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September 2010 - Berenice, Red Sea, Egypt
A nudibranch is a member of what is now a taxonomic clade, and what was previously a suborder, of soft-bodied, marine gastropod mollusks which shed their shell after their larval stage. They are noted for their often extraordinary colors and striking forms. The clade Nudibranchia is the largest clade within the heterobranchs, with more than 3,000 described species.
The body forms of nudibranchs vary enormously, but because they are opisthobranchs, unlike most other gastropods they are bilaterally symmetrical because they have undergone secondary detorsion. Some species have venomous appendages on their sides. These are used to deter predators.
Source: Wikipedia
from my set: Forms & Colors > www.flickr.com/photos/fsimages/sets/72157616294042748/
All rights reserved - copyright © Frank Smout
100422-2610
Da quando lo sport del tennis tavolo ha iniziato ad utilizzare le moderne racchette in legno e con il perfezionamento dei materiali e degli stili di gioco lo spettacolo è progredito, ma proprio l'avvento di prodotti sofisticati ha reso il gioco più rapido e ridotto il numero di scambi[4]. Questi avvenimenti penalizzano la godibilità del gioco. Se qualche decennio fa per veder aggiudicato un punto lo spettatore poteva assistere in media a 10/12 scambi, adesso non è raro che un punto sia ottenuto (sempre in media) dopo appena 3/4 scambi.
Le diverse "epoche" del ping pong sono ricordate in genere attribuendole al tipo di racchetta allora in auge. Volendo elencarle è possibile suddividerle:
l'era delle "puntinate corte su legno"[5]. Il gioco era costituito per lo più di colpi secchi ravvicinati al tavolo, la pallina non subiva importanti effetti di rotazione.
Il periodo successivo è quello delle "racchette con grossi strati di gommapiuma" che rendevano il gioco poco fluido perché la pallina era assorbita dalla gomma rendendo lo scambio più lento. Tale tipo di rivestimento è stato in seguito proibito.
l'avvento della "gomma sandwich", cioè uno strato di gommapiuma, questa volta regolamentato nello spessore, attaccato al telaio in legno a cui è sovrapposto uno strato di gomma con puntini esterni o interni, anch'essi regolamentati in quanto a forma e spessore è stata l'evoluzione successiva e ancora in auge. La particolarità di tali rivestimenti è la capacità di imprimere forti rotazioni alla pallina, tali da "allungare" il colpo quando la pallina tocca il campo avversario.
Nel primo periodo di avvento della "gomma sandwich" sono state ideate dall'industria del settore le gomme antispin: gommapiuma morbida e lenta con la superficie di gomma liscia poco o per nulla sensibile agli effetti.
le gomme puntinate lunghe vetrificate (non più regolari a partire dalla stagione 2008/2009), totalmente insensibili agli effetti ricevuti e in grado di restituire l'effetto (la forza cinetica della pallina) all'avversario con una traiettoria a zigzag sono state un'altra evoluzione nell'era della "gomma sandwich". Ci sono stati molti pareri ostili nei confronti delle gomme a puntini lunghi, lisci e vetrificati in quanto accusate di rovinare il gioco con effetti imprevedibili. In verità, gli effetti impressi da tali superfici sono prevedibili perché ogni gomma ha un proprio "funzionamento" che una volta compreso dall'avversario può essere contrastato senza molti problemi. Anzi, per alcuni giocatori avvezzi a giocare contro le "gomme trattate", la partita è tatticamente ancora più semplice in quanto le alternative dei colpi del proprio avversario sono limitati.
infine l'era della colla fresca, un ulteriore accorgimento tecnico non relativo al rivestimento ma alla sua attaccatura al telaio. Tale tecnica aumenta la forza propulsiva delle gomme, rendendo i colpi "esplosivi".
