cintakaniris son flautas y tambores tocados solo a ratos, porque mas se rigen en sus movimientos coreograficos por el canto.
Los Sicuris o sopladores de zampoña son de tres clases: los suri-sicuris, los laquitas y los sulka-sicuris o yungueños. Los primeros llevan enormes plumeros sobre la cabeza en forma de paraguas adornados el centro por plumas de colores; visten pollerines de Genero blanco almidonado y planchado; sobre las espaldas les cubre diagonalmente un paño blanco. La musica es variada y es indudablemente una de las mejores y mas armoniosas del folklore boliviano.
Los laquitas llevan sombreros adornados de plumas, paños de colores sobre la espalda y tocan cuatro clases de zampoñas de gran tamaño de una sola fila. Son de numero indefinido y los preside un hombre que conduce sobre la cabeza un condor disecado con las alas extendidas (antiguamente); su musica es entusiasta.
Los Sulka-sicuris o yungueños visten ponchos vistosos y su mejor traje, tocan zampoñas de una sola fila de ocho flautas, y cajas pequeñas en forma de tambores; su musica es alegre, de ritmo vivo y energico. En estas danzas particularmente los suri-sicuris, las mujeres se presentan vestidas de chaquetillas de merino de colores y polleras de castilla, la cabeza con cintas y chaquiras, y en la mano derecha un pañuelo que se agita a menudo. La musica de los sicuris llamada ayarichi se destaca por sus notas variadas y su armoniosa ejecucion. En el canton de Italaque, de la antigua provincia Muñecas, se encuentran los mejores musicos de ese orden.
Los choqquelas llevan un cuero curtido de vicuña sobre la espalda, adornandose las extremidades con horlas de colores y pedazos de cintas. Visten pollerines de lienzo blanco, almidonados y encarrujados; la copa de los sombreros esta rodeada de plumas, unas veces blancas y otras rosadas. Dos o tres bailarines llevan colgados de las manos zorros y vicuñas disecadas, los que hacen representar en los intermedios.
Los lichihuayus, que anualmente bailan por la fiesta de Santiago en la region de Oruro, tocan la qquena y se compone cada grupo de seis o diez personas, vestidos con polleras blancas, una chaqueta de terciopelo bordada con lentejuelas y un sombrero plano que remata en un penacho de plumas.
Los llameros se diferencias por su traje, compuesto de un ponchillo matizado de diversos colores y guarnecido con flecos, de calcetas de lana blanca, que se las colocan como polainas, de un sombrero de copa aplastado por sus costados y terminado en punta. Se cubren el rostro con una mascara de yeso de aspecto agradable, en la cual la boca esta figurada en actitud de silbar. A cada varon sigue en el baile una moza con la rueca en la mano y un ovillo de hilo prendido al pecho en ademan de hilar. Los hombres a medida que bailan acostumbran agitar y hacer sonar la honda que traen consigo, aparentando espantar o arrear llamas. La musica es ejecutada con qquena, tocada con cierta dulzura, que se hace escuchar con agrado.
Con el nombre de chunchus, se conocia un baile establecido en epoca remotas por los indigenas del tropico sojuzgados por los kollas, que venian atavidos segun su costumbre a las fiestas de estos. Posteriormente les imitaron los kollas, cubriendose el cuerpo de plumas y simulando acciones propias de aquellos. Los bailarines llevaban flechas que descargaban segun la exigencia de la musica. Ultimamente han sustituido el uniforme de plumas con sayas de terciopelo cortas, de varios colores, bordadas con hilos de oro y plata y recargas de lentejuelas. Esta danza es propia de Tarija y es aun posible verla en la fiesta de San Roque.
Los callahuayas, se distinguen por las bolsas elegantes y grandes que traen bajo el brazo. Eran estas provenientes del ayllu de los curanderos y herbolarios del dominio kolla. Llevan sombreros comunes adornados con flores. El cuerpo cubierto de una camisa almidonada de genero blanco. La espalda y el pecho cruzados por bandas anchas, bordadas y acondicionadas en direcciones opuestas; encima de las bandas levan dos bolsas, cubiertas de monedas antiguas.
En varias de las danzas anteriores habia un actor que desempeñaba el papel comico con el nombre de kusillo o sea mono, haciendo cabriolas y visajes. El kusillo anima el buen humor de los danzantes, haciendo reir con frecuencia a los espectadores con sus dichos picarescos y las licencias que se toma. Ademas en las fiestas habia otro personaje bajo cuya autoridad se desenvolvian bailarines y concurrentes, era el brujo; y a falta de este el anciano mas caracterizado de la marca o pueblo.
Remontandonos a investigar el origen de estos bailes, considerados como propios de la raza, se nota que cada cual emana de la necesidad de venerar al animal u objeto material, bajo cuya proteccion se pone el ayllu (comunidad), y a quien suponia deber su existencia. Asi los qquenaqquenas, danza exclusivamente kolla, llevaban el cuero de tigre en señal de que provenian de el sus antepasados y de que, al usar esa piel se hacian invulnerables; los choqquelas se conceptuaban protegidos de la vicuña y el zorro, y se tendia a imitar la ligereza de la una y la estucia del ultimo. Los sicuris (baile kolla) era dedicado al suri y al condor, aves que entre ellos simbolizan la tormenta y la fuerza. Cada ayllu observa el uso de totems, segun la tradicion que tenian en su origen, pero el dios comunmente acatado por todos los ayllus kollas, fue el titi o tigre; por eso el cuero de este animal sagrado, rara vez dejaba de ser parte de sus disfraces en alguna forma. El baile entre los indigenas no constituia una simple diversion, tenia por objeto recordar su pasado y rendir culto a sus dioses penantes.
Algunas representaciones, a cual mas grotesca, tambien fueron introducidas por los españoles e impuestas a los indigenas. Como ejemplo esta la "mojiganga" que llamaban Juan de la Coba, se componia de tres negros vestidos con sacos y bonetes encarnados cabalgados en mulas o asnos, con timbales cubiertos de trapos del mismo color. Una multitud de muchachos andrajosos, de negros y sambos de mayor edad, hacian el acompañamiento con desordenada griteria. Entre Juan de la Coba y el pueblo habia una especie de dialogo compuesto de palabras toscas e indecentes.
De las muchas danzas implantadas en el regimen colonial, que han sobrevivido al tiempo, se distinguen la conocida con el nombre de huaca-tocoris o sea toros bailadores y los tinti caballos. El uniforme del huaca-tocoris consiste en un cuero de toro disecado sobre un fuste de madera, que tiene la forma de este animal, con una abertura circular en el lomo, por donde se introduce la persona y se sujeta a la cintura. Por delante va un indigena con la cara pintada de hollin, vestido de pantalon blanco; en una mano empuña una espada de madera y con la otra agita un pañuelo. Esta danza es la caricatura vulgar y ruda de la corrida de toros. La musica es monotona y estridente.
Los tinti caballos llevan fustes de caballitos de yeso, por cuyo centro se introduce un bailarin. Con una una mano agarra una campañilla y con la otra un pañuelo que segun las circunstancias las dan aplicacion. Siguen a los huaca-tocoris, con quiene forman la supuesta y burlesca cuadrilla de toreros.
