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Como todos sabemos, la habitación de los niños es un lugar muy peculiar. Debe ser un espacio especial en donde los pequeños puedan sentirse cómodos y motivados para desarrollar su creatividad. Al pensar en la decoración y el mobiliario de una habitación infantil el primer paso es decidir sobre un tema. Mire la personalidad del niño y las preferencias personales. ¿Le gustan los coches o los animales, vaqueros o extraterrestres? ¿Está fascinado con los cuentos de hadas o historias de la selva? Si no está seguro, también puede dejar que su hijo ayude a escoger, lo que convertirá a la sala en lugar aún más especial.
Los muebles para niños deben ser multifuncionales y tienen la oportunidad de "crecer" acompañando a su hijo. Y, por supuesto, los atractivos diseños animan al niño a sentarse y jugar. Esta es su mesa, su silla, y para los niños, ese sentido de propiedad es un factor muy importante en la construcción de la autoestima. Es cada vez más independiente, y el papel de los padres es sólo ofrecer la suficiente libertad en un ambiente seguro, como una habitación donde todo es favorable a los niños. Aquí se lo puede dejar solo durante horas, aprendiendo a jugar de forma independiente y explorar por su cuenta, sin mamá constantemente preocupada. Eso solo hace que valga la pena elegir un mobiliario infantil especial.
En la elección de mobiliario infantil, debe comprobar la funcionalidad y el diseño. Los muebles deben ser resistentes a las heces, busque las superficies que sean fáciles de limpiar. Las mesas deben ser lo suficientemente amplias como para que el niño pueda desplegar papeles y lápices de colores, juegos de té o libros. Después de todo, este es el "espacio de trabajo" de su hijo. Esto alienta al niño a pasar horas dibujando, escribiendo, leyendo, o participar en juegos de simulación (como invitar a sus osos de peluche para el té de la tarde). Piense en este conjunto como el escenario para la creatividad de su hijo.
En general, los muebles de los niños debe ser: espaciosos - para que el niño sea capaz de moverse con facilidad; firmes- un niño puede ser muy inquieto, pero los muebles para niños los pueden proteger de una lesión; cómodos - es difícil de explicar a un niño por qué tiene que sentarse aquí o allí, así que los muebles cómodos de los niños hará más fácil esta tarea. Gracias al hecho de que el niño convive con sus muebles, aprende rápidamente a utilizarlos y a mantener sus pertenencias en orden.
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Thinking about ;what? Who knows?Or just watching..
intelligenttravel.typepad.com/it/2007/12/index.html
December 04, 2007
www.valleyindiatimes.com/columns/artsofindia/10_09.html
"Madhubani painting or Mithila Painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India.
[edit] Origins
The origins of Madhubani painting or Mithila Painting are shrouded in antiquity. Tradition states that this style of painting originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita, to Lord Ram.
Madhubani painting has been done traditionally by the women of villages around the present town of Madhubani (the literal meaning of which is forests of honey) and other areas of Mithila. The painting was traditionally done on freshly plastered mud wall of huts, but now it is also done on cloth, hand-made paper and canvas.
As Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively.
Madhubani paintings mostly depict nature and Hindu religious motifs, and the themes generally revolve around Hindu deities like Krishna, Ram, Shiva, Durga, Lakshmi, and Saraswati. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. Generally no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs. objects depicted in the walls of kohabar ghar (where newly wed couple see each other in the first night) are symbols of sexual pleasure and procreation.
Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women. The painting was usually done on walls during festivals, religious events, and other milestones of the life-cycle such as birth, Upanayanam (Sacred thread ceremony), and marriage.""
Artigo: ibflorestas.org.br/pt/bioma-pampa.html
Os Campos da região Sul do Brasil são denominados como “pampa”, termo de origem indígena para “região plana”. Esta denominação, no entanto, corresponde somente a um dos tipos de campo, mais encontrado ao sul do Estado do Rio Grande do Sul, atingindo o Uruguai e a Argentina.
