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The United States Navy's Blue Angels (or Navy Flight Demonstration Squadron), formed in 1946, is the world's first officially-sanctioned military aerial demonstration team.
This aerobatic team is split into "the Diamond" (Blue Angels 1 through 4) and the Opposing Solos (Blue Angels 5 and 6). Most of their displays alternate between maneuvers performed by the Diamond and those performed by the Solos.
The Diamond, in tight formation and usually at lower speeds, performs maneuvers such as formation loops, barrel rolls, or transitions from one formation to another.
The Opposing Solos usually perform maneuvers just under the speed of sound which showcase the capabilities of their individual F/A-18s through the execution of high-speed passes, slow passes, fast rolls, slow rolls, and very tight turns. Some of the maneuvers include both solo F/A-18s performing at once, such as opposing passes (toward each other in what appears to be a collision course, narrowly missing one another) and mirror formations (back-to-back. belly-to-belly, or wingtip-to-wingtip, with one jet flying inverted).
At the end of the routine, all six aircraft join in the Delta formation. After a series of flat passes, turns, loops, and rolls performed in this formation, they execute the team's signature "fleur-de-lis" closing maneuver.
The parameters of each show must be tailored to local visibility: in clear weather the "high" show is performed, in overcast conditions it is the "low" show that the spectators see, and in limited visibility (weather permitting) the "flat" show is presented. The "high" show requires an 8,000 foot ceiling and visibility of three nautical miles from the show's centerpoint. "Low" and "flat" ceilings are 3,500 and 1,500 feet respectively.
Massive tug Seaspan Raven in the south arm Fraser River near the BC Ferries Maintenance Docks. 5000BHP - very business-like.
0-16450 in "Heavy left" formation with A2-488 as number 1, 0-60809 as number three and A2-485 as number 4 on 23 August 1982. Photo taken from A2-488 S/L Wood RNZAF, Cpl K Manuel RAAF.
This is actually a really pleasing shot for me. So many of the larches have been cleared from Wentwood to prevent the spread of the Larch fungal disease, and yet the native broadleaves have been left. Areas like this will naturally regrow with broadleaf seedlings, and areas without any broadleaves will be planted with a native species mix. Despite the devastation, I can see hope for the future of Wentwood.
Livingston County was formed in 1821, and in 1823 a courthouse was built at the north end of Main Street in the Village of Geneseo, the county seat. This image shows the building after it was expanded in 1898.
Recommended Citation: Livingston County Historian's Office, New York
For more information contact us at the Livingston County Historian’s Office at:
Photos by Jonathan Cherry
RELEASE DATE: 21st May 2019
PRESS RELEASE
Dare to Dream: New ‘Craftivism’ project
announced by Heritage Open Days
13th-22nd September 2019
This year, England’s largest festival of culture and heritage will celebrate its 25th anniversary, with a new arts commission focusing on those who have affected positive change and the power of gentle protest.
In 2019, Heritage Open Days will celebrate its anniversary with 25 Years of People Power. Against a backdrop of Brexit - a time of unprecedented social division and uncertainty - hundreds of events across the country will celebrate change-makers; those whose visions and dreams have brought positive developments to our society, both large and small.
Alongside festival walks, talks and openings, the Dare to Dream project will explore the power of positive visualisation in effecting change and finding solutions to the problems that surround us. Through a series of ‘craftivism workshops’ designed by Sarah Corbett, founder of the global Craftivist Collective, participants will have an opportunity to think about the issues that matter to them, and how to be an active part of bringing positive change, both locally and globally. The commission is the third in Heritage Open Days’ Unsung Stories strand, made possible by support from players of People’s Postcode Lottery with the aim of exploring lesser-known histories in new and innovative ways.
Participants will hand-stitch their positive visions for the future onto fabric ‘dream clouds’, share their creations on social media, and display them in meaningful locations to encourage us all to be solution-seekers and change-makers. “We’re thrilled to be working with Sarah, who embodies the gentle form of People Power that is at the heart of Heritage Open Days,” says HODs National Manager, Annabelle Thorpe.