Los danzantes es un baile en el que los bailarines se cubren las cabezas de grandes y pesados cascos de yeso, pintados de colores caprichosos. Se bailaba en Achacachi, en la fiesta de san Pedro. Este baile debio ser una derivacion de los Gigantones.
La diablada es una danza compuesta de individuos disfrazados todos ellos de diablos, con trajes vistosos y bordados con hilos de oro y plata, mascaras que representan figuras pintadas de vivos colores, y con grandes espuelas en los pies. Los grupos suelen constar de muchos miembros en cuyo centro domina el que esta disfrazado de arcangel San Miguel. Cuando mas soberbios y pagados de si mismos andan los diablos, se presenta San Miguel, reta a Satanas, lo humilla y lo abate; lo hace contemplar en el espejo que lleva consigo su rostro horroroso; luego se ponen a bailar juntos en una danza llena de satisfaccion y contento. Es un baile que encierra un simbolismo religioso propio del caracter y preocupacion de los españoles. La diablada tiene algo de satira porque refleja la rebeldia de los mitayos mineros contra la opresion y conquista española y la danza fue asi utilizada para expresar sus ansias de libertad. Su musica tiene cierto aire marcial pero esta llena de vitalidad. En la ciudad de Oruro es donde este baile se manifiesta con todo su esplendor.
Imitando y ridiculizando a la vez, el porte, vanidad y fanfarroneria de los soldados castellanos, los indigenas inventaron el baile de los ppakkacoches. En Oruro se llamaba palampas.
Los catripullis se diferencian por su indumento especial, formado por una saya de genero blanco almidonado y encarrujado, de una camisa del mismo genero y un pañuelo de madras verde que les cruza diagonalmente por la espalda. Sobre la cabeza llevan un casco de carton o lata. Bailan formando circulos, en cuyo centro hay dos indigenas disfrazados de negro y negra (con la cara pintada con betun), que hacen gracias y divierten a los demas.
Las danzas mestizas en las que predominan una mezcla de caracteristicas de bailes y notas indigenas con las extrañas venidas de afuera, como el misti-sicuris, compuesta de dos filas de bailarines, vestidos de chaquetas y pantalon corto, ambas piezas confeccionadas de generos de color, sombrero de falda ancha con plumas y toquilla de color. Tocan zampoñas; su musica es cadenciosa e impresiona agradablemente.
Las danzas indigenas cuando llegan a ser adoptadas por los mestizos son transformadas por completo en su indumento y aun en su musica. Algunos como los auqui-auquis se ponen grandes sombreros de paja tejida, con desproporcionadas faldas y caretas con lengua, barba balanca y rubia. Asi cada una de estas danzas se distingue por su traje, su musica y su significado.
Los hombres de color introducidos en el coloniaje en calidad de esclavos, tuvieron varios bailes peculiares. De estos, solo queda el tundiques y mururatas, que han llegado a popularizarse mucho. El vestido esta compuesto de un pantalon y saco de genero blanco y llevan en las manos dos pedazos de maderas, talladas y condentaduras apropiadas para producir un sonido aspero con el roce de ambas partes, y cascabeles en los pies. Entonan canciones que acompasan con el movimiento de los cascabeles y sonido de las maderas. Cantan y bailan con mucho donaire y mimica ritmica, sin perder un momento el compas
A los bailes españoles la influencia indigena les hizo adquirir nuevas formas y nuevas figuras, de mayor movimiento y de mas alegres cambios como en el Fandango, del que se derivaron el Khaluyu, la celebre Mecapaqueña.
El Khaluyu, como baile es distinto del huayñu , aunque la musica es semejante. La Mecapaqueña y el Khaluyu difieren un poco. La ultima es de menos figuras que la otra, pero mas animada y de mas constante zapateo. La Mecapaqueña fue el baile predilecto de la sociedad paceña y su nombre viene de haberse originado y ejecutado en el pueblo de Mecapaca, a donde en determinadas estaciones del año se retiraban las familias paceñas a descansar.
Actualmente la mecapaqueña ha sido olvidada y se le ha sustituido con un baile de extremados movimientos que ha tomado todas las figuras de la Cuadrilla francesa, son los movimientos y el compas del huayñu criollo.
De los numerosos bailes populares, que en otros tiempos se acostumbraban, solo tres han sobrevivido: el bailecito, el huayñu y la cueca . Los demas como los morenos mistti-sicuris y los auqui-auquis, son una derivacion de las danzas indigenas, con mezcla de figuras y vestimenta apropiada para su representacion y se desenvuelven al aire libre, en hileras y con movimientos agiles. Los tres primeros son ejecutados siempre al son de instrumentos de cuerda, acompañados estos de cantos o de flautas. La musica bailable mestiza se halla dominada por una profunda tristeza, en estos bailes se agita zapateando y se hace contorsiones con el cuerpo.
En el bailecito se colocan frente a frente hombre y mujer a una distancia apropiada, en seguida se mueve la pareja agitando los pañuelos, haciendo contorsiones con el cuerpo y diferentes pasos con los pies; dan dos vueltas enteras primero, dos medias vueltas despues y terminan la danza con una vuelta entera, en la que los movimientos de los danzantes son mas desenvueltos y animados por el jaleo y expresiones de aplauso de los concurrentes, por el furioso rasguear de la guitarra y por el entusiasmo de los cantores en levantar la voz.
El huayñu ha sido propiamente el baile originario de los indigenas. Lo ejecutaban en los intermedios de las demas danzas enfrentandose un hombre y una mujer en el centro de los bailarines que hacian rueda. Esta forma personal de bailar se llama huayñusiña. Actualmente se da el nombre de huayñu a una singular mezcla de las antiguas danzas denominadas agua de nieve, moza mala, bolero, en ciertas figuras y en otras se nota la influencia manifiesta de la muñcira gallega. Todas estas figuras han sido arregladas a la manera de ser y al tono del gusto nacional.
El huayñu lo bailan por parejas de hombres y mujeres colocadas en la misma forma que la anterior danza. Comienza por una vuelta entera, en seguida se para uno de los dos, mientras el otro comienza a danzar solo frente a su pareja el tiempo que considere necesario. Al terminar la figura la agarra de ambas manos y le hace dar una vuelta. Despues la pareja que ha permanecido quieta ejecuta a su vez otra figura distinta a la anterior y asi sucesivamente se van cambiando las figuras, cuidando que no se repitan . Es una danza de extremados movimientos en que las jovenes hacen excitantes quiebres de cintura y hacen diferentes pasos mientras se contonean y mueven los brazos.
La cueca fue el baile de preferencia de las clases aristocratas, durante el coloniaje y en los primeros años de la republica. Se enfrenta la pareja, suena la musica y comienza en canto; los bailarines avanzan y retroceden agitando los pañuelos. El hombre con una mano en la cadera y con otra batiendo el pañuelo acosa a su pareja; esta se hace la indiferente y baila seguida de aquel que continua asediandola. Dan vueltas enteras y medias vueltas, zapatenado y haciendo girar el hombre su pañuelo por sobre la cabeza de la mujer, o lo baja al nivel de sus rodillas. El hombre despliega toda su habilidad, redobla su donaire, ondula, zapatea hasta que la bailarina se para en medio de los palmoteos. El hombre hinca la rodilla a los pies de la mujer y termina el baile.