Outros tipos conhecidos como campos do alto da serra são encontrados em áreas de transição com o domínio de araucárias. Em outras áreas encontram-se, ainda, campos de fisionomia semelhantes à savana. Os campos, em geral, parecem ser formações edáficas (do próprio solo) e não climáticas. A pressão do pastoreio e a prática do fogo não permitem o estabelecimento da vegetação arbustiva, como se verifica em vários trechos da área de distribuição dos Campos do Sul.
A região geomorfológica do planalto de Campanha, a maior extensão de campos do Rio Grande do Sul, é a porção mais avançada para oeste e para o sul do domínio morfoestrutural das bacias e coberturas sedimentares. Nas áreas de contato com o arenito botucatu, ocorrem os solos podzólicos vermelho-escuros, principalmente a sudoeste de Quaraí e a sul e sudeste de Alegrete, onde se constata o fenômeno da desertificação. O solo, em geral, de baixa fertilidade natural e bastante suscetível à erosão.
À primeira vista, a vegetação campestre mostra uma aparente uniformidade, apresentando nos topos mais planos um tapete herbáceo baixo – de 60 cm a 1 m -, ralo e pobre em espécies, que se torna mais denso e rico nas encostas, predominando gramíneas, compostas e leguminosas; os gêneros mais comuns são: Stipa, Piptochaetium, Aristida, Melica, Briza. Sete gêneros de cactos e bromeliáceas apresentam espécies endêmicas da região. A mata aluvial apresenta inúmeras espécies arbóreas de interesse comercial.
Na Área de Proteção Ambiental do Rio Ibirapuitã, inserida neste bioma, ocorrem formações campestres e florestais de clima temperado, distintas de outras formações existentes no Brasil. Além disso, abriga 11 espécies de mamíferos raros ou ameaçados de extinção, ratos d’água, cevídeos e lobos, e 22 espécies de aves nesta mesma situação. Pelo menos uma espécie de peixe, cará (Gymnogeophagus sp., Família Cichlidae) é endêmica da bacia do rio Ibirapuitã.
O Pampa Gaúcho está situado no sul do Brasil, no Estado do Rio Grande do Sul, na divisa com o Uruguai. O Pampa é uma região de clima temperado, com temperaturas médias de 18°C, formada por coxilhas onde se situam os campos de produção pecuária e as várzeas que se caracterizam por áreas baixas e úmidas. A região sul tem, na pecuária, uma tradição que se iniciou com a colonização do Brasil.
Os campos no RS ocupam uma área de aproximadamente 40% da área total do estado. O Pampa gaúcho da Campanha Meridional encontra-se dentro da área de maior proporção de campos naturais preservados do Brasil, sendo um dos ecossistemas mais importantes do mundo.
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Olympus MZD 17mm f/1.2 PRO Review
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Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
A pain in the back can be much more painful when it is chronic pain. Symptoms and information about of Chronic back pain. backpain911.com/chronic-back-pain.html
Long Mint Prom Dress With Strapless Ruched Keyhole Bodice
www.urpromdresses2014.com/long-mint-prom-dress-with-strap...
St Paul is the smaller of Minnesota's "Twin Cities," and many people may assume because of that that it is lesser. This is not the case. While Minneapolis plays the role of Minnesota's cosmopolitan metropolis, St Paul epitomizes the hearty, down to earth spirit of the upper midwest. The city also hosts many of Minnesota's most iconic and beloved events, traditions, and places: The Prairie Home Companion, Ice Castles, The Winter Carnival, the MN State Fair, the MN Science Museum, MN Public Radio, and much more.
It's true, St Paul's skyline is modest in comparison to that of Minneapolis, but this is not due to slower economic growth, this is due to the approach for Runway 22 at the MSP International Airport flying directly over downtown. This may result in fewer shiny tall buildings, but it also has meant the preservation of the old classic brick and stone buildings that made the city what it is.
Not to mention, St Paul will be getting Light Rail service in 2014! (Remind me to change this in 3 years..haha).