La pallina può giungere a velocità prossime ai 150 km/h e quindi sempre per quanto concerne la spettacolarità del gioco, si è cercato di renderla più visibile allo spettatore utilizzandone una più grande delle precedenti. In questo modo si era pensato che anche gli spettatori posti ad una certa distanza dal rettangolo di gioco, potessero percepire al meglio le azioni. La soluzione si è rivelata comunque inadeguata perché lo scambio al tavolo rimane, spesso, corto e a discapito della godibilità per i profani. Una nuova proposta è stata quindi quella di proibire l'uso della colla fresca. Questo con lo scopo di decrescere la rapidità dello scambio.
© Catedrales e Iglesias
MUSEO VIRREINAL
1892 Ex Convento Franciscano y Parroquia de San Miguel Arcángel (Zinacantepec) Estado de México
Museos
El museo cuenta con una valiosa colección de libros y misales, con los que se ha integrado una biblioteca.
De esta forma el ex-convento franciscano de Zinacantepec, que se supone se inició su edificación, antes de 1550 y su consagración por 1560 o 1570 aproximadamente, representa un valor histórico religioso que los habitantes del municipio mucho valoran como parte de su patrimonio y que el gobierno federal con fecha 6 de septiembre de 1933 lo declaró monumento nacional.
Museo de Arte Virreinal. Ubicado en pleno zócalo del municipio de Zinacantepec, al que se puede llegar por vía terrestre, partiendo de la ciudad. de Toluca, o de las vías terrestres de los pueblos circunvecinos, ideal para conocer la actividad evangelizadora de los franciscanos a los grupos indígenas.
Museo Virreinal de Zinacantepec
Zinancatepec, palabra de origen náhuatl que significa en este lugar se encuentra el ex-convento de la orden franciscana, establecido en la Nueva España en el siglo XVl, cuya construcción fue solicitada al virrey y por el encomendero Juan Sámano, quien estaba a cargo del gobierno de esta población.
El Museo virreinal fue inaugurado el 5 de Julio de 1980, por el entonces Presidente de la República mexicana, Lic. José López Portillo, con el objeto de difundir entre la población el ambiente y la vida conventual de los franciscanos durante la época virreinal, asimismo mostrar las características del arte religioso de los siglos XVI al XIX. El Museo cuenta con 18 salas, entre ellas el Bautisterio, en este espacio se encuentra la pila bautismal, la cual es monolítica, del siglo XVI y pone de manifiesto la mano de obra índigena, arte tequitqui, la pila presenta en su borde superior un cordón franciscano, más abajo una leyenda en lengua náhuatl qué explica: esta pila fue hecha en el año de 1581. Tiene cuatro medallones con temas bíblicos "La lucha del arcángel San Miguel con Luzbel", el "Bautismo de Jesús". La capilla abierta surge para contrarrestar la renuencia de los índigenas a celebrar sus cultos y ceremonias en interiores, los sacerdotes oficiaban las actividades religiosas en este sitio. El altar, consta de pinturas al fresco realizadas en el siglo XVI con imágenes de San Francisco de Asís. Las pinturas son de estilo renacentista. Anteportería, en la parte superior, encontramos el fresco del árbol geneológico de "San Francisco de Asís". La portería, da acceso al claustro bajo, conserva frescos de estilo mudejar (Arte Arabé). El Anterrefectorio, se aprecia un lavabo empotrado, de piedra, donde se aseaban antes de tomar sus alimentos en el refectorio. En la cocina, se encuentra una chimenea de estilo medieval y junto a ella tenemos la Alacena, donde guardaban semillas. Claustro Alto, aquí se ubican celdas dos de ellas eran para visitas importantes, pues son las más amplias, en ellas existen pinturas de los siglos XVI al XIX, casi todas ellas anónimas, excepto la pintura del artista Andrés de la Concha, en estos espacios también se conservan frescos del siglo XVI.
Sala de Virreyes, hay 60 óleos de los virreyes que gobernaron durante la época de la Nueva España, son copias de los originales que se encuentran actualmente en el Museo de Historia, en Chapultepec, su autor es Horacio. Biblioteca, se resguardan 4,800 volúmenes, todos escritos en latín y español antiguo, sus temas son religiosos, algunos conservan sellos de diversas órdenes religiosas.