Otra danza al aire libre es la de los morenos o morenada , notable por el costoso traje que llevan. Este se compone de casaca de terciopelo de color, profusamente bordado con hilos de oro y de plata; chaleco y pantalon corto, igualmente bordados; medias de seda, calzado de charol, peluca y sombrero adornado con plumas.
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17.12.2014
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Wien (PK) – Eine sehr ausführliche Debatte über die geplanten Änderungen im Bereich der Fortpflanzungsmedizin fand heute im Gesundheitsausschuss des Nationalrats statt. Fast fünf Stunden diskutierten die Abgeordneten, zunächst in Form eines Expertenhearings, über den von der Regierung vorgelegten Gesetzentwurf. Dieser sieht unter anderem vor , dass auch lesbische Paare ab dem Jahr 2015 den Zugang zu Samenspenden erhalten. Weiters werden Eizellenspenden und Samenspenden Dritter bei der In-vitro-Fertilisation (IVF) sowie – unter Einhaltung strenger Bedingungen – die Durchführung der Präimplantationsdiagnostik (PID) zur Feststellung von Erbkrankheiten erlaubt, was von den einzelnen Experten sehr unterschiedlich beurteilt wurde. Die gemeinsam vom Gesundheits- und vom Justizressort ausgearbeitete Vorlage mit dem Titel " Fortpflanzungsmedizinrechts-Änderungsgesetz 2015 " wurde schließlich mit den Stimmen von SPÖ, ÖVP und NEOS angenommen.
Großes Lob für das Gesetz kam auch von den Grünen. Abgeordnete Daniela Musiol hofft allerdings, dass bis zur Beschlussfassung im Plenum noch einzelne Punkte geändert werden. Im Ausschuss fanden zahlreiche Abänderungs- und Entschließungsanträge der Grünen, etwa was das Recht von alleinstehenden Frauen auf Samenspenden betrifft, allerdings keine Mehrheit. Allgemein bedauert wurde von der Opposition, dass das Parlament sich nicht mehr Zeit genommen hat, um sich mit dem Thema Fortpflanzungsmedizin zu beschäftigen. Ein Vertagungsantrag der FPÖ fand allerdings nur die Unterstützung des Team Stronach.
Mit S-V-N-Mehrheit angenommen wurden auch Änderungen der gesetzlichen Grundlagen für MasseurInnen und weitere Gesundheitsberufe, die als weiterer Punkt auf der Tagesordnung standen. Dabei ging es vor allem um die Einführung einer Erweiterung der Berufsausübungsmöglichkeiten für medizinische MasseurInnen und HeilmasseurInnen durch die Einführung der Spezialqualifikation "Basismobilisation", um Vereinfachung von Berufsausübungsmöglichkeiten und den Einsatz von OrdinationsassistentInnen in nicht bettenführenden Stationen.
Modernes Fortpflanzungsgesetz bringt mehr Rechtssicherheit und beseitigt Diskriminierung lesbischer Paare
Vor der Anhörung der Experten nahmen sowohl Justizminister Wolfgang Brandstetter als auch Gesundheitsministerin Sabine Oberhauser zum Regierungsentwurf (siehe Parlamentskorrespondenz Nr. 1222/2014) Stellung. Vor dem Hintergrund von höchstgerichtlichen Entscheidungen auf nationaler und europäischer Ebene sei man gefordert gewesen, einen vernünftigen Interessensausgleich zu finden, erläuterte Brandstetter. Er denke, dass eine gute Lösung gefunden wurde, die vor allem mehr Rechtsicherheit für die Betroffenen bringe und auch die Bedenken der Kritiker berücksichtige. So sei unter anderem gewährleistet, dass es weiterhin ein grundsätzliches Verbot für die Präimplantationsdiagnostik gibt und Ausnahmen nur unter genau geregelten Kriterien möglich sind. Darüber hinaus wurde aufgrund der Stellungnahmen im Begutachtungsverfahren das Kindeswohl noch stärker in den Vordergrund gestellt und die Dokumentations- und Aufklärungspflichten erweitert. Eine Verschärfung wurde auch bei den Strafbestimmungen vorgenommen: bei Nichteinhalten der gesetzlichen Vorschriften soll die Strafe von bisher maximal 36.000 € auf bis zu 50.000 € erhöht werden.
Gesundheitsministerin Sabine Oberhauser zeigte sich erfreut darüber, dass es aufgrund der sehr guten Kooperation mit dem Justizressort gelungen sei, ein fortschrittliches und ausgefeiltes Gesetz vorlegen zu können. Sie wiederholte die Eckpunkte des Entwurfs und wies vor allem darauf hin, dass durch die neuen Bestimmungen "Schwangerschaften auf Probe" verhindert werden können. Mit der jetzt geschaffenen Möglichkeit der Eizellenspende und der Zulassung der Präimplantationsdiagnostik unter strengen Voraussetzungen schließe Österreich aber nicht nur an internationale Standards an, es werde damit auch verhindert, dass Frauen ins Ausland fahren müssen, um medizinisch unterstützte Fortpflanzung nach dem aktuellsten Stand der Wissenschaft zu erhalten. Durch ein dezidiertes Vermittlungs- und Kommerzialisierungsverbot soll außerdem das Geschäft mit den Eizellen verhindert werden. Wichtig war ihr auch zu erwähnen, dass die Leihmutterschaft in Österreich weiterhin verboten bleibt.
Vorbehalte einiger ExpertInnen gegenüber Präimplantationsdiagnostik und Eizellenspende
Die Juristin Stephanie Merckens (Institut für Ehe und Familie) räumte ein, dass aus rechtlichen Gründen ein Handlungsbedarf bestand; die Vorlage fand jedoch aus mehreren Gründen nicht ihre Zustimmung. Ihrer Meinung nach gelingt es mit den vorliegenden Bestimmungen nicht, überzählige Embryonen zu vermeiden, da nicht geregelt wurde, wie viele Eizellen befruchtet werden dürfen. Außerdem sei nicht nachvollziehbar, dass einerseits die Präimplantationsdiagnostik beschränkt werde, andererseits Spätabtreibungen aber nicht.
Kritisch beurteilte Merckens außerdem, dass in Bezug auf die PID nur die Zulassungsvoraussetzungen definiert wurden, es in Bezug auf die Untersuchungsmethoden aber keinerlei Einschränkungen gebe. Man sehe bei bestimmten Tests viel mehr als grundsätzlich untersucht werden dürfe, gab sie zu bedenken und meinte, sie könne sich nicht vorstellen, dass ein Arzt einen Embryo einpflanze, wenn er irgendeine Krankheit sehe. Nicht in Ordnung fand es die Expertin darüber hinaus, dass die Polkörperdiagnostik, mit der man über 100 Krankheiten feststellen könnte, herausgenommen wurde. Was die Eizellenspende betrifft, habe es keinen rechtlichen Handlungsbedarf gegeben, diese in Österreich zu erlauben, betonte Merckens. Man hätte sich mit dieser Frage gemäß dem Europäischen Menschenrechtsgerichtshof nur ausführlich auseinandersetzen müssen.