© Luke Birtzer 2011
Crystal Tattoos add a little bit (or a lot) of bling to your body. Our Crystal body tattoos are a kind of Temporary Tattoo that is more a jewelry accessory than an actual tattoo. With regular Temporary Tattoos you need to clean your skin, wet that area and apply the Temporary Body Tattoo and wait for few moments prior to pulling away the backing. Where us these Crystal Tattoos, unlike regular temporary tattoos, are crystals that are embedded on a transparent (or colored) sticker sheet. We always use lab tested, non toxic & skin friendly glue in our tattoos which makes your experience of wearing tattoo extremely nice. Apart from Stock Crystal Tattoos, we can also make Stick on Body Jewels, Rhinestone Tattoos, Diamante Tattoos as per your personalized requirements. There are a wide range of designs and styles in these following Sticker Body Jewels, The best thing about these tatoos is that they are very much affordable, clinically tested, self adhesive and re-useable. Just peel of the jewels from the backing sheet and adhere it to which ever part of your body you would like to wear them.
The great thing about these Crystal Tattoos (Crystal Jewel Tattoos, Rhinestone Body Tattoos, Decorative Tattoo Stickers, and Custom Crystal Body Tattoos) is that they can be put any place on the body. The final decision is up to you though. The point of these tattoos is for them to be seen and admired and to draw attention to the wearer. Think about what you will be wearing before placing Crystal Tattoos on your body. The size of the tattoo also dictates proper placement. Smaller tattoos can easily be placed on the face but larger sizes can find their way on other parts of the body including: Shoulder blades, Arm, Chest, Buttocks, Lower Back, Thigh, Cleavage, Belly button.
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phot Julai Merkel
phot JulIA Merkel
www.emergencyrooms.org/sprengelmuseum.html
----------Sprengel Museum exhibition Press release ----------
Sprengel Museum Hannover
PHOTOGRAPHY CALLING!
09. October 2011 – 15. January 2012
Sprengel Museum HannoverSprengel Museum Hannover
IN ASSOCIATION WITH THE
LOWER SAXONY SAVINGS BANK FOUNDATION
PHOTOGRAPHY CALLING! is an exhibition of the works of 31 photographers on a floor area of over 2,000 square metres. Since HOW YOU LOOK AT IT in 2000, this exhibition is the first and only one to provide an all-embracing overview of artistic photography from the 1960s to the present day. The exhibition has been organized by the Sprengel Museum Hannover in collaboration with the Lower Saxony Savings Bank Foundation. Starting out from the Foundation’s collection of large groups of works by both American and European photographers, the only collection of its kind in Europe, the exhibition explores the history and perspectives of the ‘documentary style’ of photography.
PHOTOGRAPHY CALLING! constitutes yet a further step towards establishing Hanover as an important centre for artistic photography in the north of Germany.
The starting points of the exhibition are the works of Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, William Eggleston, Lee Friedlander, John Gossage, Nicholas Nixon, Martin Parr and Michael Schmidt. The artist photographers Rineke Dijkstra, Paul Graham, Thomas Struth and the photographers of the generations that followed, such as Jitka Hanzlová, Stephen Gill, Jochen Lempert, Elisabeth Neudörfl, Heidi Specker and Tobias Zielony, visualize the world with a style of photography that adheres strictly to the medium and yet is highly subjective. Max Baumann, Boris Mikhailov, Rita Ostrowskaja and Helga Paris extend the perspective with experiences of their own confrontations with different political systems, while Laura Bielau, Thomas Demand, Hans-Peter Feldmann, Andreas Gursky, Thomas Ruff, Wolfgang Tillmans and Jeff Wall use the documentary style of photography as a means of exemplifying the phenomena of visual perception. Many of the works are being exhibited for the very first time.
Integrated into the exhibition are three successive Project Rooms organized by three guest curators and each taking place for the duration of one month. They thematize three different methods of collecting and three different ways of using photography.
