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Salkantay Trek to Machu Picchu
5 Days / 4 Nights
Is a trek that takes you through diverse landscapes and altitudes as we trek around the skirts of Mount Salkantay(6271m/20,568ft) and camp within clear sight of the snow capped peak. Ascending to reach the famous Apacheta Pass at 4,600m/15,088ft) and then descent into a more tropical area passing Andenes and Chaullay on the far side of the mountain. Train ride from Hydro Electric Dam and then spend the rest of the 4th evening relaxing in the town and hotsprings of Aguas Calientes. Early 5th morning you take the bus (or walk if desired) up to Machu Picchu your well deserved prize. Late afternoon train and bus back to Cusco in the evening.
This path is well-known as the Salkantay Trek. After the Inca Trail, the Salkantay Trek is the most beautiful and popular one. Indeed, the magazine National Geographic Adventure rated the Salkantay Trek as one of the best 25 treks all over the world.
Salkantay Trek Itinerary
Day 1: Cusco - Mollepata - Soraypampa
We will leave from Cusco approximately between 4:30a.m. and 5:00a.m. A local bus will take us to the town of Mollepata (2900 meters above sea level) where we will arrive approximately at 8:15 in the morning to have breakfast. During the trip we will have panoramic views of the majestic Salkantay, other mountains covered with snow, and the Valley of Apurimac River. We will meet with our support staff, and they will load the equipment on horses and mules. Around 9:00 a.m., we will begin our walk toward Sayllapata (3200 meters above sea level). About 1:00p.m., we will have a Peruvian lunch. After lunch, we will continue hiking toward the Soraypampa villages (3850 meters above sea level). Around 5:30 in the afternoon we will arrive to our camp where the tents will be ready for you as well as your dinner.
Day 2: Soraypampa - Salkantay Pass - Huayracpunku - Chaullay
Today, nature will change drastically from dry sceneries to snowy peaks and tropical areas. After a nutritious breakfast, we will start the most difficult part of the trek. We will start the hike around 7:00 in the morning. We will hike to a place called Pampas Salkantay, then go toward the left side of the snowy peaks of Umantay located next to the Apu Salkantay. At midday, we will be on the highest point ( 4600 meters above sea level). We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest point of the Cusco region. Around 1:00 p.m., we will have our lunch, in the area called Huayracmachay. After a trek of approximately 3 hours, we will arrive to our camp in Challway (2920 meters above sea level). Around 7:00p.m., we will recuperate from the trek and eat dinner.
Day 3: Chaullay - Collpapampa - La Playa - Santa Teresa
Around 7:00a.m., we will start our trek. We will walk for about 6 hours toward Playa Sahuayaco and during this period; we will observe a town called Collpabamba, also called the “Forest Cloudy Brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to observe the famous bird called the “Cock of the Rocks”. From Playa Sahuayaco, we will head to the campsite located at the hot springs of Santa Teresa (It is recommended to bring a bath suit.) Here you will eat dinner.
Day 4: Santa Teresa - Hidroelectryc - Aguas Calientes
After of our delicious breakfast we are going to walk for approximately around 8:30 a.m we begin our trek to the village Colpani, we follow this rising trail, from which we will see plantations of coffee, banana, passion fruit and a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (canopy brich) From here we have an option to hike to hidroelectrica or to catch a small car where will take us until Hidroelectrica (25 minutes), from this place we can observe the back of Machupicchu Sanctuary, where we have the last lunch with all staff. from here we will continuo walking until arrive to Aguas Calientes around 4:30 p.m then we will stay in a hostal the last night.
Day 5: Aguas Calientes - Machu Picchu Sanctuary - Aguas Calientes - Ollantaytambo - Cusco
Today, you will be able to choose between waking up at 4:30a.m. and walking up to Machu Picchu or taking a bus to Machu Picchu at 7:00a.m. In Machu Picchu, you will have a guided tour for about two hours and after that you will be free to explore the Citadel and take pictures, or if you desire, ascent toward the Huaynapicchu Mountain. At 2:26p.m. or 6:03p.m. (depending on availability), you will be taking a train to Ollantaytambo and from there; a bus will drive you to your hotel in Cusco.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone:(+51) (84) 974727031 / 958191179 / 958191179 (24 hours available)
Address in Cusco: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco :
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: www.salkantaytrekking.com,http://www.salkantaytrekking.com
Web Development Work Concept. HTML CSS Programming Job. Programmer Working on His Laptop Computer Concept.
Children Hoodies in New You are able to, NY is really a private company categorized under Designer Clothing Stores.
The childrenswear sector is not safe from the impact from the recession, with EU expenditure collapsing 3.5% in '09. However, its alternative-driven character has stored sales comparatively resilient, outperforming other clothing groups. Consequently, both value and-finish clothing merchants have broadened their childrenswear ranges, with lots of dedicating additional space for this category, resulting in intense competition. To outlive within the heated fight for customer spend, childrenswear specialists are diversifying their offer and trading heavily in network expansion. As birth rates keep falling, competition will intensify further, leading childrenswear specialists to employ progressively innovative methods and battling mid-market merchants being squashed from the market.
Ralph Lauren Kids series, the brand new 2012 spring catalog. Ralph Lauren this year RL Gang, and every member to exhibit personal style. The sporty style to include a tool mark, stripes and paste bits of handsome floral pattern dresses, crop cultivation and also the elegant and delightful signature design all placed on spring colors to ensure that children will be ready to attend different occasions, spent a years of the very wonderful season. A sportswear eye-catching and practical put on, signature Children Short Sleeved Polos, inlaid with pleasing art style of the people, fully using the restless personality like Adventure Mission.
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Reference：Ralph Lauren childrenswear spring and summer in 2012
This is a sylvanian Family Theme Park.
The official website of the park (Japanese) www.grinpa.com/sylvania/index.html
Map of the park (Japanese) www.grinpa.com/sylvania/map.html
How to get there (Japanese) www.grinpa.com/access/index.html
Bus schedule from JR Fuji Station (Japanese) www.fujikyu.co.jp/shizuokabus/time_fuji/time_fuji_2_1.html
Bus schedule from JR Gotemba Station (Japanese)
bus.fujikyu.co.jp/line/jikokuhyo/17.html
Bus schedule from JR Mishima Station (Japanese)
www.fujikyu.co.jp/citybus/bustimetable/time1.php
Additional Notes on August 2010
1. Please check web site for rest day. For non-japanese reader, rest date is noted by 休園日 or 休日. On the other hand, 無休 means no rest.
2. Bus schedule do change so please use the kanji to check.
3. From JR Fuji to Grinpa, buses only serve during summer time. The kanji for Summer is 夏, and JR Fuji station is ＪＲ 富士駅. Katakana for Grinpa is ぐりんぱ.
4. From JR Gotemba, the morning bus is 9:35 and 10:30. Note that the bus at 10:30 does not operates during public holiday and saturdays from 7/17～8/31 and the period 8/13～8/16. Last bus back to JR Gotemba leaves at 16:37. Kanji for Gotemba station is 御殿場駅.
5. There is 2 bus that goes to Gripa from Mishima. One goes to Fuji 5th Station and the other to Yeti Ski. Kanji for JR Mishima is 三島駅. Kanji for Spring is 春 and winter is 冬.
6. I found that travelling from Tokyo to Grinpa seems easier than from Osaka to Grinpa when I went in 2006. Also the Information counter at the JR station and bus station also sells entrance ticket to Grinpa. (Entrance tickets wasn't available in JR station in 2006 then)
THE AWARENESS MUSCLE TEAM had the pleasure and the difficult mission to take care ot the Press conference of (I) Independent people @Rejkavik art festival ( it hapeen the 20 / 05/2012 ) films will come ... @ Jonatan Habib Engqvist kindly pass on his plattform "the press conference " the collaboration happened at 10 am a sunday morning at the blue lagoonhttp://www.emergencyrooms.org/THE_AWARENESS_MUSCLE.html
thanks also to with help Kristín Scheving and the festival and the art critics that joined independentpeople.is/info/exhibition/
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DONT USE PHOTO WITHOUT ASKING 1@colonel.dk
Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.
Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).
This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.
Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).
The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.
Curator: Jonatan Habib Engqvist
Project Manager: Kristín Scheving
Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.
Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).
This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.
Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).
The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.
Curator: Jonatan Habib Engqvist
Project Manager: Kristín Scheving
From the Griffith Observatory website:
Since opening in 1935, more than seven million people have put an eye to Griffith Observatory's original 12-inch Zeiss refracting telescope. More people have looked though it than any other telescope in the world. Located in the roof-top dome on the building's east end, the Zeiss telescope is intended mainly for nighttime viewing by the general public, commonly targeting the Moon, planets, and brightest showpiece objects of our galaxy. A popular public destination when special celestial events occur, more people viewed Halley's Comet and comets Hale-Bopp and Hyakutake through the Observatory's Zeiss telescope than any other telescope on the planet.
The telescope itself is in excellent condition and was unchanged by the renovation and expansion project. The copper roof of the telescope dome was repaired and restored, and the dome's drive mechanisms were replaced. The most significant change is the addition of a new exhibit station located in the Hall of the Eye exhibit hall below the telescope dome. The station provides live video and audio feeds from the telescope and allows visitors unable to climb the stairs into the telescope dome to have an observing experience. Most nights, other telescopes also are available on either the roof or front lawn to allow those in wheelchairs to observe directly.
When the night sky is clear, the Zeiss telescope is open from the roof and serves up to 600 visitors per night. One of the Observatory's experienced telescope demonstrators guides the public in looking through the eyepiece of the 12-inch Zeiss refractor (so called because its light is collected and focused by a 12-inch diameter glass lens at the front of the 16-foot-long telescope tube). The main telescope tube carries a smaller 9 -inch refracting telescope piggyback, which permits two different views of a single object, as appropriate.
The telescope sits on a tilted mounting (an equatorial mount) aligned with the Earth's axis, and it is slowly turned by a motor to compensate for the Earth's rotation so that objects remain centered in view for as long as is desired. Counterweights precisely balance the telescope so that the Telescope Demonstrator can easily move the instrument by hand in spite of its 9,000-pound weight. The unique design of construction by Zeiss also counteracts the bending of the telescope due to gravity with counterweighted levers in the telescope's tube and mounting. Such a system is said to be "stress compensated."
Corregida automáticamente con picnik. Me lo perdonaréis, ¿verdad?
www.castelldepenyafort.net/p/historia-del-castell-de-peny...
Complex arquitectònic que integra construccions de diferents èpoques, des de l'edat mitjana fins l'actualitat. Entre les edificacions medievals destaca una torre (de 5,6 m de diàmetre i parets de més d'1,5 m de gruix), amb una petita sala circular a l'interior; dues petites sales corbades perimetrals a la torre, comunicades amb portes de mig punt d'estil romànic; una sala absidial possiblement emprada com a baptisteri i que conserva pintures murals d'interès; l'atri de l'església, una sala rectangular que està decorada també amb pintures murals i inclou una volta d'aresta gòtica amb una clau que mostra les armes dels Espuny (senyors del castell a les darreries de l'edat mitjana i fins al segle XVII); i una sala amb una escala que condueix a la part residencial.
L'església és d'una sola nau, coberta amb volta d'aresta amb arcs torals, amb absis rectangular i cripta funerària accessible. La decoració és molt senzilla, amb una gran motllura a la imposta de la volta, finestres cegues i lesenes que continuen fins a terra els arcs torals. L'amplada aparent es veu incrementada per sis capelles a cada costat, que ocupen els espais lliures entre els contraforts de la volta. Al costat de l'epístola del presbiteri hi ha la sagristia. En la primera i la tercera capelles del costat de l'evangeli hi ha portes que comuniquen amb el pati interior del conjunt, i a les capelles dels peus portes que duen a sales annexes. Als peus de la nau hi ha un gran cor de fusta, amb accés des de la mateixa església i des de la torre rodona. A ambdós costats, damunt la sagristia i les capelles laterals, i a nivell del cor, hi ha dues fileres de petites habitacions. Darrera de l'absis de l'església hi ha un edifici de planta rectangular i dos pisos. La planta baixa de la resta de l'edifici té forma de L. L'ala que queda al cos principal de l'edifici, està força compartimentada. L'ala de ponent compta amb una gran nau que en origen era destinada a celler. A la porta, enconat, hi ha un cartell que es data a l'any 1693. A l'extrem del celler hi ha una altra edificació de dues plantes rectangulars, amb accés també des de l'exterior. La planta residencial ha estat en ús fins a l'actualitat. La primera planta ocupa dues ales de l'edifici, amb un total de vint-i-tres espais, sense comptar els passadissos. Tres són cuines que encara conserven els fogons de carbó, i hi ha quatre banys. Dos espais més es troben dins les edificacions medievals de la torre rodona, i comuniquen amb el cor de l'església. De cara al pati interior, hi ha una gran sala-menjador, i una altra sala habilitada com a menjador situada prop de l'angle nord-occidental del conjunt. Hi ha setze dormitoris, dos conserven l'estructura de cambra i alcova. Tots donen a l'exterior, amb finestra o balcó, i la major part estan coberts per voltes catalanes rebaixades, que els donen una presència imponent. Prop del menjador hi ha un gran terrat, que permet accedir a una sala, aïllada de la resta, que es troba en mal estat de conservació. Damunt de les ales residencials hi ha les golfes, on es pot observar la cara interna de les voltes que cobreixen els passadissos i les habitacions, així com les encavallades de fusta. Estan il·luminades per finestres arran de terra. Damunt l'angle de les dues naus hi ha un gran mirador amb tres arcades a cada costat curt i cinc als costats llargs. Bona part de les arcades estan tapiades. A ponent, hi ha un cos annex. Es tracta d'una porxada parcialment tapiada, amb grans arcs de mig punt de més de tres metres de llum, que donen al jardí. L'edifici compta amb dos grans jardins. Un ocupa l'espai central i l'altre queda al costat de ponent. Aquest últim inclou una avinguda envoltada de xiprers que mena fins a la bassa. Al costat de la bassa hi ha un gran pou de planta ovalada, creuat per una arcada d'origen molt probablement medieval. Per últim, a una certa distància a ponent del conjunt edificat hi ha la torre d'un antic molí de vent i les ruïnes d'un altre edifici.
La part més antiga d'aquest conjunt arquitectònic, és el que queda de la casa natal de Raimon Penyafort (1175 / 1185 - 1275), una petita fortificació depenent del castell d'Olèrdola. La majoria d'edificis que es conserven es van construir després de la canonització el sant. L'any 1602 començarem les obres de construcció del convent dominicà de Penyafort, amb una església de dimensions considerables i dues ales de planta rectangular, amb la planta baixa destinada a usos agrícoles i el pis a espais residencials. El 1707 es construí el portal de l'església, que tenia un gran retaule que va ser robat el 1815.