Susanne Kummer (Institut für medizinische Anthropologie und Bioethik) stellte die grundsätzliche Frage, welche Frau zwischen 18 und 30 Jahren gratis ihre Eizellen zur Verfügung stellen wird, zumal medizinische Risiken damit verbunden seien. Sie kenne sogar einen Fall, wo eine junge Frau nach einer Eizellenspende verstorben ist. Kummer vermutet daher, dass auch in Österreich - ebenso wie in anderen Ländern – zumindest eine Aufwandsentschädigung dafür bezahlt werden wird. Generell werde über die Risiken und Nachteile der diversen Methoden viel zu wenig informiert, meinte sie. Es sei z.B. kaum bekannt, dass von 100 Frauen, die sich einer In-vitro-Fertilisation unterziehen, 80 ohne Kind nach Hause gehen. Aus dem Traum werde damit allzu oft ein Trauma. Natürlich gehe es auch um ökonomische Aspekte, gab Kummer zu bedenken; ihrer Meinung nach werden die Frauen dem Markt ausgeliefert. Völlig ausgeblendet hat man ihrer Ansicht nach auch das Wohl der Kinder, die darunter leiden könnten, durch IVF erzeugt worden zu sein.
Marianne Karner vom Zentrum für Selbstbestimmtes Leben (BIZEPS) lehnte den Entwurf in weiten Teilen ab, vor allem was die Zulassung der Präimplantationsdiagnostik betrifft. Wenn einmal ein Stein ins Rollen gebracht werde, dann sei er so leicht nicht mehr zu stoppen, warnte sie. Ausnahmebestimmungen können irgendwann einmal aufgeweicht und die Liste der Krankheiten erweitert werden. Für sie stehe das Recht des werdenden Lebens im Vordergrund, unterstrich Karner, Eltern haben kein Recht auf ein gesundes Kind. Gerade aufgrund der historischen Erfahrungen in Österreich sollte man alle Bestrebungen, vorgeburtliches Leben anhand eines Rasters zu durchforsten und eventuell zu eliminieren, unterbinden. Auch ein kurzes menschliches Leben könne lebenswert sein, stellte Karner mit Nachdruck fest. Dieses Gesetz sei das falsche Signal an die Gesellschaft.
Einer kritischen Beurteilung unterzog auch Universitätsprofessor Matthias Beck (Institut für Moraltheologie der Universität Wien) den Vorschlag der Regierungsparteien. Im Gegensatz zu Deutschland, wo zwei Jahre lang ausführlich über die Weiterentwicklung der Fortpflanzungsmedizin diskutiert wurde, werde der Vorschlag in Österreich durchgepeitscht, bemängelte er. Ebenso wie Merckens wies er darauf hin, dass man auch mit der Polkörperdiagnostik bereits über 100 Krankheiten feststellen könne. Eine bessere Abstimmung sollte es mit den Pathologen geben, da diese derzeit nicht erfahren, ob ein Kind mittels IVF gezeugt wurde oder nicht. Er befürchtete zudem, dass die seelischen Folgen für die Kinder, die auf medizinisch unterstützte Weise auf die Welt gekommen sind, nicht absehbar sind. Begrüßenswert sei daher der Vorschlag, Langzeitstudien zu all diesen Aspekten durchzuführen. Außerdem stellte er die Unabhängigkeit des Experten Hengstschläger in Frage, der an IVF-Zentren beteiligt sei, genetische Beratungen durchführe, in der Bioethikkommission sitze und am vorliegenden Gesetz mitgeschrieben habe.
Für Hengstschläger, Maier und Kletecka-Pulker ist Gesetz längst überfällig und gelungen
Universitätsprofessor Markus Hengstschläger (Institut für Medizinische Genetik) machte einleitend darauf aufmerksam, dass die Bioethikkommission in der Frage der Fortpflanzungsmedizin eine ziemlich einheitliche Meinung vertrete und seit Jahren darauf dränge, die heimische Gesetzeslage den aktuellen Gegebenheiten anzupassen. Österreich sei bei dieser Debatte Schlusslicht in Europa, betonte der Biologe, und auch der vorliegende Entwurf enthalte sehr strenge Regelungen. So sind weiterhin Verfahren verboten, die in anderen Ländern seit langem eingesetzt werden: Leihmutterschaft, Forschung an Embryonen, genetische Einflussnahme auf Embryonen, Handel mit Eizellen oder social egg freezing. Dies habe in der Vergangenheit unter anderem dazu geführt, dass viele Personen, die es sich leisten können, ins Ausland ausgewichen sind.
Die nun zur Diskussion stehenden Verfahren - IVF und PID - würden seit Jahrzehnten angewandt und seien seit langem gut erforscht, betonte Hengstschläger. Die Präimplantationsdiagnostik werde noch vor der Zellteilung durchgeführt, weshalb es sich nach Ansicht aller Experten und auch Weltreligionen – mit Ausnahme der katholischen – um kein individuell schützenwertes Leben handelt. Die immer wieder angeführte Polkörpermethode sei eine reine Diagnostik an der Eizelle und finde noch vor Abschluss der Befruchtung statt; sie könne daher nicht mit der PID verglichen werden.
Was die Untersuchung von Eizellen angeht, so könne man keine genaue Zahl angeben, da dies abhängig von der jeweiligen Erbkrankheit ist. Generell informierte Hengstschläger darüber, dass nur 1 % aller Behinderungen genetisch bedingt seien und befruchtete Eizellen nur auf wenige dieser Erbkrankheiten untersucht werden dürften; von Rasterfahndung könne daher überhaupt keine Rede sein. Die Festsetzung von drei Fehlgeburten als Voraussetzung für eine PID habe man deshalb gewählt, weil laut aktuellem Stand der Wissenschaft erst dann ein Verdacht auf Abort aufgrund von genetischen Gründen vorliege. Zustimmend äußerte sich Hengstschläger zum Vorschlag, auch den privaten Sektor im Bereich der künstlichen Befruchtungen ins Register aufzunehmen. Die Datenschutz- und Beratungspflichten seien hingegen sehr streng geregelt, urteilte er.
Mit Nachdruck verwehrte sich Hengstschläger noch gegen die persönliche Kritik an ihm. Er sei kein Arzt, er führe keine künstlichen Befruchtungen durch und er sei auch an keinen Reproduktionseinrichtungen beteiligt. Außerdem habe er für seine Arbeit in der Bioethikkommission regelmäßig Informationen bezüglich Unvereinbarkeiten vorzulegen.