“Throughout history, real change has come from those who have thought differently, dreamed big and believed solutions are there to be found. Dare to Dream offers a chance for everyone to think about how we can all positively shape the future, and make our dreams for a fairer, happier society become reality.”
Across the Heritage Open Days festival, Sarah will lead four free workshops, launching at
Dartington Hall in Totnes, where the concept for the NHS was established in the 1940s. Moving to Norwich, Manchester and Durham, each session will take inspiration from local dream-makers whose historic ideas helped to shape a new reality. Downloadable instruction packs will also enable organisers to run their own Dare to Dream workshops, enabling nationwide participation. After the festival, insights drawn from the workshops will create a picture of our dreams and hopes for society in the next 25 years.
"By having a vision rather than just fixating on a problem, our brains start finding ways to turn
those visions into reality” says campaigner, Sarah Corbett. “Join us and craft your creation, whilst you think deeply about what your dream for a better world will look like, and how you can be part of making it. Stitch by soothing stitch, we can help become change-makers."
Yesterday’s dreams shaped today’s reality. This September, join Heritage Open Days and the
Craftivist Collective to create individual dreams for a positive future.
- - -
For more information and photographs:
Laura Davey, Press and Communications Officer
020 3097 1977 | laura.davey@heritageopendays.org.uk
More details about Dare to Dream can be found at
www.heritageopendays.org.uk/visiting/unsung-stories/dare-...
NOTES TO EDITORS
About Heritage Open Days
• Heritage Open Days (13th-22nd September 2019) is England’s largest festival of history and
culture; in 2018, over 5,500 events welcomed more than three million visitors across the
country.
• All events are free, including access to many sites that usually charge for admission.
• Heritage Open Days is coordinated and promoted nationally by the National Trust with
support from players of People’s Postcode Lottery, and run locally by a large range of
organisations (including civic societies, heritage organisations, and local councils,
community champions and thousands of enthusiastic volunteers).
• Heritage Open Days is England’s contribution to European Heritage Days, taking place
across 50 countries. Other events in the UK are Doors Open Days in Scotland
(www.doorsopendays.org.uk); Open Doors Days in Wales
(www.cadw.wales.gov.uk/opendoors); European Heritage Open Days in Northern Ireland
(www.communities-ni.gov.uk/articles/european-heritage-open...); Open House London
• For further details, visit www.heritageopendays.org.uk, follow on Twitter
@HeritageOpenDay, or subscribe to the newsletter.
About People Power and Unsung Stories
• People Power is Heritage Open Days’ theme for 2019, celebrating the 25th anniversary of
the festival, and highlighting the ability of local communities, groups and individuals to evoke change. For more information, visit www.heritageopendays.org.uk/organising/people-
power
• The Unsung Stories programme is annual arts-based strand of Heritage Open Days,
commissioning artists to work with local organisers, bringing to life stories, and reflecting
HODs’ belief that history belongs to all of us. For more information, visit
www.heritageopendays.org.uk/visiting/unsung-stories
About the Craftivist Collective and Sarah Corbett
• Sarah Corbett is an award-winning campaigner, author of How to be a Craftivist: The Art of
Gentle Protest, and founder and Creative Director of the global Craftivist Collective. She
grew up in a low-income area of Liverpool and was born into an activist family. Her TED
talk ‘Activism Needs Introverts’ has been viewed over 1 million times.
• The Craftivist Collective is a social enterprise providing products and services to help
individuals, groups and organisations around the world learn and take part in ‘a gentle
protest’ approach to craftivism (craft + activism), and transform the way people practice
activism in more emotionally intelligent, creative and kind and effective ways.
• Previous craftivism projects have addressed mental health, living wage and climate change
amongst other issues. Their projects have helped change laws and policies, as well as hearts
and minds.