El Museo Virreinal de Zinacantepec, fue construido entre 1550 y 1560, alguna vez fue el convento que albergó a los primeros hombres religiosos que iniciaron la evangelización entre el pueblo indígena a través del catecismo.En el interior del convento que desde el 5 de julio de 1980 funciona como Museo se puede apreciar la existencia de lugares especiales para la elaboración de pan, esto porque los franciscanos no sólo impartían la religión mediante los misales, sino que se apoyaban en la comida que compartían con el pueblo para que éstos se sintieran atraídos", dijo Vilchis.La construcción franciscana, de dos plantas terminadas con piedra negra, cal y tezontle, comentó, es uno de los tres centros más importantes de esta orden católica que arribó al Estado de México, los otros dos son Los Portales en Toluca y el que se encuentra en Metepec."Este ex convento y hoy museo, no sólo es importante por su arquitectura, por su capilla abierta, su anteportería, su portería, claustro bajo y sala de 'profundis' donde los franciscanos velaban a sus muertos o su anterefectorio y refectorio, que servían para mantener los alimentos perecederos en buen estado, sino también por la actividad cultural y religiosa que tenían."El acervo en cuanto libros que tiene este Museo, de un periodo de 1500 a 1800 lo hacen uno de las colecciones más importantes de libros franciscanos porque se tienen alrededor de 4 mil 800 títulos, que hablan sobre misales, vidas de santos y colecciones de otras órdenes como la de los carmelitas, dominicos y agustinos", afirmó.Actualmente el Museo Virreinal forma parte de los puntos más interesantes de esta región, junto con la Parroquia de San Miguel Arcángel, donde la gente realiza sus ceremonias religiosas como bodas, bautizos, quince años y presentaciones que forman parte de su vida diaria siempre apegada a la herencia de parte de los franciscanos
© Photo by Tasos Tsoukalas
www.facebook.com/pages/Tasos-Tsoukalas-Photography-/29358...
e-mail : t.tsoukalas1978@yahoo.com
Formado em 2000, o JAM Project é um grupo de cantores japoneses especializados em temas de animês (desenhos animados), tokusatsus (séries live-action) e jogos de videogames japoneses. É o principal expoente do gênero.
O objetivo do grupo é preservar as características originais do gênero musical, que desde a década de 90 tem a interferência do marketing da indústria fonográfica, envolvendo artistas do pop-rock japonês.
A formação atual é composta por Hironobu Kageyama, Masaaki Endoh, Masami Okui, Yoshiki Fukuyama, Hiroski Kitadani e Ricardo Cruz.
Copyright - All Rights Reserved - Black Diamond Images
Family Sapindaceae
A now rare tree from subtropical rainforest north from Tintenbar (Richmond River) to Mudgereeba Creek, in SE Queensland.
The species occasionally produces a yellow fruiting form as opposed to the more usual red fruiting form.
IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI - Flick Group --> DATABASE INDEX
1901 Oldsmobile curved dash. At the Naples airport car show. 2019. The gasoline-powered Curved Dash Oldsmobile and is credited as being the first mass-produced automobile, meaning that it was built on an assembly line using interchangeable parts.
Collaboration with Nadya Prilutskaya
www.flickr.com/people/35165895@N03/
The object is made for Exhibition called "Transformation". Constructed from natural elements it shows transformation states of a tree - grass, timber, paper, ash.
Backstage Sky TG24HD una puntata con Paola Saluzzi insieme a Maurizio Zorzetto Country Manager Italia di Meetic per parlare dell'amore ai tempi della rete e come si formano le coppie in rete. In onda su Sky TG24
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
No âmbito do Programa Erasmus +/mobilidade de docentes, a Professora Slavica Vrsaljko, da Universidade de Zadar, Croatia, proferiu no Auditório 2 do IPBeja, a 14 de abril de 2015, o Seminário “Forms of Communication: formal and informal”
Mais reportagens fotográficas em: <a www.flickr.com/photos/40478366@N08/collections/
38° 00' 46.87''N
7° 52' 22.19''W
Antigua Estación de Autobuses. En algún momento de mi vida yo monté en transporte a Madrid. No pongo el nombre por no hacer publicidad. Actualmente forma parte de la Universidad.