Sie befasse sich nun schon seit über 20 Jahren mit der Reproduktionsmedizin, konstatierte Universitätsprofessorin Barbara Maier (Vorständin Gynäkologie u. Geburtshilfe Hanusch Krankenhaus), und kenne dadurch sehr viele Einzelschicksale von Frauen. Durch die Betreuung von Patientinnen, die einen Spätabbruch durchführen, wisse sie, welch traumatische Erfahrungen damit verbunden sind. Durch die neuen Möglichkeiten der Präimplantationsdiagnostik, die zu einem ganz frühen Zeitpunkt wichtige Erkenntnisse liefere, könne man daher sehr viel Leid vermeiden, war sie überzeugt. Sie regte zudem an, die Voraussetzung für die PID, dass zumindest drei Aborte nachgewiesen werden müssen, zu lockern bzw. eine Altersindikation in diesem Bereich einzuführen. Ein ganz wichtiges Anliegen war ihr das Qualitätsmanagement sowie die Orientierung am Kindeswohl. Maier trat daher mit Nachdruck für die Durchführung von Langzeitstudien ein, wo u.a. untersucht werde, wie die Schwangerschaften verlaufen, wie es den Kindern danach geht etc.
Maria Kletecka-Pulker (Institut für Ethik und Recht in der Medizin) erinnerte daran, dass die heute behandelten Fragen schon lehr lange in den verschiedensten Gremien, u.a. der Bioethikkommission, diskutiert wurden. Sie sei jedenfalls sehr froh darüber, dass nun ein im Großen und Ganzen gelungener Vorschlag auf dem Tisch liegt, der sich an den realen Lebensumständen der Menschen und dem medizinischen Fortschritt orientiere. Viele Kritikpunkte konnte sie nicht nachvollziehen, da ihrer Auffassung nach das Gesetz sehr klare Vorgaben gibt und es letztendlich dem Selbstbestimmungsrecht der Frauen obliegen müsse, welche Möglichkeiten sie für sich in Anspruch nehmen wollen. Kletecka-Pulker bezweifelte auch, dass die Kinder damit ein Problem haben, durch IVF gezeugt worden zu sein, wenn sie entsprechend informiert und aufgeklärt werden. Ihrer Meinung nach sollte man sich noch überlegen, wie man die Bedürfnisse alleinstehender Frauen sowie die Möglichkeit der pränatalen Adoption besser berücksichtigen könne.
FPÖ hätte sich ausführlichere Diskussion gewünscht
Im Rahmen der Diskussion kritisierte zahlreiche Abgeordnete die kurze parlamentarische Beratungsfrist für den von der Regierung vorgelegten Gesetzentwurf. Gerade so ein sensibles Thema müsste ausführlich beraten werden, hielt etwa Abgeordneter Andreas Karlsböck (F) fest. Man habe vor 70 Jahren erlebt, welche fatalen Auswirkungen die Unterscheidung in lebenswertes und nicht lebenswertes Leben haben könne. Stattdessen werde der Regierungsentwurf unter Zeitdruck einfach durchgepeitscht. Ein von der FPÖ eingebrachter Vertagungsantrag fand allerdings lediglich die Unterstützung des Team Stronach.
Karlsböcks Fraktionskollegin Dagmar Belakowitsch-Jenewein monierte, dass das Gesetz in etlichen Punkten unklar formuliert sei. Zudem hat ihr zufolge das Hearing gezeigt, dass es völlig unterschiedliche Standpunkte gebe, die für sie alle ihre Berechtigung haben. Konkret als Problem wertete Belakowitsch-Jenewein etwa, dass Frauen dem Gesetz zufolge theoretisch zwischen dem 18. und dem 30. Lebensjahr jedes Jahr eine Eizelle spenden können. Zudem gehen ihr die Ausnahmen vom Verbot der Präimplantationsdiagnostik zu weit.
Grüne bringen zahlreiche Abänderungs- und Entschließungsanträge ein
Grundsätzlich großes Lob für das Gesetz kam hingegen von Grün-Abgeordneter Daniela Musiol. Sie werde dem Entwurf in Dritter Lesung auf jeden Fall zustimmen, sagte sie. Musiol hofft allerdings, dass einige Anliegen der Grünen noch aufgegriffen werden und brachte gemeinsam mit ihrer Fraktionskollegin Eva Mückstein zur Bekräftigung der Forderungen eine Reihe von Abänderungs- und Entschließungsanträgen ein.
Den Grünen geht es unter anderem darum, auch alleinstehenden Frauen Zugang zu einer Samenspende zu gewähren, begleitend zu erforschen, welche körperlichen und psychosozialen Auswirkungen die medizinisch unterstützte Fortpflanzung auf die betroffenen Kinder und ihre Familien hat, und ein österreichweit zentrales Register für Spenderdaten einzurichten, um die Durchsetzung des Rechts von Kindern zu erleichtern, Auskunft über ihren leiblichen Vater bzw. ihre leibliche Mutter zu erhalten. Außerdem drängen sie darauf, dass die Eltern im Falle einer Eizellenspende oder einer Samenspende durch eine dritte Person einen Rechtsanspruch auf psychologische Beratung und psychotherapeutische Betreuung erhalten und die Kosten dafür von der öffentlichen Hand getragen werden. Erhoben werden sollen auch umfassende Daten in Zusammenhang mit In-vitro-Fertilisationen, etwa was körperliche und psychische Komplikationen der Mutter, Frühgeburten, Mehrlingsgeburten und Fehlbildungen der Kinder betrifft.
Musiol plädierte überdies dafür, für den Rechtsanspruch der Kinder, den Namen des leiblichen Elternteils zu erfahren, kein Alterslimit festzulegen. Außerdem sollte man sich ihr zufolge bis zu den Plenarberatungen noch überlegen, ob es in Anbetracht der Ausführungen der ExpertInnen nicht sinnvoll wäre, die Zahl der Eizellespenden nach oben hin zu begrenzen, da eine Eizellenspenderin jedes Mal einer Hormonstimulation und damit hohen Belastungen ausgesetzt sei.
Ausschussfeststellung zu innerfamiliären Eizellenspenden
Zumindest vorerst konnten sich die Grünen mit ihren Anträgen nicht durchsetzen, lediglich NEOS-Abgeordneter Nikolaus Scherak stimmte zu. Allerdings wurde eine von den Grünen initiierte Ausschussfeststellung mit den Stimmen von SPÖ, ÖVP, Grünen und NEOS angenommen. Demnach geht der Gesundheitsausschuss davon aus, dass die von einer Eizellenspende betroffenen Eltern und Familienmitglieder auch über mögliche Auswirkungen der Eizellspende innerhalb der Familien aufgeklärt werden. Abgeordnete Mückstein befürchtet, dass es bei innerfamiliären Eizellenspenden zu unabsehbaren komplexen innerfamiliären Beziehungsverstrickungen und zu Identitätsdiffussionen kommt, etwa wenn sich das Kind beim ersten echten Konflikt mit den sozialen Eltern seinem biologischen Elternteil zuwendet.
Generell hob Mückstein die Notwendigkeit hervor, besonderes Augenmerk auf das Kindeswohl zu richten. Aus ihrer Arbeit als Psychotherapeutin wisse sie, dass das Wissen über die eigene Herkunft Auswirkungen auf die Identitätsfindung und das Beziehungsgeschehen in der Familie habe, merkte sie an. Eine altersgerechte Aufklärung und Information sollte daher so früh wie möglich stattfinden.