From 9.10. until 30.10.2011 the artist Thierry Geoffroy will investigate the idea behind the title of the exhibition – PHOTOGRAPHY CALLING! – and ask: Who calls whom and what, and for what purpose, and out of what interests? On 1.11.2011 Markus Schaden will be setting up a study room devoted to the photography book as a ‘storage medium’ and collector’s item. From 6.12.2011 until 15.1.2012 Wilhelm Schürmann will be exposing the obsessions that can be the driving force behind a private collection of photographs, graphics, paintings and sculptures.
In the run-up to the exhibition HOW YOU LOOK AT IT at the Sprengel Museum Hannover, which was curated by Thomas Weski and Heinz Liesbrock on the occasion of EXPO 2000, the Lower Saxony Savings Bank Foundation began to purchase comprehensive groups of works by selected American and European photographers. Since then, the collecting activity of the Foundation has been focused on those works of photography that may be understood to be in the tradition of the ‘documentary style’ (Walker Evans, 1903-1975) and have been exercising a strong influence on photography since the end of the 1960s. Thus it has been possible – thanks not least to the recommendations of a high-calibre advisory board – to build up a photographic collection distinguished by its concentration on groups of works. In this regard the collection is unique in Europe.
The Lower Saxony Savings Bank Foundation’s collection and its perspective are now to be the subject of the present exhibition, which is being mounted jointly with the Sprengel Museum Hannover and also in the context of the Museum’s own well-cultivated photography tradition, which began in 1979 and can boast exhibitions of such great exponents of photography as Karl Blossfeldt, El Lissitzky, Judith Joy Ross and Michael Schmidt, to name only a few of many, or the “SPECTRUM” International Prize for Photography of the Foundation of Lower Saxony. ‘Collecting’ manifests itself here as an open system that operates self-reflexively in the aforementioned Project Rooms and is future-oriented and discussion-friendly in the exhibition’s supplementary events.
PHOTOGRAPHY CALLING! is accompanied by a copious publication (Steidl, Göttingen). Visitors will also be offered a comprehensive information programme.
The exhibition has been curated by Inka Schube, Curator for Photography and Media Art, Sprengel Museum Hannover, and Thomas Weski, Professor of “Curatorial Cultures”, Academy of Visual Arts, Leipzig.
www.warbirdregistry.org/jetregistry/a4-154332 .html
IMG_0051_3
Oakland Aviation Museum www.oaklandaviationmuseum.org/hours-and-location
Las fuentes al aire libre han traído la belleza y el encanto a muchos jardines residenciales y comerciales. A personas de todas las edades les encantan las fuentes de exterior ya que ofrecen un clima muy relajante y reconfortante para la vista y el oído. Si lo que usted busca es crear un refugio en su jardín, las fuentes de agua son la elección más acorde y conveniente. Dentro de las variedades existentes usted encontrará fuentes de diferentes materiales, incluyendo metal, piedra, hormigón, terracota, pizarra, etc. También se pueden encontrar cientos de tipos, colores y tamaños que se ajusten perfectamente a su espacio y presupuesto disponibles.
Las fuentes de exterior son una de las mejores opciones para decorar su parque o jardín y pueden hacer de este un espacio fascinante y muy acogedor. Una de las principales facilidades de las fuentes de exterior es que encajan en cualquier estilo de jardín, sean estos grandes o pequeños. Además pueden estar conectadas a una pared o de forma independiente según usted lo prefiera.
A la hora de instalar su fuente usted debe elegir el lugar de su jardín que más se adapte a su espacio disponible. Además, es de suma importancia el utilizar productos de limpieza naturales y seguros a la hora de hacer el mantenimiento de las fuentes. Los productos como removedores de algas naturales son los ideales ya que mantendrán su fuente limpia y libre de desechos.