L'any 1835 el castell-convent va ser desamortitzat i passà a mans privades. A les darreries del segle XIX pertanyia a l'enginyer Puig i Llagostera, que va renovar l'edifici i l'adaptà com a mansió senyorial. L'any 1936 l'església va ser saquejada i se'n van cremar les relíquies que conservava. Aleshores va ser transformada en presó per a captius de guerra, mentre els propietaris i els masovers seguien emprant la part residencial. Després d'un període de deteriorament i successius canvis de mans, el conjunt va ser adquirit l'any 1980 per la senyora Gallemí. El conjunt va ser declarats el 8 de gener de 1988 Bé d'Interès Cultural, amb la categoria de Monument Nacional. L'any 1997 es creà l'Associació d'Amics del Castell de Penyafort, amb la finalitat de vetllar per la conservació física i els usos socials del castell. L'any 2002, l'ajuntament de Sta. Margarida i els Monjos adquireix el castell - convent
.
visite en photos de la guadeloupe, des saintes, de la désirade et de Marie Galante
photo de Guadeloupe voyage, travel photographer Guadeloupe, photo Guadeloupe FRANCE
guadeloupe, désirade, plage, beach, island, rhp, antilles, gwada, vacances, soleil, mer, Deshaies, guadeloupe, gite, location, blue, Marie Galante, Saintes, caraibe, caribbean, domtom, papillon, karukera, ka, ile, les saintes, archipel, caribbe, sun, guadeloupe sunset, bleu, sunrise guadeloupe, location guadeloupe, guadeloupe écotourisme, tourisme guadeloupe, gites guadeloupe, Rhum
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Kilkenny's, where the manager is as friendly and attractive as a fresh, fragrant steaming pile of people poo - to bar flies. Enough for being kind, what a shithead, fukedup stinking drunken asshole, and that was at noon. I can only imagine what punishment his liver must endure as he pounds the day into night. This untouchable human turd runs out screaming that I'm a professional and that I can't take pictures of his phone. I remind him that I'm on public property, snapping photos of objects in open-field, plain view, and that he should unhand me. Now, I am on public record as having taken several public oaths for public service - in public and for the Republic, and every one has included, in addition to the implied "Obey all laws," a clause to uphold and defend the United States Constitution. And short of his assault and unlawful detainer to deprive me of my property without due process, I just can not and will not tolerate the terrorism resulting from his violations of the first, fourth and fourteenth amendment via the Bill of Rights. He threatened to "call a cop," I said "I'm right here, but let's get one on duty." If he had been thinking clearly, he would have welcomed the free publicity, and not ended up facing charges of disorderly conduct and public intoxication.
So, if you are ever near a Kilkenny's, take the opportunity to remind all that are near, or within earshot, that we don't support terrorists, nor do we finance the establishment of those who would trample human rights. Boycott Kilkenny's!
dsc09875, 2008:09:05 13:01, 3D, California, Redondo Beach, Redondo Pier, OMG Kilkenny's, the Bastards, green Phone Box, view NorthWest, montage, with Text
www.dupageforest.com/preserves/springbrook.html
Preserve History
Originally named Dragon Lake Forest Preserve, Springbrook Prairie was slated to be the home of a 200-acre dragon-shaped lake, complete with a swim beach and campgrounds. However, the emergence of a significant grassland bird population eventually led the District to abandon the idea of a lake and to look at ways to restore the preserve to a native prairie landscape.
Recently, the District has secured over $1 million in grants to fund a stream re-meandering project to return the western part of Spring Brook to a more natural state. By returning the twists and turns and by making a wider, shallower bank, the District will improve water quality by slowing the flow and will also allow the stream to easily pour over its banks and into the preserve during heavy rains, improving floodwater-control features.
Activities & Facilities
At Springbrook Prairie Forest Preserve in Naperville, visitors will find 1,849 acres of swaying grasslands, restored prairies and wetlands. Over 90 species of birds, 18 different mammals, and nearly a dozen species of reptiles and amphibians call Springbrook Prairie home. With a little diligence, bird watchers may spot several native grassland species including meadowlarks, dickcissels, grasshopper sparrows, woodcocks, and bobolinks and state-endangered birds like northern harriers, short-eared owls and Henslow's sparrows. Springbrook Prairie is one of three places in northern Illinois to house such a regionally significant grassland bird community.
Outdoor Recreation
Trails
The preserve's 13 miles of trails stay to the perimeter, giving visitors wonderful views and wildlife extra privacy. Over 8 miles are open to hikers, bikers, horseback riders and cross-country skiers, and over 2 miles of narrow, mowed trails allow people on foot a closer view of the preserve's natural features. Sections of the trail may be closed during key bird breeding seasons to protect critical nesting habitats.
Picnicking
Springbrook Prairie features a non-reservable picnic shelter at the trailhead off of 83rd Street. A second non-reservable picnic area is located off of Plainfield-Naperville Road.
Special-Use Areas
Model-Aircraft Field
Hobbyists are welcome to enjoy the model-aircraft field located on the west side of Plainfield-Naperville Road but must have District permits in their possession when using the area. For permit information, call Visitor Services at (630) 933-7248.
Off-Leash Dog Area
Dogs with Forest Preserve District off-leash dog-area permits can enjoy the fully fenced off-leash area at the 83rd Street trailhead. The area, which is northwest of the parking lot, features 2 acres of fine-mowed turf and 34 acres of trails. Call Visitor Services Monday through Friday between 8 a.m. and 4 p.m. at (630) 933-7248 for permit applications and information. Owners must have the permits in their possession when using the off-leash area. Rules for the area are posted at the preserve. Dogs must be leashed in all other areas of the preserve.
Accessibility
For special accessibility needs or concerns, please contact the District's ADA coordinator at (630) 933-7683 or TTY (800) 526-0857 at least three business days in advance of your visit.
blogged: kitchencounterblog.blogspot.com/2011/10/carrot-cake-cupca...
Carrot Cake
2 cups ground carrots
1 15 oz can crushed pineapple, drained well
¾ cup vegetable oil
1 ½ cups white sugar
3 eggs
1 tsp ground cinnamon
½ tsp ground nutmeg
1 ½ cups all-purpose flour
1 ½ tsp baking soda
Dash/tsp salt
Raisins, mini chocolate chips or walnuts optional (1 cup)
2 dozen cupcakes ?
IN large bowl combine carrots, pineapple oil and sugar. Add eggs, cinnamon and nutmeg. Add flour mixture and mix well. Stir in raisins and nuts if desired. Batter will look runny, as though it needs more flour. This is normal.
Pour into greased (and floured if you want to) pans. Bake for 45 minutes (closer to 15 if you're doing cupcakes), or until a toothpick inserted into the cake comes out clean. It will brown a lot so don’t worry if it looks like it’s getting too brown.
Cream Cheese Frosting from Smitten Kitchen
Adapted from several sources
Makes 6 cups
8 ounces cream cheese, room temperature
1/2 cup (1 stick) butter room temperature
3 cups confectioner’s sugar, sifted
1 teaspoon pure vanilla extract
Place cream cheese and butter in a medium bowl. With a handheld electric mixer, beat until light and fluffy, about 2 minutes. Add sugar and vanilla. Beat, on low speed to combine. If too soft, chill until slightly stiff, about 10 minutes, before using.
How about one of these.........
www.showrods.com/showrod_pages/calfornian.html
This is how Lino likes to supply me 'By Random Appointment' - which means, "Hey build on of these cars, and there is only one or two pictures, and about a paragraph of info."
So, here we go.
The Bradley Californian appears to be a customising kit for a scale-model car. The car base to customised appears to be a late-1960s Oldsmobile Toronado - this is indicated in part by the shape (including some detail formwork) and the mention of front-wheel-drive. The original car was designed by vehicle-customiser Harry Bradley. From my research it is not clear whether this car was ever built as a full-size concept - but you'd have to imagine so, given the existence of the model kit.
What else can I add?
I really like the nose - very period Pontiac, and quite aggressive. The free-standing headlamps - a motif used at a similar time as the ultra-exclusive Stutz Motor Corporation product - looks less weird than it sounds. I really like the bladed fender fronts - a design element I went to great trouble to work into the design.
Along the side, I don't mind the side window treatment and the side-mount exhaust. The triple-bladed red glass treatment is distinctive, but seems to not sit ideally with the rest of the design - so I haven't made up my mind yet.
Then we get to the back.
Boomerang tail lamps are ok. But these small rear wings are a big fail. Not only do they not add any function, but they would likely be damaged very easily, are likely to slice your stomach when putting things in the trunk, and plain look weird.
Overall though - quite a solid effort, and generally quite restrained (aside from the wings).