Kritik vom Team Stronach, Lob von den NEOS
Team-Stronach-Abgeordneter Marcus Franz zeigte kein Verständnis für die rasche Beschlussfassung des Gesetzes. Rechtssicherheit sei wichtig, diese müsse sich aber auf einem ethischen Grundgerüst bewegen, meinte er. Schließlich würde der Grundkern der Lebensfrage berührt. Nach Meinung von Franz stellt man sich viel zu wenig die Frage, wohin das Ganze führe. Wenn sich das Parlament mit der Würde am Ende des Lebens auseinandersetze, müsse es sich auch mit der Würde am Anfang des Lebens beschäftigen. Es gehe nicht an, dass tausende Embryone "einfach verworfen werden".
Lob für den Gesetzentwurf gab es hingegen von NEOS-Abgeordnetem Nikolaus Scherak. Die Liberalisierungsschritte im Bereich der Fortpflanzungsmedizin seien richtig, konstatierte er. Allerdings bedauerte auch Scherak, dass sich das Parlament in den vergangenen Jahren nicht ausführlicher mit der Frage der Fortpflanzungsmedizin befasst hat.
Einen intensiveren politischen und öffentlichen Diskurs hätte sich auch Grün-Abgeordneter Wolfgang Pirklhuber gewünscht. Es sei positiv, dass in manchen Bereichen Rechtssicherheit geschaffen werde, man dürfe die Sache aber nicht allein aus dem Blickwinkel der technischen Möglichkeiten betrachten, warnte er. Es gelte zu verhindern, dass eine Entwicklung eintrete, wo kommerzielle Interessen der Fortpflanzungsindustrie überwiegen und es nicht mehr vorrangig um die Interessen der Betroffenen gehe.
Koalition will Anträge der Grünen prüfen
Auch ÖVP-Behindertensprecher Franz-Joseph Huainigg hätte sich mehr Zeit für die Diskussion über die Änderungen im Fortpflanzungsrecht gewünscht. Vielleicht wäre dieses Thema im Rahmen einer Enquete-Kommission besser aufgehoben gewesen, meinte er. Was das Thema Spätabtreibungen betrifft, so wertete es Huainigg als unerträglich, dass es in Österreich möglich sei, Föten im Mutterleib durch einen Herzstich zu töten.
ÖVP-Gesundheitssprecher Erwin Rasinger sagte den Grünen zu, ihre Anträge zu prüfen. Insgesamt wurde seiner Ansicht nach "ein vernünftiger, eher strenger" Kompromiss gefunden. Ausdrücklich betonten Rasinger und SPÖ-Abgeordneter Erwin Spindelberger, dass die Präimplantationsdiagnostik weiter verboten bleibe, nur bestimmte Fälle würden vom Verbot ausgenommen. "Wir öffnen nicht die Büchse der Pandora", bekräftigte Spindelberger. Es gebe genug Riegel im Gesetz gegen zu weitgehende Untersuchungen. Auch generell zeigte sich Spindelberger mit dem Kompromiss zufrieden, er hätte es allerdings begrüßt, wenn auch alleinstehende Frauen Samenspenden erhalten dürften.
Abgeordnete Ulrike Königsberger-Ludwig (S) meinte, die Entscheidung darüber, ein Kind zu bekommen oder nicht, obliege allein den Frauen. Es sei erwiesen, dass viele Familien, in denen es behinderte Kinder gibt, scheitern und oft die Frauen alleine übrig bleiben. Dies sollte man bei der Diskussion auch nicht außer Acht lassen.
Brandstetter: Es gibt keine Alternative zum vorliegenden Gesetz
Justizminister Wolfgang Brandstetter ließ sich von den Einwänden der ExpertInnen nicht überzeugen und blieb bei seiner Meinung, dass mit dem Gesetz ein "vernünftiger Interessensausgleich" gelungen sei. Über einzelne Formulierungen könne man noch diskutieren, meinte er, grundsätzlich sieht er aber keine Alternative zum vorliegenden Entwurf. Es wäre niemandem geholfen, würde das Parlament das Gesetz nicht beschließen, vielmehr käme es dann zu noch mehr Rechtsunsicherheit.
Die KritikerInnen der Eizellenspende übersehen, dass das Fortpflanzungsmedizingesetz nicht für sich alleine stehe, sondern in das gesamte System der Rechtsordnung eingebunden sei, sagte Brandstetter. Jede Beeinträchtigung der körperlichen Integrität, die keine Heilbehandlung sei, sei laut Strafgesetzbuch grundsätzlich verboten, für Ausnahmen brauche es die ausdrückliche Einwilligung des Verletzten. Das sei bei Nierenspenden nicht anders als bei Eizellenspenden. Schon in der Vergangenheit habe die Sittenwidrigkeitsklausel erfolgreich verhindert, dass jemand in Österreich auch nur den Versuch unternommen hätte, ein Organ zu verkaufen, die selbe Bestimmung schiebe auch der Kommerzialisierung der Eizellenspende einen Riegel vor. Zumal es, was die Frage der Einwilligung betrifft, eine klare Judikatur gebe. Eine Eizellenspende werde eine Eizellenspende bleiben, ist Brandstetter überzeugt. Auch für die Zahl der Eizellenspenden ist die Bestimmung im Strafgesetzbuch ihm zufolge anwendbar.
Brandstetter stellte außerdem die Frage in den Raum, aus welchem Grund der Staat es einer Frau verbieten solle, ihrer unfruchtbaren Schwester eine Eizelle zu spenden. Es sei damit kein Maß an Sozialschädlichkeit verbunden, das es gebieten würde, eine solche Spende zu verbieten, hielt er fest. Dass das Auseinanderfallen von genetischer und sozialer Elternschaft zu Problemen führen könnte, wisse man, sagte Brandstetter, das gelte aber im gleichen Ausmaß für Scheidungskinder, deren Eltern eine neue Partnerschaft eingehen. Die Probleme seien bewältigbar.
In Richtung von Merckens hielt Brandstetter fest, die Judikatur des Europäischen Gerichtshofs für Menschenrechte gebiete seiner Meinung nach sehr wohl die Zulassung von Eizellenspenden. Es habe keinen Sinn, nun eine Minimalkorrektur des Gesetzes vorzunehmen und beim nächsten EGRM-Urteil wieder "nachzujappeln". Das alleinstehende Frauen auch in Zukunft keinen Zugang zu Samenspenden haben, begründete der Justizminister mit dem Kindeswohl und wies darauf hin, dass dabei auch das Familienrecht hineinspiele. Eine stabile Partnerschaft sei im Interesse des Kindes, betonte er.
Oberhauser will an eugenischer Indikation nicht rütteln
Gesundheitsministerin Sabine Oberhauser begründete den Umstand, dass Samenspenden für alleinstehende Frauen verboten bleiben, damit, dass es sich beim Gesetz um einen Kompromiss handelt. An der so genannten eugenischen Indikation, die ein Abtreiben von Kindern mit schwerster Behinderung auch nach dem dritten Schwangerschaftsmonat erlaubt, will Oberhauser in keinem Fall rütteln. Es gebe ganz wenige Fälle, in denen die eugenische Indikation zum Tragen komme, kein Arzt, keine Mutter, kein Vater nehme diese belastende Prozedur leichtfertig auf sich.