• They have worked with Save the Children, Unicef and Mind, have helped create the new
Girlguiding craftivism badge, as well as collaborating with Secret Cinema and V&A, amongst
others.
• Sarah is experienced as an interviewee for print, online, live or prerecorded audio,
television and vlogs.
• For further details, visit www.craftivist-collective.com or follow on Twitter and Instagram
@Craftivists.
About People’s Postcode Lottery
• People’s Postcode Lottery manages multiple society lotteries promoted by different
charities and good causes. People play with their chosen postcodes for a chance to win
cash prizes. A minimum of 32% from each subscription goes directly to charities and good
causes across Great Britain and internationally -- players have raised £416 million so far.
For details of the charities and good causes which are promoting and benefitting from the
lottery draws, please visit www.postcodelottery.co.uk/good-causes/draw-calendar
• It costs £10 a month to play and winning postcodes are announced every day. The
maximum amount a single ticket can win is 10% of the draw proceed. For details, please
visitwww.postcodelottery.co.uk/prizes
• New players can sign up to pay using direct debit by calling 0808 10 9 8 7 6 5. New players
who sign up online at www.postcodelottery.co.uk can pay using direct debit, debit card or
PayPal.
• Postcode Lottery Limited is regulated by the Gambling Commission under licence
numbers: 000-000829-N-102511 and 000-000829-R-102513. Registered office: Titchfield
House, 69/85 Tabernacle Street, London, EC2A 4BD
• Follow us @PostcodePress
Forms in Transit was created by the modernist sculptor Theodore Roszak for the 1964-1965 New York World’s Fair.
The 43-foot long sculpture of aluminum and steel tubes and sheet metal suggests an aircraft, with fuselage and wings, but it is also meant to embody the concept of motion and change.
The sculpture reflected one of the central themes of the fair, space exploration, and complemented several other significant features in the park, such as the Rocket Thrower statue, Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere.
It can be found in its original location in Corona Park in the Flushing Meadows section of Queens, NY.
Digital camera Pete Sczbo
www.flickr.com/photos/psychoactivartz/4550440456/sizes/l/
ancient wall cravein found inna old cave ???sculpted into da side of da wall.....
scientist are still wonderin what it means ???
One thing that drives me bonkers is the ordering of form fields. Place form fields in a logical order that makes sense to the user. This example shows an incorrect ordering of fields. The order of fields should have been Address, State, Postcode (matches how people expect to see and write addresses).
I sprayed on the stucco 'till I thought I'd faint
With twelve shades of brown and for real I cain't...
Believe all the blandness, oh no artist I ain't
But it's my destiny to be the King of Paint
Finally, I figured out something fitting (albeit strange) for that song!
Yes, the new Taco Bell looks to be already past the stucco and paint stage, at least on the exterior (minus painting the confetti if they do that here), and that's right at one mere month from pouring the foundation! In this pic grooves in the stucco for confetti (on the top of the walls) are clearly visible.
If the old TB remains standing after all (looks like it very well might), the new building will have no choice but to assume the 1117 address that the construction crew is using. Will the old building be re-addressed correctly when Taco Bell vacates? I doubt it but stay tuned...
Bregenz, 17.06.2010 Festspielhaus, Urbanes Bauen Symposium, Holzbau, Herbert Brunner, LStH. Markus Wallner, Dr Johannes Ortner, Dr. Matthias Ammann, Prof. Dr. Friedrich Schmidt-Bleek, Prof. Hermann Kaufmann, DI Carsten Hein, DI Hubert Rhomberg, Hermann Blumer, Podiumsdiskusion
July 2004 A Waterhouse, I Peters P Chambers, B Kelly
Please tell us if you can improve our caption with more information, email 50th@stmarysmenston.org
A form I created to keep me on task for the day.