Here is the amazing Chillout Side Sevil Otel i stayed in Antalya. I would highly recommend Chillout Side Sevil Otel for all backpackers, like me :). You can even book your hostel online from Turkey Hostels. Cheers !
Kurokawa Onsen is one of Japan's most attractive hot spring towns, located in the middle of Kyushu about 20 kilometres north of Mount Aso. Well coordinated efforts by the town to maintain a pleasant, traditional atmosphere have kept Kurokawa free of the massive concrete hotels, neon advertisements and loud colors that are encountered in many of Japan's other resort towns.
Instead, Kurokawa's townscape is dominated by natural colors and materials, wooden buildings, earthen walls, stone stairs and a river flowing through. The town center, located in a forested valley, is compact and easily explored on foot, except for a few ryokan which are located less centrally.
The town's lanes are lined by ryokan, public bath houses, attractive shops and cafes, a small shrine and bridges that lead over the river directly to ryokan entrances. A walk through town is particularly enjoyable in yukata and geta sandals provided by one's ryokan. An information center, where maps and other information can be obtained, is also found in the town centre.
Kurokawa is not only known for its attractive town, but also for the outstanding outdoor baths (rotenburo) of its ryokan some of which are located right besides a gushing river or impress by their large sizes. The larger baths with good views tend to be located a little bit outside of the town center, while some of the more central ryokan attract with smaller but historic baths, which were already enjoyed by the feudal lords of nearby Kumamoto Castle. Source: www.japan-guide.com
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: www.loc.gov/rr/print/res/rights.html
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Mural in Balmy Alley. Balmy Alley is located in the Mission District in San Francisco, California. The block long alley is the best place to see the most concentrated collection of murals in San Francisco. The murals began in the mid-80's as artists' outrage over human rights and political abuses in Central America.
Title: Mural, Balmy Alley, San Francisco, California
Creator(s): Highsmith, Carol M., 1946-, photographer
Date Created/Published: 2009 April 29.
Medium: 1 photograph : digital, TIFF file, color.
Reproduction Number: LC-DIG-highsm-04208 (original digital file)
Rights Advisory: No known restrictions on publication.
Call Number: LC-DIG-highsm- 04208
c-P&P(ONLINE)
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Notes:
Balmy Alley is located in the Mission District in San Francisco, California. The block long alley is the best place to see the most concentrated collection of murals in San Francisco. The murals began in the mid-80's as artists' outrage over human rights and political abuses in Central America.
Title, date, and subjects provided by the photographer.
Credit line: Carol M. Highsmith's America, Library of Congress, Prints and Photographs Division.
Gift and purchase; Carol M. Highsmith; 2009; (DLC/PP-2010:031).
Forms part of: Carol M. Highsmith's America Project in the Carol M. Highsmith Archive.
Subjects:
United States--California--San Francisco.
Mission District.
Mural.
Balmy Alley.
Balmy.
Alley.
Art.
America.
Format:
Digital photographs--Color--2000-2010.
Art for the Soul by Richard Lazzara
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This work is licensed under a Creative Commons Attribution-Share Alike 3.0 United States License
Entire contents copyright Shankar Gallery © 2009
This bike was on the Cycle Exif bike last week. Spirit tubing, TIG welding and a magnificent ruby clear coat. More informations about our high-end road frame here: www.victoire-cycles.com/en/frames/frames/victoire-veloce-...
Panorama Shot (3 photos autostitched) of the entrance in the eastern wall of a nemeton (sacred place of the Celts) in the forest South of Munich, Deisenhofen/Kreuzpullach. Have a look on this winter photo of the same site and of the western wall.
See below at the comments' section the English translation done by mikescottnz. Thanks a lot, Mike!!
===
Als Kelten- oder Viereckschanze bezeichnet man die vor allem in Süddeutschland anzutreffenden Reste von quadratischen, manchmal auch rechteckigen Gevierten mit Wall und umlaufendem Graben. Alleine in Bayern und Baden-Württemberg sind mehr als 300 dieser Anlagen bekannt. Daneben gibt es, wenn auch (bisher) deutlich seltener erkannt, Viereckschanzen in der Schweiz, in Österreich, in Böhmen sowie in Nordfrankreich.
Zwischen Deisenhofen und Wolfratshausen findet man die größte Anzahl an Keltenschanzen in Deutschland. Allein rund um Deisenhofen sind sechs Schanzen erhalten, darunter die 2 größten in Süddeutschland. Diese, die südlichst gelegene Schanze von Deisenhofen und für mich eine der Schönsten im Umkreis, befindet sich nordöstlich von Kreuzpullach.
Beschreibung von einer Hinweistafel des Landratsamts München:
Im Gegensatz zu den Keltenschanzen im freien Gelände, wie z.B. im Lanzenhaarer Feld (östlich von Deisenhofen), wurde diese im Hachinger Holz gelegene Schanze aus dem letzten Jahrhundert vor Christi Geburt später vom Wald überwachsen.
Die viereckigen Wälle mit vorgelagerten Gräben (hier 75 auf 90 m Seitenlänge) umgrenzen eine Kultstätte des Volkes der Kelten. Im Innern des Rechtecks, das durch ein Tor im Ostwall betreten werden konnte, vollzog man in kleinen hölzernen Tempeln und tiefreichenden Schächten religiöse Handlungen.
In der Nähe befinden sich noch eine Hügelgräbergruppe aus der späten Bronzezeit (um 1300 v.Chr.).
Die Schanze besitzt auf allen vier Seiten gut erhaltene Wälle und Gräben. Die Wälle mit einer durchschnittlichen Höhe von etwa vier Metern und einer Breite von vier bis fünf Metern zeigen die schanzentypischen Erhöhungen (etwa einen halben Meter) in den Eckbereichen. Die Gräben besitzen eine Tiefe von rund zwei Metern bei einer Breite von drei bis vier Metern. Das Bodenniveau der Schanzen-Innenfläche liegt etwa einen halben Meter erhöht über dem Bodenniveau der äußeren Umgebung.
Weitere Informationen:
Kelten in Bayern: Karte der Keltenschanzen südlich München
Slides scanned
Nikon FE
35mm
Tamarack Artiscan 2400FS Slide Film Scanner.
The Airomobile was a one off prototype that although stimulated great interest, never made it into production. Plans for the Airomobile were first drawn up in 1934 by Paul Lewis in the USA. Lewis believed that the 3-wheeled configuration would meet his needs for streamlining and economy. After many technical problems were sorted out with the the vehicle it was eventually built in 1937. The vehicle was powered by a horizontally opposed, 129-cu.in overhead valve, air cooled four cylinder unit (57hp) created by the Dorman Marks Engine Company.
The body was created from steel and was very aerodynamic with it trailing to the rear and having two large fish like fins. The Airomobile did have a very low centre of gravity and was said to take corners faster than any 4-wheeler at the time. Lewis toured the USA on a promotional tour with the Airomobile covering over 45,000 miles. Prospective dealers were told that they would not be able to follow the Airomobile for one mile over rough terrain without damaging their driving mechanism. Lewis would then drive through ploughed fields and ditches without the need to slow down and return to show no damage had been sustained to the vehicle. As a result many dealers became interested in the Airomobile and Lewis was able to establish possible dealers throughout the USA.
In 1938 the Airomobile was slightly redesigned with a new front section that included the lights being moved from the top of the wings and built into them. Lewis again toured the USA but interest in the vehicle had diminished and plans to put the vehicle into full production were squashed with the onset of the second World War and so the vehicle never became anything more than a prototype.
The 1937 Airomobile is at the National automobile Museum at 10 Lake Street South, Reno, Nevada. 89501. USA.
UNDP in Georgia is one of Georgia’s leading partners in environment protection. For World Environment Day 2014, they decided to crowdsource for new ideas to let people tell them what they wanted to do show their commitment to a green future. Here are some of the fabulous results.