Neue Spezialqualifikation "Basismobilisation" für HeilmasseurInnen
Ebenfalls mit den Stimmen der SPÖ, der ÖVP und der NEOS billigte der Gesundheitsausschuss einen Gesetzentwurf, mit dem das medizinische Masseur- und Heilmasseurgesetz, das MTD-Gesetz und das Medizinische Assistenzberufe-Gesetz geändert werden ( 444 d.B.). Die Gesetzesnovelle ermöglicht es medizinischen MasseurInnen und HeilmasseurInnen künftig, durch eine 80-stündige Zusatzausbildung die Spezialqualifikation "Basismobilisation" zu erwerben. Damit erhalten sie die Berechtigung, PatientInnen bei der Verbesserung ihrer Mobilität zu unterstützen und sie im sicheren Umgang mit Gehhilfen zu schulen. Außerdem sind Erleichterungen für gewerbliche MasseurInnen vorgesehen: Sie müssen im Rahmen der verkürzten Ausbildung zum medizinischen Masseur bzw. zur medizinischen Masseurin nur noch 580 statt 875 Praxisstunden absolvieren.
Mit dem Gesetzespaket werden überdies die gesetzlichen Vorgaben für die Ausübung des gehobenen medizinischen-technischen Dienstes (MTD) entrümpelt. Die Berufsausübung kann künftig ohne Einschränkung gemäß dem jeweiligen Berufsbild der sieben MTD-Sparten sowohl im Rahmen eines Arbeitsverhältnisses als auch freiberuflich erfolgen. OrdinationsassistentInnen wird gestattet, ihren Beruf auch in nicht bettenführenden Stationen von Krankenhäusern auszuüben.
Seitens der Grünen behielt sich Abgeordnete Judith Schwentner die Zustimmung im Plenum vor. Das Gesetz gehe in die richtige Richtung, einiges sei ihr aber noch zu diffus, meinte sie. So kann sie etwa keine klare Abgrenzung zwischen der Tätigkeit von PhysiotherapeutInnen und MaseurInnen in der Frage der Patientenmobilisation erkennen. Dem hielt Gesundheitsministerin Sabine Oberhauser entgegen, es handle sich um ganz unterschiedliche Tätigkeitsprofile. Für sie ist klar geregelt, was wer tun dürfe. (Fortsetzung Gesundheitsausschuss) sue/gs
Former Mecca Bingo Hall located at 125 Fountainbridge in Edinburgh prior to demolition.
The building was originally constructed in around 1911 - 1912 on the site of a former iron foundry and saw mill. At least part of it is an ice rink, but this was later converted to a cinema (called the Coliseum) and then a dance hall (called the Palais de Danse). It closed down as a Dance Hall in the early 1970s. After a period of redundancy, the building then functioned as the Mecca Bingo Hall, which closed down in the 2000s.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Tower
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
Le Sénégal, en forme longue la République du Sénégal, est un pays d'Afrique de l'Ouest appartenant à l'Afrique subsaharienne. Il est bordé par l'océan Atlantique à l'ouest, la Mauritanie au nord et à l'est, le Mali à l'est et la Guinée et la Guinée-Bissau au sud. La Gambie forme une quasi-enclave dans le Sénégal, pénétrant à plus de 300 km à l'intérieur des terres. Les îles du Cap-Vert sont situées à 560 km de la côte sénégalaise.
The 1950s Furnikit Rugmaking Catalogue and associated paperwork, including Furnikit furniture order forms.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Grand Hall
Piano
The original much older control tower probably dating back to the very early days of the base. RAF Swinderby closed on the 1st April 1993.
Maquette
Introduit au salon de Francfort en 1981, le concept car Xenia basé sur une plateforme de BX pas encore dévoilée (une affaire de mois), frappera par sa modernité extérieure comme intérieure. Dessiné par Trevor Fiore, ce break monocorps aux immenses portes-papillon, d’une forme très cubique et futuriste dispose d’un intérieur digne d’une navette spatiale. Il rencontrera un immense succès et bénéficiera d’une littérature prolixe dans les journaux et revues spécialisés. En effet, bien avant l’heure, il explorera le concept de segment croisé en couplant un design sportif de coupé deux portes, avec un coffre de break et un intérieur de monos-pace. Une étude très intéressante qui a été espionnée avec soin par tous les autres constructeurs de la planète. Citroën Heritage propose ici non le concept-car, pieusement conservé, mais sa maquette initiale de style. C’est avec cette sculpture, puisqu’il s’agit d’une vraie sculpture en clay (argile synthétique) peinte, que l’artiste a défini les formes exactes de la voiture. Cette sculpture pleine (vitrage aussi en argile) est posée sur un châssis avec de vraies roues. Vous avez ainsi la possibilité d’acquérir une œuvre d’artiste totalement unique et chargée d’histoire, futuriste, technologique et esthétique.
Estimated : € 15.000 - 25.000
Sold for € 7.280
Vente des Réserves de l'Aventure Peugeot Citroën DS
Leclere Motorcars - Maison des Ventes
Citroen Heritage
Batiment 6
93600 Aulnay sous Bois
France
December 2017
Junior high science students assist with writing the KUDOS information on the whiteboard in their classroom.
Images on the box may be slightly misleading. Read my review here: Clay for the Kiddos: Fun Forms Piggy Bank Review
Got this plant also from Thailand trader with tag name S. aethiopica, wide leaf form. Clear cross bands and withered tips.
For the form, we are using a fabric form, which will double as the moisture barrier after wards. Inside is 15m rebar, and cable ties which will be used to tether the upper bond beam to the foundation.
Brighton is a seaside resort and the largest part of the City of Brighton and Hove situated in East Sussex, England. Historically in the Rape of Lewes in Sussex, Brighton forms a part of the Brighton/Worthing/Littlehampton conurbation. Brighton is at the heart of the Greater Brighton City Region, a partnership of local authorities and other organisations that signifies Brighton's wider regional economic significance.
The West Pier is a pier in Brighton, England. It was designed by Eugenius Birch, opening in 1866 and closing in 1975. The pier was the first to be Grade I listed in Britain but has become increasingly derelict since closure.
The pier was constructed during a boom in pleasure pier building in the 1860s, and was designed to attract tourism in Brighton. It was the town's second pier, joining the Royal Suspension Chain Pier of 1823. It was extended in 1893, and a concert hall was added in 1916. The pier reached its peak attendance during this time, with 2 million visitors between 1918 and 1919. Its popularity began to decline after World War II, and concerts were replaced by a funfair and tearoom. A local company took ownership in 1965, but could not meet the increased maintenance cost, and ultimately filed for bankruptcy. They could not find a suitable buyer, so the pier closed in 1975 and subsequently fell into disrepair.