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Since 2001 we have been trying to find Digiscope solutions, from the perfect camera, adapters, lenses, eyepieces, scopes and mounting systems. Now we have great camera, lenses, eyepieces Super Scopes and mounting systems. To my way of thinking Adapters have always been a challenge and the weakest link in Digiscoping. The Manufactures of the adapters have been camera brand specific, over engineered, or have depended on the filter threads of a camera or camera lens to support totally the weight of the camera. No Good, I promise that no lens manufacture would recommend that. Referring to the term “over engineered” I am referring to adapters like the swing models. Personally I believe that they lack support for the camera and seem to be easily damaged while in the field. The new ATX/STX Swarovski seems to have corrected the major concern of camera support, not depending of the filter threads to support the camera system unlike the DCA or the DA-10 from Kowa what I currently use. I have broken in half 4 lenses in the past years using those systems before I tried Support Brackets like the TSN-DA3. Support brackets are great; the scope, eyepiece, adapter and camera are now one secure solid piece if one can remember to lock everything down. I have to confess that due to my negligence of not checking to see if everything was tightened I have send a Scope in for repair and ruined an expensive DSLR when it smashed on the asphalt road. Weight is another issue. The Kowa TSN-DA3 Digiscope Support Bracket weighs 2.58 pounds. The one I own went to a machine shop and all none structural Aluminum was milled away cutting the weight to just over 2 pounds. Some of my days in the field carry me 8 or more miles walking. So like a back packer every pound counts. Up until now the TSN-DA3 was very important to keep my kit functioning and secure. So I carried that 2 + additional pounds.
At the Space Coast Festival two different people showed me a new Adapter. Angie “just a birder” bought one she is excited and bragging about hers. It was of high quality machined Aluminum that will work with 4/3 camera as well as some DSLR and P&S cameras. A minor sleeve change (inner ring) and it will adapt to any spotting scope eyepiece. It is not expensive and best of all the weight of the camera stresses the scope not the filter threads of the lens. There for a support bracket is not necessary, cutting my carry weight 2+ pounds. I ordered one.
Yesterday I received my Digidapter. I watched the video on www.youtube.com/watch?v=KVGfQTd8UPQl for quick assembly instructions. I inspected it for deficits like over engineering or a key feature not considered. I could not any faults. It was designed for quality, for the speed and smoothness in mounting the camera on a scope coming back to same position each time without adjustment or alignment.
•The fasteners are of the highest quality, brass and stainless.
•The screw design for mounting the camera in the tripod mount is superior.
•The brass stop screws on the mounting plate are designed for finger tightening, no fear of stripping the brass parts from over tightening. The camera comes back to the same spot every time.
•The elevation plate has milled slots so only the provided Allen key is necessary to lock the camera in place.
•The camera does not have to be removed from the Digidapter to replace batteries and flash cards. .
• Coupling the camera to the eyepiece is a breeze. Close tolerance machining and the highest quality anodizing is why it is smooth and easy.
•To change from one scope manufacture to another or if the eyepiece is different in size all that is needed is a different inner ring, all of the other parts will remain the same. This means for those scope owners that would like a functional adapter for a Pentax, Celestron, Vortex or Vanguard scope it is now available at a reasonable price.
•Overall, it is solid and functional, easy to use, returns to the same position with each mounting. No binding, pieces glide together, no effort. Precision and effortless in use, protecting the camera and eyepiece from stress damage. No adapter that I have seen mounts the camera and has it ready to shoot faster, safer and with more precision.
•The Digidapter is the best I have seen.
The big question at the Space Coast Festival was would the new 20mm f/1.7 ll ASPH Lumix lens works with this adapter. That lens is short like a Pancake lens but it is about 2 inches in diameter. I phoned my order to Paul Sayegh the owner and designer of the Digidapter. We spent hours on the phone discussing the 4/3s and some of the unique lenses that this system is creating. I had the lens in hand with a pair of dial calipers. I measured and re-measured the key points of the lens and measurement in relation to the camera. I took and then emailed to Paul the photos of the GX 7 and lens and added the measurement to the photos. After receiving the photos we talked again and at Paul’s request I re-measured everything once more. In three days I received my Digidapter and it was perfect.