Read more about this great story
Photos: Vladimer Valishvili/UNDP
de.godfootsteps.org/emulate-the-lord-jesus.html
Eifert dem Herrn Jesus nach
I
Jesus hat Gottes Mission vollendet,
das Werk der Erlösung aller Menschen,
indem Er Seine Sorgen Gottes Willen gab,
ohne selbstsüchtige Absicht oder Pläne.
Ins Zentrum stellte Er Gottes Plan.
Zum himmlischen Vater betete Er,
nach des himmlischen Vaters Willen suchend.
Stets suchte und betete Er.
Wenn ihr, wie Jesus, all eure Sorgen Gott gebt,
und dem Fleisch euren Rücken zukehrt,
dann wird Gott
euch wichtige Aufgaben anvertrau’n,
damit ihr Ihm dienen könnt.
II
Er betete und sagte: „Gott, der Vater!
Vollende Deinen Willen.
Handle nicht nach Meinen Absichten,
handle so, dass Dein Plan sich erfüllt.
Warum sorgst Du Dich
um die Menschheit, die schwach ist,
der in Deiner Hand wie eine Ameise ist?
Ich will nur Deinen Willen erfüll’n.
Wirke in Mir, so wie Du es gedenkst.“
Wenn ihr, wie Jesus, all eure Sorgen Gott gebt,
und dem Fleisch euren Rücken zukehrt,
dann wird Gott
euch wichtige Aufgaben anvertrau’n,
damit ihr Ihm dienen könnt.
III
Auf der Straße nach Jerusalem
ward Jesus das Herz schwer.
Dennoch hielt Er Sein Wort, Er schritt voran,
dorthin, wo Er gekreuzigt werden würde.
Am Ende wurde Er ans Kreuz geschlagen,
wurde zu einem Abbild des sündigen Fleisches,
vollendete das Werk der Erlösung,
erhob sich über die Fesseln des Todes.
Wenn ihr, wie Jesus, all eure Sorgen Gott gebt,
und dem Fleisch euren Rücken zukehrt,
dann wird Gott
euch wichtige Aufgaben anvertrau’n,
damit ihr Ihm dienen könnt.
IV
Jesus lebte 33 Jahre,
tat alles, um Gott zufriedenzustell’n,
dachte nie an Verlust oder Gewinn,
nur an den Willen Gottes, des Vaters.
Der Dienst des Herrn Jesus
stand immer im Einklang mit Gottes Willen.
Also war Er geeignet,
die Bürde der Erlösung zu erfüll’n.
Endloses Leid ertrug Er,
und unzählige Male
brachte Satan Ihn in Versuchung.
Dennoch war Er nie entmutigt.
In Vertrauen und Liebe
gab Gott Ihm diese Aufgabe.
Wenn ihr, wie Jesus, all eure Sorgen Gott gebt,
und dem Fleisch euren Rücken zukehrt,
dann wird Gott
euch wichtige Aufgaben anvertrau’n,
damit ihr Ihm dienen könnt.
Und nur in Zeiten wie diesen
werdet ihr es wagen, zu sagen,
dass ihr Seinen Willen erfüllt,
dass ihr Seinen Auftrag vollendet,
dass ihr Gott wahrhaftig dient.
aus „Das Wort erscheint im Fleisch“
ähnliche Empfehlung： de.godfootsteps.org/
Hariclea Darclée (1860-1939)
As a pupil of Jean-Baptiste Fauré, Hariclea has her opera debut in Paris in 1888, in the role of Marguerite.
But her real consecration takes place at La Scala, on 26th December 1890, where Giuseppe Verdi applauds her, for her performance of Chimène, in Massenet’s “Le Cid”. This was the time of the Belle Époque, when Darclée took the public by storm wherever she went. Darclée was a good stage performer with an arresting presence and in 1898 Puccini fell under the spell of her voice and most certainly of her beauty. She created Tosca, a role she performed frequently since its premiere.
Amongst her fans were King Carlos I of Portrugal send her love letters, Field Marshall Vizier Osman Pasha of Crimean repute and composers such as Gounod and Fauré. For Giuseppe Verdi she was "my beautiful and brave Violetta".
Find out more on:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
(chscott.ecuad.ca/exhibitions/2014/aspen_magazine.html)
"Aspen Magazine was a multimedia magazine conceived of, edited and published by Phyllis Johnson in New York from 1965 to 1971. Aspen broke new ground in terms of its editorial concept, design approach and distribution strategy, which continues to be resonant and influential today.
The magazine featured a diverse and impressive array of contributors, from such key artists, musicians, authors and theorists as Andy Warhol, Willem de Kooning, Ian Hamilton Finlay, David Hockney, Jasper Johns, Allan Kaprow, Ed Ruscha, J. G. Ballard, Bill Evans, Philip Glass, the Velvet Underground and Yoko Ono. Known as “the magazine in a box,” Aspen was made up of unbound contents that included texts, flexi-discs, reels of film and other objects. It struck a chord in the 1960s artists’ publishing culture—which included publications by Marcel Duchamp, Seth Siegelaub and members of the Fluxus movement—and embraced the idea of presenting travelling exhibitions in a book (or a box, for that matter) in order to provide alternative spaces and economies for art.
The exhibition features complete sets of all issues, with a focus on the combined edition of issues five and six from 1967, which was guest-edited by Brian O’Doherty and is referred to as The Conceptual Issue. Contributors to this issue include Marcel Duchamp, Samuel Beckett, John Cage, Robert Rauschenberg, Hans Richter, Sol LeWitt, Mel Bochner, Naum Gabo, László Moholy-Nagy, Dan Graham, George Kubler, Robert Morris, William S. Burroughs, Roland Barthes, Susan Sontag, Alain Robbe-Grillet, Morton Feldman, Michel Butor, Tony Smith and Merce Cunningham. Barthes first published his influential and important essay The Death of the Author in this issue.
The exhibition is on loan from the Whitechapel Gallery in London. Curator Nayia Yiakoumaki will be in attendance at the opening and will present a public talk.
The exhibition is on loan from the Whitechapel Gallery in London."
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Kurokawa is not only known for its attractive town, but also for the outstanding outdoor baths (rotenburo) of its ryokan some of which are located right besides a gushing river or impress by their large sizes. The larger baths with good views tend to be located a little bit outside of the town center, while some of the more central ryokan attract with smaller but historic baths, which were already enjoyed by the feudal lords of nearby Kumamoto Castle. Source: www.japan-guide.com
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NASA:
www.nasa.gov/centers/marshall/news/news/releases/2010/10-...
www.nasa.gov/topics/moonmars/moonbuggy.html
marshallstar.msfc.nasa.gov/4-9-10.pdf
www.space.com/businesstechnology/mock-moonbuggy-race-1004...
www.spaceref.com/news/viewpr.html?pid=30579
www.moontoday.net/news/viewpr.html?pid=30567
Fotogalleries:
www.flickr.com/photos/28634332@N05/sets/72157623861985002/
Videos:
www.nasa.gov/multimedia/nasatv/on_demand_video.html?param...
www.ustream.tv/discovery/live/all?q=moonbuggy
German Embassy USA (2008): www.germany.info/Vertretung/usa/en/__pr/GKs/NEWY/2008/12/...
US-press:
Huntsville Times:
www.al.com/news/huntsvilletimes/local.ssf?/base/news/1270...
blog.al.com/breaking/2010/04/great_moonbuggy_race_ends_wi...
blog.al.com/breaking/2010/04/video_great_moonbuggy_races_...
Time
www.time.com/time/photogallery/0,29307,1981287_2122139,00...
Celebrifi
celebrifi.com/gossip/Great-Moonbuggy-Race-ends-with-Germa...
Redorbit:
www.redorbit.com/news/space/1848327/winners_of_17th_annua...
AllVoices:
www.allvoices.com/news/5583991-germany-triumphs-in-nasas-...
WAFF.com
www.waff.com/Global/story.asp?S=12291108
Space Pragmatism:
spacepragmatism.net/2010/04/in-alabama-passed-competition...