Formado em 2000, o JAM Project é um grupo de cantores japoneses especializados em temas de animês (desenhos animados), tokusatsus (séries live-action) e jogos de videogames japoneses. É o principal expoente do gênero.
O objetivo do grupo é preservar as características originais do gênero musical, que desde a década de 90 tem a interferência do marketing da indústria fonográfica, envolvendo artistas do pop-rock japonês.
A formação atual é composta por Hironobu Kageyama, Masaaki Endoh, Masami Okui, Yoshiki Fukuyama, Hiroski Kitadani e Ricardo Cruz.
This bulb has grown very well for me in Honolulu. It is truly evergreen and has only gone dormant when I have forced it to by letting it dry out completely. Undulation of its leaf margins (frilliness) is dependent on light intensity. At the second place I lived in Mānoa Valley (where this picture was taken) it was a sunny location with very few trees and rather dependable sunlight, and thus it began to produce extremely undulate leaves. The third place I lived at in the valley had many tall trees, frequent rainfall and cloud cover. Because of this the leaves returned to emerging relatively flat. This picture shows how the undulation has ebbed after 5 months in a shadier location.
I imported this bulb from Penroc in South Africa as:
'Boophone disticha East Cape 'evergreen frilly form'.
B. disticha is a wide-spread species native to vast areas of Africa (get ready): Burundi, Rwanda, DRC, Sudan, Kenya, Tanania, Uganda, Angola, Malawi, Mozambique, Zambia, Zimbabwe, Botswana, and South Africa.
Ethnobotanical uses include extraction of poison for arrows, treating pain and wounds, application to boils and abscesses. Fresh leaves have been used to stop the bleeding of wounds and the Khoisan successfully mummified the dead using Boophone leaves. (Scroll down to "Mummy Post-Script")
Wigg Island is an artificial construct. It was formed by the construction of the Manchester Ship Canal, which runs alongside the River Mersey to the seaward end locks at Eastham. The island was home to a number of factories, one of which was owned by Mr Wigg. Access to the Island is via a swing bridge owned by the Canal.
Casual visitors were not permitted so local lads would swim the canal. When the factories closed, the island was turned into a park and wildlife sanctuary. The northern side has extensive salt marshes and is home to a wide variety of coastal bird life. A network of bird hides enables viewing. In the north-west end of the island, an area is cordoned off to protect ground nesting wild life from visitors’ dogs.
The new Mersey Gateway Bridge will cross the island.Recently the route of the bridge across the island was cleared. This was done with a view to minimising the disruption to wild life – outside of the nesting season. Although massively disruptive, the wild life is able to shift to other parts of the island.
The existing bow girder Jubilee Bridge and the original London and North Western Railway viaduct behind dominate the views down river. Across the river to the North West lies Widnes where the new bridge will feed into the existing road network. To the north east Fiddlers Ferry Power station between Widnes and Warrington dominates the skyline.
¿ oo-RAY ? -- perhaps Latinised form of a vernacular name of the plant
san-gwin-oh-LEN-tuh -- full of blood ... Dave's Botanary
commonly known as: climbing wool-plant • Assamese: অষ্টমা বৈদ্য astama baidya, বিশল্যকৰণী bishalyakarani • Bengali: নুরিয়া nuriya • Garo: phul-anchi • Gujarati: કરાડીયા karadiya, વેલારો velaro • Haryanvi: बुई bui • Hindi: नुरिया nuriya, सफेद फुलीया sufed phulia • Kachchhi: બૂરજી વલ boorji val, ગોરખ વલ gorakh val • Kannada: ದೊಡ್ಡ ಹಿಂಡಿ ಗಿಡ dodda hindi gida, ನೆಲ ಹಿಂಡಿ ಸೊಪ್ಪು nela hindi soppu • Konkani: व्हडलो तांडलो vhadlo tandlo • Malayalam: വള്ളിചെരുള vallicheroola • Marathi: कापूरलता kapurlata • Nepali: अईतिनबोट aitinbot • Odia: ବଡ ଚାଉଳଧୁଆ bada chauladhua, ନରିୟା nariya • Punjabi: ਬੂਈ bui • Rabha: lalpata • Tamil: காட்டுப்பூளை kattu-p-pulai • Telugu: పురిటి తీగె purititige, తెలగ పిండి thelaga pindi
botanical names: Ouret sanguinolenta (L.) Kuntze ... homotypic synonyms: Achyranthes sanguinolenta L. • Aerva sanguinolenta (L.) Blume ... heterotypic synonyms: Achyranthes scandens Roxb. • Aerva scandens (Roxb.) Wall. ... and more at POWO, retrieved 01 December 2025
~~~~~ KNOWN DISTRIBUTION in INDIA ~~~~~
almost throughout
Names compiled / updated at Names of Plants in India.