Paul is an engineer, a designer, a communicator and a great machinist with an advanced knowledge of stress and tolerances. Paul is a big lens photographer that found Digiscoping and knows the importance of Digiscoping as a tool in photography. Digidapter and Paul Sayegh deserve our support.
Go to digiscopeadapter.com/home.html to see and learn more.
Roy Halpin
Taken at Latitude/Longitude:51.522896/-0.137621. 0.52 km North-West Fitzrovia England United Kingdom (Map link)
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I have compiled the identical info on my blog. Please visit here.
--The photos below all taken in Narita Airport Terminal 1 in May 2008, except the ones in the outer links--
Firstly, those intending to have your Japan Railpass validated, please make sure where to do so. JR pass validation office
Introduction of Narita Express by JR East
Suica and NEX package for 3,500 yen: This combo consists of 1,500 yen Narita Express and connecting trains rides to your final destination in Tokyo Area, a 500 yen suica card which is refundable after use and 1,500 yen suica credit that can be topped up via the ticket machine etc as you need it.
Please reminded that when you have the suica card deposit refunded, make sure you have no credit balance left on it, otherwise JR charges you a handling fee of 210 yen for the credit balance refund.
Please note that there is no discounted Narita Airport bound NEX package. If you'd like to return to the airport as cheaply as possible, you might use the Keisei Line from Nippori.
This signpost stands in front of the ticket counter.
Direction to the Travel Service Center
Japan Rail Pass and 'Suica and NEX'
Inside the travel center
What are needed for applying for the JR Pass validation
Queue here for JR Pass application
According to the agent there, You may wait for between 5 minutes and 1 hour to have the pass validated depending on the number of customers. In case of congestion, they may refuse to book train seat tickets, which they are willing to do when they are not busy.
Suica and NEX combo purchase counter
Tokyo bound Narita Express seat availability
venice-biennale-biennalists.blogspot.dk/2013/06/national-...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that will participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
www.flickr.com/photos/disneywizard/3782437715/
www.flickr.com/photos/disneywizard/4465868039/
Atchison, Topeka & Santa Fe, No. #664
Why it works.
Steam in the top, compressed air out of the bottom. Dual action piston on top cycles automatically with a "Shortend Stroke" valve (that's the small rod in the center) to drive the main rod that compresses atmospheric air, intake from a filter, to a pressure vessel (tank) to maintain the brake line pressure. If the line is dumped, or slowly released, springs on each car in the train no longer hold the brakes away from the wheels, which apply the brakes until line pressure is restored, releasing the brakes by overcoming the springs. Each brake shoe is balanced in equilibrium with all the others, applying exactly the same dynamic pressure evenly along the entire train. There are many ways to compress air, this is the most common on steam locomotives.
Identical pumps can also be used to compress feed water into the boiler, so often there will be two compressors on the fireman's side of the engine. One to maintain the boiler water level and one to maintain the brake system air pressure.
Why not just use steam pressure? Steam pressure changes depending on the load of the locomotive and this isolates that variability. But more importantly, steam condenses into water when cooled, taking up less volume -decreasing the pressure - applying the brakes, and worse is the maintenance nightmare of water rusting the interior of the brake system parts. The moisture in the air, when compressed, precipitates out and is caught in the first pressure storage tank, which is why one finds a drain valve at the bottom of it.
dsc00153, 2010.03.41 17.54, 34.154343, -118.309, 3D, California, Los Angeles, Griffith Park, Travel Town, locomotive, AT&SF #664
shoestringonline.co.uk/html/klansmen#.Up37xMRdXh7
Visitors to the Current show at the Serpentine Sackler Gallery, Hyde Park were directed by the Chapman Brothers with this message.
GET RID OF MEANING. YOUR MIND IS A NIGHTMARE.
Easier said than done when it comes to this art by the Chapman Brothers which features the familiar mutilated bodies and scenes of horrific torture and gruesome ritualised decapitations that do not necessarily contrive to horrify, as this sentence would appear to suggest.