US-press for US-teams
Studentnews.net
www.studentnewsnet.com/index.php?fuseaction=home.DisplayS...
Young Eagles
www.youngeagles.org/news/archive/2010 - 03_10 - Students Compete in Great Moonbuggy Race.asp
PC Palm
www.tcpalm.com/news/2010/apr/13/the-warrior-has-landed-ju...
Baldwin County
www.baldwincountynow.com/articles/2010/04/18/local_news/d...
Madison County
madisonfloridavoice.net/?p=6438
SEK-News, Pittsburgh
www.sekinfo.com/index.php?option=com_content&task=vie...
University of Utah
UIP.com
www.upi.com/Science_News/2010/03/08/NASA-gets-ready-for-G...
Kidsencyclopedia
kids.britannica.com/comptons/snnnews?id=5883
Canvasse:
www.canvasseopinion.com/germany-triumphs-nasas-great-moon...
Fox10TV.com
www.fox10tv.com/dpp/news/fairhope-wins-nasa-moonbuggy-award
english for international teams:
ddp (german press agency):
www.ad-hoc-news.de/deutsche-mannschaft-siegt-beim-great-m...
www.themenportal.de/nachrichten/leipziger-jugendteam-reis...
German Press in english:
www.thelocal.de/sci-tech/20100411-26475.html
Puerto Rico Daily
www.prdailysun.com/news/PR-teams-excel-in-NASAs-Great-Moo...
Hindu News
www.thehindu.com/yw/2010/04/27/stories/2010042751270400.htm
Short News DE
www.shortnews.de/id/826515/Puerto-Rico-und-Deutschland-si...
Worldnews:
article.wn.com/view/2010/03/05/Teams_Get_Ready_For_17th_A...
Tonic
www.tonic.com/article/students-compete-nasa-great-moonbug...
Bikestation Finnland
www.bikestation.fi/shop/index.php?main_page=more_news&...
Korea
media.daum.net/breakingnews/editorial/view.html?cateid=&a...
Fotoglif:
www.fotoglif.com/f/sgu2o05m9qb8
Press in german language:
T-online
nachrichten.t-online.de/leipziger-jugendteam-reist-zum-mo...
German Spacenet:
www.raumfahrer.net/news/raumfahrt/12042010164139.shtml
Oberpfalz-TV
www.otv.de/default.aspx?ID=4419&showNews=676451
NRW-TV
www.nrw.tv/news/meldung/d2010040309400353401
Yahoo-finance-Germany:
de.finance.yahoo.com/nachrichten/leipziger-jugendteam-rei...
Mainfranken:
www.mainfranken24.de/index.php?id=11&no_cache=1&t...[single]=129424
Weltmeistertitel
www.weltmeistertitel.de/blogs.html
N2Day
www.n2day.com/lifestyle/leipziger-jugendteam-reist-zum-mo...
Wetter.de
Wirtschaft:
www.l-iz.de/Wirtschaft/Leipzig/2010/04/Leipziger-Teamarbe...
Radio:
www.charivari.de/nachrichten/leipziger-jugendteam-reist-z...
Start-Up Magazine, Germany:
www.unternehmenswelt.de/news/unternehmertum/team-deutschl...
regional press in Leipzig:
LVZ-online (Leipzig):
nachrichten.lvz-online.de/leipzig/citynews/leipziger-team...
Freie Presse:
www.freiepresse.info/NACHRICHTEN/REGIONALES/1713882.php
Info-TV Leipzig (same as channel 31):
www.info-tv-leipzig.de/news/info-tv-news/allgemein/leipzi...
Leipzig Lokal:
leipzig-seiten.de/index.php?option=com_content&view=a...
chamber for handicraft:
www.hwk-leipzig.de/3,0,1942.html
www.hwk-leipzig.de/3,0,2008.html
press releases in russian language, following the german press:
Lenta.RU
www.lenta.ru/news/2010/04/12/moonbuggy/
Newsland.RU
www.newsland.ru/News/Detail/id/487667/cat/37/
Agrumenty i Fakty
Luna.RU
NewYork.RU
www.newyork.ru/common/arc/story.php?id_cr=140&id=609943
Media.Zona
media-zona.net/index.php?newsid=48109
X3mBlog.RU
x3mblog.ru/2010/04/15/lunnye-baggi-proexalis-po-alabame/
Atmosfera
www.asfera.info/news/one-38586.html#comment_form
Probuem
www.probuem.ru/automoto/59528?l
NAUKI
Allscience.RU
www.allscience.ru/News/?ID=10867
News eTenders.RU
news.e-tenders.ru/n//369382.html
Vsesmi.RU
Personarin.RU
persona.rin.ru/news/239920/f/v-alabame-proshli-sorevnovan...
Novopedia.RU
novopedia.ru/27995-v-alabame-proshli-sorevnovaniya-lunnyx...
Kievskaya BIZ
news.uah.biz/kievskaya/page/48/CategoryID/5/NewsID/353424/
Podrobnosti.UA
podrobnosti.ua/technologies/2010/04/13/678713.html
X-Files.UA
x-files.org.ua/news.php?readmore=1815
Prezident.UA
prezident.com.ua/news/world/5327867748-v_alabame_proshli_...
Starspace.LV
www.starspace.lv/public/v_alabame_proshlji_sorevnovanija_...
Meta.KZ
www.meta.kz/158095-v-alabame-proshli-sorevnovanija-lunnyk...
Sponsors:
www.rohloff.de/de/aktuell/newsdaten_rss/news_detail/archi...
Game:
www.juegos.tv/game_Cars_Moon_Buggy-5052.html
www.juegos.tv/zoom.php?game_id=5052
www.handelsblatt.com/technologie/forschung/gnadenfrist-na...
www.cressina.com/Eiffel-Wood-Chair-by-sohoConcept.html
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removable zipper enclosed Organic wool, Leatherette, Genuine Leather, PPM slipcover which has a 5 year guarantee against wear through. Eiffel collection is suitable for both residential and commercial use.
Si c'est bien elle (je n'ai pas vu les pétales inférieurs enroulés, tout de même à l'origine de son nom! mais c'est la même forme de feuille et la même taille) elle est à essayer chez nous, elle vient du Mexique et aime le chaud
- condamnée à passer l'hiver en pot en région froide, mais se bouturerait aisément
www.dobbies.com/products/plants/salvia/salvia-curviflora-...
deux autres dans cette teinte
Salvia buchananii? la taille est moindre mais le site (australien) signale des fleurs veloutées
This is a compact plant only 50cm tall. It has shiny foliage and quite large velvety cerise flowers, which appear mainly in late spring and early summer, though spot flowers will appear all through summer. It can tolerate a degree of shade and can be grown in a pot. With its compact size, it is perfect to mix with cottage-style perennials...
Pas elle, ses feuilles sont lisses et brillantes selon
nature.jardin.free.fr/vivace/ft_salvia_buc.html
-dite herbacée ou arbustive, selon les sites
This is an excellent plant which flowers basically all year round. It is dainty, and grows to about 60cm with shiny leaves and slender flower stems with velvety cerise little flowers giving a haze of colour. It needs a spot where it won't be overgrown by bigger plants. It does tolerate a bit of shade but is most floriferous in a sunny spot. It looks pretty with silver or cerise leaves nearby; pink or blue flowers are also attractive with it - it is very pretty in a cottage-style garden.
Semble plus mauve sur la plupart des autres sites - Origine : Mexique (province de Chiapas) et elle est moins élancée
un massif avec plusieurs sortes de sauges, et diverses autres plantes.
C'est en urgence que que suis revenue les prendre, car les massifs sont en cours de renouvellement, sur l'autre côté de la rue, ils étaient en train de les arracher quand nous allions à la boulangerie.