You can download it here: Daily 3x5 Productivity Form
Positive Runway Global Catwalk African Fashion Show with Her Excellency Dr Justina Mutale. African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
żelazna st., warsaw, poland
disclaimer: i will be more than happy if you repost or blog my photos as long as they are linked to their sources on flickr. and please, it would be really nice of you if you just informed me in comments. i prefer to find out from you than through my flickr stats.
I have always been fascinated with the pedestrian bridge at the Greenway exit on Highway 51 in Phoenix, Arizona. A true vision of art and function. Notice how the bridge mimics the mountain range behind it and ask yourself...why does that brand new Chrysler Pacifica have a European license plate as well as Arizona?
The image above is part of an advert by a company offering VHS (etc) tape to DVD dubbing services. People send their tapes and photograph albums to the company, who converts the analogue formats to digital and sends them back to the customers in DVD form.
But what happens to the video tape? Should it just go in the trash? What happens if the video tape is of someone deceased? This Japanese company offers an additional service, in the case of one video tape at twice the price of the dubbing itself, funereal, mourning rites, at an affiliated Buddhist temple. Customers pay for about $30 USD for a Buddhist priest to chant Buddhist prayers over up to twenty of their VHS video tapes, several times, before eventually disposing of them.
This question would not occur to a Westerner. In Japan there is a far greater reticence towards destroying visual representations since these visual representations are far closer to the persons videoed. Similarly, for example there are also funereal rites for dolls in Japan because dolls are far more felt to have had lives.
So, is there a Nacalian transformation? Do Westerners pay our respects towards diaries, or voice recordings, especially of the dead, for instance?
Funeral rites for visual representations of persons (real or otherwise) may suggests a desire for visual representations of persons to live on - to go to a pictorial heaven as it were, where images live forever in an eternal light.
While I am unaware of a direct transformation, where Westerners pay respect to the linguistic representations of the dead, while they are alive it is found that at least Westerner strive towards 'symbolic immortality,' in the face of "mortality salience" - being required to think about their own death.
When required to think about their death, humans -- or at least Westerners -- attempt to live on in their narratives. The question as to whether Asians attempt to achieve "symbolic immortality" is controversial. Heine, Harihara, and Niiya (2002) found that Japanese do. Kashima, Halloran, Yuki, and Kashima (2004) found that mortality salience produced different effects in Japanese and Westerners. Yen & Cheng (2010) found that Taiwanese do not. Ma-Kellams and Blascovich (2012) found that Asians do other things in the face of death: rather than focus upon symbolic immortality they attempt to enjoy "life" more.
Heine, S. J., Harihara, M., & Niiya, Y. (2002). Terror management in Japan. Asian Journal of Social Psychology, 5(3), 187–196. Retrieved from onlinelibrary.wiley.com/doi/10.1111/1467-839X.00103/full
Kashima, E. S., Halloran, M., Yuki, M., & Kashima, Y. (2004). The effects of personal and collective mortality salience on individualism: Comparing Australians and Japanese with higher and lower self-esteem. Journal of Experimental Social Psychology, 40(3), 384–392. doi.org/10.1016/j.jesp.2003.07.007
Ma-Kellams, C., & Blascovich, J. (2012). Enjoying life in the face of death: East–West differences in responses to mortality salience. Journal of Personality and Social Psychology, 103(5), 773–786. doi.org/10.1037/a0029366
Yen, C.-L., & Cheng, C.-P. (2010). Terror management among Taiwanese: Worldview defence or resigning to fate? Asian Journal of Social Psychology, 13(3), 185–194. doi.org/10.1111/j.1467-839X.2010.01328.x
Addendum
Come to think of it. According to Derrida's Freud, I am a funeral rite.
Derrida, J., Brault, P.-A., & Naas, M. (1996). By Force of Mourning. Critical Inquiry, 22(2), 171–192. Retrieved from www.jstor.org/stable/1343969
I LOVE this little guy. Remember the giant baby in Spirited Away (Sen to Chihiro no Kamikakushi)? This is Boh when he's been transformed into a rat. I don't think he ever knits in the film, but I love to knit and when I found this at an anime shop in Ohio many years ago, I had to buy it. He's traveled with me ever since, inhabiting every dormroom I've lived in and my current apartment.