Harpa, the new concert hall/opera in Reykjavik, Iceland.
You can read about the new concert hall in Reykjavik and see some pictures here: www.harpa.is/en/
Here you can see some 3-D pictures of how it will look like: www.harpa.is/en/about-us-/marketing-/3d-pictures-/
Reykjavik, Iceland. 11.06.2011.
Vendo Casa a forma gi fragola gigante di STRAWBERRY SHORTCAKE, fragolina dolcecuore anni 80.
La casa è completa di scatola ORIGINALE e tutti gli accessoti:MOBILI, CUCINA, MESTOLI, ARNESI DA GIARDINAGGIO, FRAGOLE, CESTO X GIARDINAGGIO, INNAFFIATOIO.
Se si preme la mega foglia sopra le fragole, sembrerà che sta ctescendo la piantina poichè ha un meccanisco a pompetta.
Dimensioni chiuse: 30cm x 15cm
Dimensioni aperte: 30cm x 50cm
E' perfetta:non manca nulla.
Le bamboline sono sono mai state incluse e infatti non le ho mai avute per mia sfortuna
Prezzo € 60 (accetto pagamento postepay)
Spedizione a carico dell'acquirente:spedisco con Pacco Celere 3 €9.90 oppure o comunque accetto altri metodi di spedizione su vostra richiestavendo casa a forma di flagola STRAWBERRY SHORTCAKE anni 80 FRAGOLINA DOLCE CUORE
Positive Runway Global Catwalk African Fashion Show African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
TD-2259-CV Trinity Division - Central Valley Project - Trinity Dam: View of intake structure piers and forms. Completed upstream conduit is in background. Spec. No. DC-4824.
Part of Azzedine Alaïa: The Couturier
(May to October 2018)
Azzedine Alaïa’s innovations in stretch fabrics were at least as important as his elevation of leather. In his hands, these transformed the silhouette of the wearer.
Rather than creating clothes anchored at strategic points – conventionally, the waist and the shoulders – Alaïa’s bandage dresses cling to the wearer’s form, conscious of the entire body. The stretch fabric allows these minimal silhouettes to move freely.
Debuted in 1986, these variations on the ‘Bandelette’ (bandage) dress are clearly inspired by ancient Egyptian mummification, but also perhaps by the swaddling of infants. The garments join Western and Eastern traditions – highly fitted and precision-cut, with a body simply and sensually wrapped in cloth.
The dresses seem simple, but each band of fabric is precisely engineered and cut to specific dimensions, according to its place on the figure. These creations ushered in the notion of physique-delineating ‘bodycon’ dressing, the defining aesthetic of the early 1990s.
Conceived and co-curated with Monsieur Alaïa before his death in November 2017, the exhibition charts his incredible journey from sculptor to couturier, his nonconformist nature and his infectious energy for fashion, friendship and the female body.
Unlike many of his contemporaries, Alaïa personally constructed each garment by hand and refused to bow to the pressures of fashion week deadlines, instead working to his own schedule. His collaborative approach earned him an esteemed client list, including Greta Garbo, Grace Jones, Michelle Obama and Rihanna.
Rather than a retrospective, the show interlaces stories of his life and career alongside personally selected garments, ranging from the rare to the iconic and spanning the early 1980s to his most recent collection in 2017.
[Design Museum]