Et ça fait bizarre de voir le plateau du camion, tout fleuri, plein de pétunias et autres, encore très beaux qui partent au compost.
lire:
www.lesjardinsdelaboirie.com/p/les-sauges.html
stories.rbge.org.uk/archives/tag/salvia
P1020008
www.decorobra.com/ornamentos-que-definen-estilos.html
La ornamentación de un ambiente va a ayudar a definir su estilo, aunque también revelará nuestra tendencia y necesidad anímicas. Los objetos que elijamos para adornar los espacios que a diario nos albergan, tendrán, junto con los colores, los muebles, la iluminación y demás, una estrecha relación con nuestra búsqueda de bienestar, en las diversas etapas de nuestra vida.
Lámparas, candelabros, jarrones, cuadros, cojines, tapices, alfombras,...innumerables alternativas que van a aliarse en un contexto para brindarnos agradables e inspiradores momentos en la intimidad de nuestro hogar.
El estilo Zen propicia una ambientación relajada y sutil. Los elementos son funcionales y las líneas, simples. Se utilizan tonalidades neutras, blanco y negro, sobre todo, y la gama de los ocres a los beiges. Las paredes pueden dejarse limpias o a lo sumo, con algún cuadro de marco fino.
Respecto a los materiales, la tendencia es la madera natural. Los muebles deben tener la máxima simplicidad en sus líneas.
Lámparas de papel, jarrones de líneas rectas con ramas de bambú, esterillas, piedra en lugar de cerámica, adornos de inspiración budista de madera o piedra, son los elementos que ornamentarán sutilmente nuestro ambiente zen. Velas y sahumerios con aromas suaves son los mejores aliados, no se necesita gran cantidad de objetos a la hora de decorar, si elegimos este sobrio estilo.
La mejor opción para lograr una ambientación exótica son los objetos étnicos, típicos de otras culturas. Suelen ser de maderas talladas, fibras tejidas, colores en la gama de los marrones, verdes, amarillos y anaranjados, terracotas, es decir, los predominantes en ambientes selváticos. Las máscaras de madera son una de las clásicas artesanías africanas.
Para marcar este estilo se utilizan también muebles de mimbre, alfombras, jarrones, objetos totémicos, piezas de cerámica, cestas e instrumentos musicales exóticos; los diseños pueden geométricos o imitando pieles de animales, tejidos artesanales o telas murales. Los colores, cálidos y la iluminación, tenue: velas, fanales rústicos o lamparas de papel, son elementos acordes.
Los estilos africano, asiático, oriental, tailandés, hindú, marroquí, son los que definen esta tendencia.
El mobiliario puede ser contemporáneo, aunque deben combinarse armónicamente con este estilo de ornamentos.
Algo innovador y divertido para adornar? Los diseños de vinilo. De acuerdo al estilo que hallamos escogido en la decoración, elegiremos un motivo que vaya acorde al ambiente.
Existen pliegos de vinilos de todos los colores. También podemos decorar nuestros artefactos, muebles y demás.
Los almohadones son ideales para crear ambientes acogedores. Deben armonizar con el estilo del ambiente. Los podemos colocar en sofás, camas, sillas y hasta en el piso, lo cual da un toque de estilo libre, desestructurado.
La variedad de colores, formas, materiales y tamaños es tan ilimitada, ... que siempre va a haber un diseño que dé con nuestro estilo de ambientación!
[gallery link="file"]
dont know if he thinks hes amazing,but mate, i bet u have chicken legs and ur arms are puny, please keep ur clothes on..
- Teamjacob, essex, 30/5/2011 16:53
Click to rate Rating 24Report abuse
repulsive!!
- sally, leeds, 30/5/2011 16:44
Click to rate Rating 42Report abuse
What isn't pictured is the girl vomiting straight afterwards...I couldn't have that lump hunched over me all sweaty. Barf.
- Eva, UK, 30/5/2011 16:42
Click to rate Rating 35Report abuse
Any Chris Brown fan would love that. Although I find it a little sleazy to be honest.
- Elle, Birmingham, UK, 30/5/2011 16:28
Click to rate Rating 64Report abuse
That poor girl's parents must be so proud
- Jennifer Young, Oxford, 30/5/2011 16:27
Click to rate Rating 59Report abuse
Wondered when this would happen. Chris Brown has become a very hot commodity again despite previous attempts by some of Rihanna's powerful friends to blackball him.
- AntonB, London, 30/5/2011 16:20
Click to rate Rating 32Report abuse
Keep you cloths on m8 your FAT and big ugly.
- GAVIN, london, 30/5/2011 16:18
Click to rate Rating 11Report abuse
Wow what an ugly man!
- Ben, Sydney, 30/5/2011 15:16
Click to rate Rating 5
Read more: www.dailymail.co.uk/tvshowbiz/article-1392306/Chris-Brown...
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
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Masonic pavement and indented skirting in front of their Masonic altar.
Mosaic Pavement and Indented Skirting:
www.masonic-lodge-of-education.com/mosaic-pavement.html
www.masonicforum.ro/?cmd=displaystory&story_id=73&....
The Mosaic Pavement:
by GABRIEL VASILE OLTEAN
Expert Inspector of NGLR for Western Region; Past Worshipful Master, ZAMOLXIS Lodge No. 182, Deva
"The interior decoration of a masonic lodge comprises ornaments, accessories and insignia. The ornaments are: the mosaic on the floor - respresenting spirt and matter, the shining star and the laced edge, which remind us always the first of the presence of God and the second of the protective wall" - cites Charles W Leadbeater from the ritual of mixed masonry in his work "Freemasonry - Rites and Initiations."
In the center of the Temple, on the ground, there is a rectangular floor, with black and white tiles, called the mosaic pavement (theoretically, cubes seen perspectivally), where a relgaion obtains between the sides, either 2:1 (the long square) or 1.618.../1 (the golden number), thus coming up with a surface proportional to the total area of the Lodge. Thus we see that practically the moasica, placed in the center of the Lodge is a microcosmic representation of the whole of creation and is by itself a sacred central area - whence the interdiction to ever step on the mosaic when the work of the Lodge is underway. The pavement symbolizes the indisociable operative complementarity of the two cosmic principles: the initiate must know how no longer let himself be dominated by the confrontation between positive and negative forces, to know (it is indispensable) how to use it, to master it so as to work constructively.
In Ancient Egypt, the mosaic was never stepped on except by a candidate and the masters of ceremony, and only at precise moments (by the Past Worshipful Master for the fulfilment of his tasks, by the First Expert when he took the light of the sacred fire, or by the sexton when he spread frankincense on the altar of the Temple. An extremely important aspect of the mosaic pavement is that, being placed in the middle of the Temple, framed by the three colonettes (which represent the Worshipful Master, the Senior and Junior Wardens), must be avoided by walking in a square, in a symbolic sense. The current of energy cross the floor, some along the length, some along the width, in lines that remind of the warp of a canvas.
Upon opening the work, the Trestle Board is depicted on this pavement, which varies with the first three degrees. The mosaic pavement signifies different things according to the traditional mode of work in the lodge, or the masonic rite employed.
The French Rite specifies that the pavement adorned the threshold of the geat porch of the Temple and showed that this is one of the ornaments of the Lodge, being the emblem of the intimate union among masons. Here it was explained to the Apprentice that he "could not stand on the mosaic pavement to contemplate the interior of the edifice". This started above from the seventh step, as we can well conclude by an attentive research of the Trestle Boards of the first two degrees.
The Rectified Scottish Rite speaks too little of this pavement, noting that "the mosaic pavement adorns the threshold of the great veranda of the Temple. It covers the entry to the subterranean part of the Temple between the two columns, to a crypt that held holy idols and especially the pledge of the alliance between the chosen people and the Creator: the Royal Ark (Ark of the Covenant).
The Ancient and Accepted Scottish Rite does not describe in any way this ornament. As to the decoration of the Lodge, it is said however "the floor of the lodge is the pavement in alternative black and white squares. When it is thus decorated, a pavement is achieved wit the shape of a long square, placed in the center of the Lodge, decorated on the model of the latter".