One of a series of pencil drawings on canvas, reworked digitally, which create volume and form from line and light/shade variations. The more complex pieces are also cubist in inspiration - in particular the late cubism of Lionel Feininger and in this case the piece was was also inspired by Fernand Khnopff's (1858-1921): The Caresses (The Sphinx), 1896. Royal Museums of Fine Arts, Brussels.
Fernand Khnopff was a painter of symbols and allegories and one of his most taxing allegories is The Caresses, or The Sphinx (1896), a revision of the story of Oedipus and the Sphinx. www.artunframed.com/images/artmis18/khnopff66.jpg
"The sphinx was a hybrid monster, part human, part lion, sometimes shown with eagle wings and a serpent's tail also, who blocked the mountain path to the city of Thebes and posed riddles to all who would pass. If the traveler was not able to answer, he or she was torn to pieces. In 1808 the French artist J.A.D. Ingres painted a confrontation between Oedipus and the Sphinx which follows the Greek story quite literally."
[Khnopff's version of the subject] "depicts Oedipus as androgynous and perhaps even as a magician. Khnopff was never as misogynistic as Moreau, however. The moment shown in Khnopff's painting does not appear in any literary or pictorial source. Oedipus seems to have answered the riddle, but instead of destroying herself, the sphinx cuddles up to him and caresses him with a rather satisfied expression. This is probably because Oedipus is still trapped by fate, despite his success with the riddle. In the unfolding tragedy, he will be granted the kingship of Thebes, and will marry the queen, who is (unbeknownst to him) his mother. Knowledge does not free humans from fate. Oedipus will blind himself as punishment for having looked upon his mother's nakedness, and this blindness will also signify his lack of true vision."
From: www.bc.edu/bc_org/avp/cas/fnart/art/khnopff.html#essay
This photo was so fun to shoot, even though it killed my eyes. I was shooting directly at a bulb when it was lit. Also, it was not taken in a dark room. I turned my ISO WAY up to get this photo.
I chose this for form because one can really see the 3-D aspect of the bulb. Even though it is the source of light, there are shadows on the edges and the bottom. The bulb itself is a little dusty, and I really liked that because it looked natural. I took several shots of this object, but this was the first one and I liked it the most. In photoshop, I adjusted the color a little bit to make the bulb a little darker and sharpened it around the edges.
Formed in 1875, just a few year after the Canadian Confederation, the RCMP not only became one of the most enduring symbols of Canada but also a great ambassador to represent our beloved nation worldwide. The RCMP Musical Ride is one of the best ways for anyone, Canadian or otherwise, to experience Canada’s unique heritage and identity.
To celebrate 100 Years of Fun at the PNE 2010, a full team of 32 RCMP police officers on horseback came to Vancouver’s Agrodome to perform the Musical Ride from Aug 26-31, 2010. Once again, the crowd at the Pacific National Exhibition fairgrounds got to enjoy these scarlet-uniformed riders did a variety of cavalry drills: The Maze, Threading of The Needle, The Star, The Doom, The Charge and even the Olympic Rings (four rider circles with the audience forming the 5th ring.)
The crowd not only marveled at the skill, discipline and teamwork displayed, they also admired the riders (about half of which were women) of their dedication to their profession. As a bonus at the end of the performance, the public got to meet the police officers underneath the broad-brimmed Stetson hats. [Photos & Videos by Ray Van Eng] www.vancouver21.com
VIDEO - RCMP Musical Ride, Grand Entry & Drill www.youtube.com/watch?v=qlMixIJ9xrk
VIDEO - RCMP Musical Ride, The Doom, The Maze & The Olympic Rings www.youtube.com/watch?v=4Sspz6LvpW0