The West Pier Trust now owns the pier and has proposed various plans to renovate it. Some schemes have been opposed by local residents and the owners of the nearby Palace Pier, who have claimed unfair competition. The pier gradually collapsed during the early 21st century. Major sections collapsed in late 2002, and two fires in March and May 2003 left little of the original structure. Subsequently, English Heritage declared it to be beyond repair. Structured demolition took place in 2010 to make way for the observation tower i360; further structural damage from storms has occurred since.
Tapestry is a form of textile art, traditionally woven by hand on a loom. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike most woven textiles, where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous (unlike brocade); the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design.
Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall (or sometimes in tents), or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. European tapestries are normally made to be seen only from one side, and often have a plain lining added on the back. However, other traditions, such as Chinese kesi and that of Pre-Columbian Peru, make tapestry to be seen from both sides. Most weavers use a natural warp thread, such as wool, linen or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.
Tapestry Room from Croome Court, moved to the Metropolitan Museum of Art, hung with made to measure 18th-century Gobelins tapestries, also covering the chairs. 1763-71
Tapestry should be distinguished from the different technique of embroidery, although large pieces of embroidery with images are sometimes loosely called "tapestry", as with the famous Bayeux Tapestry, which is in fact embroidered. From the Middle Ages on European tapestries could be very large, with images containing dozens of figures. They were often made in sets, so that a whole room could be hung with them.
The Triumph of Fame, probably Brussels, 1500s
In late medieval Europe tapestry was the grandest and most expensive medium for figurative images in two dimensions, and despite the rapid rise in importance of painting it retained this position in the eyes of many Renaissance patrons until at least the end of the 16th century, if not beyond. The European tradition continued to develop and reflect wider changes in artistic styles until the French Revolution and Napoleonic Wars, before being revived on a smaller scale in the 19th century.
La tapisserie est un tissu fabriqué sur un métier à tisser ou bien à la main, dont le tissage représente des motifs ornementaux1. Le tissage se compose de deux ensembles de fils entrelacés, ceux à la verticale, les fils de chaîne, et ceux à l'horizontale, les fils de trame1. Les fils de chaîne sont mis en place sous tension sur un métier, et le fil de trame est transmis par un mouvement mécanique de va-et-vient sur tout ou partie de l'ouvrage. Souvent la tapisserie est une réalisation textile décorative d'ameublement, se classant dans les arts décoratifs. La tenture murale d'une pièce peut être constituée d'une seule ou d'un ensemble de tapisseries2.
L'art de la tapisserie existe depuis l'Antiquité, et beaucoup de peuples l'ont pratiqué : Grèce antique, Chine impériale, Égypte antique, civilisations précolombiennes. La tapisserie occidentale connaît un essor formidable pendant le xive siècle, illustré par la tenture de l'Apocalypse commandée par le duc Louis Ier d'Anjou.
Un grand nombre de tapisseries sont parvenues jusqu'à nous directement. Elles sont parfois grandioses (tenture de La Dame à la licorne conservée au musée de Cluny, tenture de David et Bethsabée4 conservée à Écouen, tenture Les Chasses de Maximilien conservée au musée du Louvre), souvent plus modestes. Certaines tentures sont disponibles en plusieurs séries (tenture de l'Histoire du Roy dont une série complète se trouve au château de Versailles).
Albania - Butrinti.
The city of Butrinti (Bothrota) is one of the fragments which form the fabric of Albania's ancient cultural landscape. Nestling in the highlands in the far south of the country and surrounded by dense vegetation, Butrinti was doubly protected by nature and by the fortifications which its inhabitants built in ancient times. However, this was not sufficient to isolate the city from the rest of the world. Less than ten kilometers from the island of Corfu, Butrinti was linked to the Mediterranean by the Vivari canal, which ran from the Butrinti Lake to the Ionian Sea.
The proximity of the sea and the lake, the gentle climate and the beauty of the surrounding countryside provided a splendid environment for the foundation of a city. In taking advantage of this site, the architects of the past constructed what was to become one of the major maritime and commercial centers of the Ancient World. Butrinti reached the height of its glory in the 4th century B.C., at which time the city numbered 10,000 inhabitants.
The sight of the fortifications alone, which date from the 6th century B.C., evokes the military and economic potential of the city at that time. The hill on which the acropolis stands is encircled by a wall built of huge stone blocks. In places this wall is two meters high and 3.5 meters wide.
The amphitheater, dating from the 3rd century B.C., bears witness to the cultural riches of the city. The stone banks of seating, of which twenty-three rows have been preserved, would have held an audience of 1,500. The theater is situated at the foot of the acropolis, close by two temples, one of which is dedicated to Asclepios, the Greek god of medicine, who was worshiped by the city's inhabitants. Approximately thirty inscriptions, almost all in ancient Greek, carved the western facade of this temple, and another hundred or so found on a tower which was rebuilt in the 1st century B.C., are the only examples of writing discovered in Butrinti. These inscriptions are mainly concerned with the liberation of slaves.
Excavations have brought to light many objects - plates, vases, ceramic candle sticks - as well as sculptures, including a remarkable "Goddess of Butrinti," which seems to completely embody, in the perfection of its features, the Greek ideal of physical beauty.
For centuries, the walls faithfully defended Butrinti, but no wall is invincible, and these huge blocks of stone finally ceded to the assault of the Roman legions which landed on the Adriatic and Ionian shores in the 2nd century B.C. Under the rule of the occupiers, Butrinti was to fall slowly into decadence. In spite of this, three monumental fountains, three public baths, a gymnasium decorated with mosaics, and especially the aqueduct constructed during the reign of Augustus, prove that the site was not completely abandoned. Augustus also oversaw the reconstruction of all the ancient city walls and the erection of new fortifications.
Christianity brought new life to Butrinti. The palaeo-Christian period adorned the city with two basilicas and a baptistry, which is among the most beautiful in the Mediterranean region. Sixteen granite columns, forming two concentric circles, support the roof of the main hall. The floor is paved with a magnificent mosaic representing the Tree of Life and decorated with medallions embellished with animal motifs. Barbarian incursions and Norman raids in the eleventh century, a catastrophic earthquake in 1153, conquest by the Venetians in 1386, the subterranean infiltration of water and the subsequent epidemics completed the ruin of the city and forced the inhabitants to flee. Butrinti was buried in silence and oblivion. Throughout the occupation by the Ottoman Empire, from the 15th to the 20th centuries, the city remained in deep slumber. The waters covered Butrinti in mud, and abundant vegetation completely hid the remains from view.
It was not until the beginning of the 20th century that systematic excavations were carried out at Butrinti by the Italian archeologist I. Ugolini, followed by his compatriots P. Marconi and D. Mustili. Between 1928 and 1941, the ground was cleared and the ancient city gradually began to reveal its hidden treasures.
Following the liberation of Albania in 1944, Albanian archeologists undertook more ambitious excavations. In turn, the ramparts, the acropolis, the agora, the amphitheater, the temples, public baths and private residences re-emerged into the light of day. The entire city arose, almost intact, under the fascinated gaze of the archeologists. The mud and vegetation that covered Butrinti had protected it from the natural and human ravages of time.
Today, this rediscovered city represents a unique cultural treasure whose value far surpasses national frontiers. The importance of Butrinti can be gauged from its inclusion in 1992 on UNESCO's World Heritage List.