The York Rite affirms that "the mosaic pavement represents the floor of the Temple of Solomon", having the added laced edge. It is obvious enough that it is about a symbolic contribution in what regards the floor of the Lodge, because in the Bible the floor of the Temple isn't described as an series of black and white squares: "and the floor of the Temple was made from cypress planks" (3 Kings 6:15).
Whereas in the Emulation Rite (the Anglo-Saxon Rites are more precise in their descriptions) specifies that "the mosaic pavement may rightly be considered the wondrous tiling of a freemason Lodge due to its diversity and regularity. Thus the diversity of beings and objects in the world surfaces, as well the ensouled ones as those that are not". In the complementary course of the Rite of Emulation (in the fifth part) it is specified: "our lodge is adorned with mosaic pavement to mark the uncertainty of all terrestrial vanities... as we step on this mosaic, our thought must return to the original idea that we imitate and act as honorable men and masons". Mosaic pavement is presented as an image of faith, harmony, understanding.
Outside the definitions offered by different masonic rites, the mosaic pavement may be approached under many aspect, two of which seem edifying to us:
• The floor of the Lodge,
• The route of squares for the tracing of planes,
When we approach the mosaic pavement as floor of the Lodge, we are forced to distinguish between the pavement of operative and speculative Lodges.
In the first case, we specify that Lodges were usually annexes to the construction site, attached to the construction on the Southern side of the Work (to receive more light and to have the wall of the edifice for protection. It is extremely clear and evident that in this case no floor was imposed (nor would any be functional). The tiling that constitutes the mosaic is fragile in contradiction with the dimensions (weight) of the tools of freemasons (sledgehammers were very heavy). If we are talking about a surface for permanent cutting and polishing of rock, we can easily imagine that the floor of such a place was permanently covered by fragments, remains, abrasive dust. Not in the last place, we must note the fact that mosaic was principally fixed in especially prepared mortar in which designs were first marked that etched the image or drawing that was the purpose of the mosaic.
In the other approach, that of the speculative Lodges, a symbolic rug laid in squares may be laid on the floor, or it may be build from alternating black and white tiles, the decision being that of the Lodge. The notionc of mosaic pavement cannot be discussed before the appearance of Grand Lodges.
As a route of squares - as network of right angles - to trace planes is another mode of approach specific to operative lodges, which must distinguish:
A directory route of the edifice that must be understood after we describe the Medieval constructin site at the beginning of the work: on a leveled and cleared surface (treated with charcoal), a scheme of the main lines of the edifice was traced with the help of a rope covered in chalk. There
are documents to this effect that attest the describe practice, which reminds of certain answers from the masonic catechism. To the question: "how do you serve your Master?", there is the answer: "with charcoal, chalk and clay".
A technical assistance set of squares would be another variant of this approach. An amenably arranged surface, spread in regular squares through lines traced for inumerable uses, the first and most important being that of assembly table. It also served to establish easily a series of angles, in an approximate way that was sufficient for a mason (taking four divisions on a line, and on the perpendicular seven at one extremity, a reasaonbly 60° angle is obtained). In fact, we can imagine the banal math copybook paper that has helped us trace with more facility (and more precision) the geometrical shapes that tortured (or didn't) us in the geometry problems in elementary school.
The black and white, chessboard-like pavement is thus the mosaic pavement. In what pertains to the term "mosaic", there are two different opinions, one refering to Moses and one to the technique of decoration. Each school has its pros and cons, more or less logical and valid.
"The canvas of ours lives is a mixed thread, the good together with the bad" wrote Shakespeare. Anything is characterized by a combination of good and bad, light and shadow, joy and sadness, positive and negative, yin and yang. What is good for me may be bad for you, pleasure is generated by pain, etc.
Following the thread of the current Paper, we may say with certainty that the mosaic is not mart of the elements of Judaic architecture and that the mosaic pavement is a contribution of modern speculative Masonry, operative lodges never having been squared this way. It is obvious that the current exposition is not and does not wish to be an exhaustive work. It is a somewhat complex approach of an important symbol in the decoration of the masonic Temple and it wishes in fact to the a paper addressing an open question:
- The mosaic pavement is the floor of the Lodge (as the rituals consider it) or is it the space limited by the three pillars Power, Wisdom, and Beauty?
A good thought accompanied by the triple brotherly accolade!
Copyright Forum Masonic
Masonic Mosaic Pavement and Star.
The lodge room: www.flickr.com/photos/21728045@N08/8101810367/in/set-7215...
www.masonicforum.ro/?cmd=displaystory&story_id=73&....
Copyright Forum Masonic
The blazing star pattern used, is usually that of the "pentalpha", or five pointed star with intermediate flames. This star is primarily the symbol of divine providence and can be found in our mosaic pavement. The five points should remind us also of other masonic "fives". The five orders of arch itecture, the five points of fellowship, the five senses and the five who must be present in order for a Lodge to be held. The star is also said to represent the Morning Star which is yet another symbol of rebirth which is so significant to each of us.
I should point out that there is a six pointed star or hexalpha which is also known as the "Glory". This six pointed star is the
Seal of Solomon and also the Star of David. This star is also represented on the carpet at times and there is distinct confusion in the texts over which star is THE star to use. The primary symbolic meaning of the six pointed star is the universe as an entity.
"The Three Ancient and Original Orders of Architecture":
A Julia set fractal rendered as a 3D image in FractalWorks, a free, high performance fractal renderer for Macintosh computers.
If you have a recent version of FractalWorks, you can recreate a 2D version of this plot by copying the link below to the clipboard, then selecting "New Fractal from URL in clipboard" in FractalWorks:
www.alejandrovalenciat.com/alejandrovt/vampiros.html
Bienvenido a este experimento público llamado ‘Vampiros’. Lo que ves acá es el resultado de un trabajo de muchas personas que salió al dominio público durante el año 2013. Todos juntos construimos un escenario para reflexionar sobre una enfermedad llamada dengue. Más que respuestas buscamos preguntas a través de un ejercicio sensorial.
Durante mi PhD busco desarrollar un estudio antropológico sobre la creación y negociación de diferentes formas de conocimiento alrededor del dengue.
Actualmente me encuentro en Medellín (Colombia) desarrollando la fase de campo de mi PhD. El objetivo central de mi proyecto es explorar cómo la antropología, en conjunto con ideas y prácticas derivadas del arte y la ciencia, puede transformar la comprensión pública del dengue.
Si querés ver el curso de mi trabajo de campo, por favor accedé a este link: www.anthropologyartscience.blogspot.com
Este proyecto está siendo desarrollado independientemente a modo de red, donde hay una serie de nodos que se entrelazan en un sentido no jerárquico. Las personas, colectivos o grupos de trabajo que se han unido a él son:
Los participantes de mi etnografía: Juanita, Sara, Luis Fernando, Oscar, Alberto, Tatiana, Carlos, Aurora.
Colaboradores: Hernán Marín, Maribel Flórez, Daniel Ronderos, Andrés Ramírez, Elva López, Felipe Villegas, Martha Vera, Carolina Quintero, Manuela Herrera, Jovany Barajas, Sergio Pulido, Susana Valencia, Lucía Tobón, Mike Bluett, Loveday King, Amanda Hunter y Andrés Ruiz.
Entidades vinculadas a este proyecto: 3B Espacio, Publicidad Ábaco, Bimana Producciones, Cataviento, Horniman Museum, Royal Anthropological Institute of Great Britain and Ireland, Pedro Mau/KNEEL, The University of Manchester, Granada Centre for Visual Anthropology, Colciencias.
A ellos mi profundo agradecimiento por su apoyo y por creer en este proyecto.
Cualquier opinión, crítica o comentario es más que bienvenido. Podés escribirme a vampiros@alejandrovalenciat.com. Si querés hacer parte de este proyecto, sólo tenés que manifestarlo.
Alejandro Valencia-Tobón
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