The Chapman brothers are inclined to provide enough comforting context. We Monks were after all invited to enter a brand new swanky art gallery and no art lover as far as we are aware has thus far been harmed or traumatised by a Chapman image.
We entered cautiously and discovered the familiar grim images, scary in a "ghost train" kind of way. The Chapman Klansmen are comedy Klansmen with rainbow socks and comedy smiley faces. The Chapman crucified martyrs are nothing more than harmless corporate Ronald MacDonald effigies, and so very many of them as in the real world.
I found myself failing to "get rid of meaning" by comparing the Chapman Brothers to Richard Dadd, whose "Fairy Feller's" is arguably more horrific, given Dadd's state of mind, but far less horrifically explicit than the Chapman Brothers.
As far as we know the Chapman Brothers are not actually psychotic. They are more inclined to toy with the visitors most visitors go along with the toying. I could not fail to notice two American ladies failing to "get rid of the meaning" They provided me with an in-depth commentary on each particular scene of horror and mutilation as if Ronald MacDonald were a real person and these were scenes from a soap opera, a warped Nazi soap opera.
The miniature horror model show might also appeal to the model makers within all of us boys, seeking the same thrill you might get when you view an architect's model of a new airport or a shopping centre complete with little trees to provide context and scale.
For this reason I did wonder why The Chapman Brothers had not provided a model Hornby Nazi train-set to circulate about the corpses. Yes, I do believe that there is a train spotting model maker and dark grim humour within us all.
We Monks saw "Hell", the earlier Chapman Brothers work which featured similar miniature grotesque models in glass cases. These works which took years of endeavour to construct were destroyed in the cataclysmic MOMART fire in the 2004. They have now been recreated and re-imagined somewhat in the same spirit.
I discussed this with a young "curator" in the gallery. I discovered that the new Serpentine Sackler Gallery was in fact an 1805 listed building and formerly a depositary for gunpowder and such. I again found myself failing to "get rid of the meaning", so I changed the subject and I told her that I was a little scared to go into the central section behind the black curtain, from where I could hear the sounds of horror. She said that I should not be scared and that all would be well if I were to enter..
Beyond the black curtain masked members of the KKK were sitting amongst the visitors watching a Chapman movie. There I observed Mrs Monk sitting next to a KKK pointy hat both of them watching the horror movie as if it were the most natural thing in the world.
There was a Chapmanesque resonance in the movie but no fearful reaction from the visitors. Just the occasional knowing laugh.
Aamir Khan got body spray painted for Dhoom 3! - www.bolegaindia.com/gossips/Aamir_Khan_got_body_spray_pai...
www.stthomasfreemasonry.com/lodges.html
The Chronicle article Aug 2005
Freemasons have been meeting for 125 years in West Elgin.
West Elgin Lodge 386 celebrated the anniversary with a black tie ceremony Nov. 5 at the Rodney Legion.
It's no secret the fraternity has been supporting the community.
By donating $21,000 for the Rodney pool when it was built and more recently $1,500 for St.Thomas-Elgin General Hospital the Freemasons have become the backbone of the area, said Andy Cipu, director of the ceremony Friday night.
Freemasons claim to be the oldest and largest worldwide fraternity dedicated to the brotherhood of man under the fatherhood of a Supreme Being.
At first, the Freemasons were stonemasons who built cathedrals in the 1600s. When cathedral building declined, the guild began to open its doors to other craftsmen.
The first recorded meeting in what is today, West Elgin, was the McColl Lodge, Nov. 6, 1879 at Trigger Hall, west of the village of Bismarck (West Lorne).
The first elected Master was Worship Brother Kenneth McKenzie and the first secretary was Worship Brother Hugh McColl, after whom the lodge was named.
The first meeting of the Rodney Lodge was held June 25, 1885, it is believed in the old Vogan Block on Furnival Road.
In the mid 1990s, both the McColl Lodge and the Rodney Lodge were declining in membership.
Cipu has been a Mason for 50 years. He recalls the work done to have the Grand Lodge and Board of General Purpose grant an amalgamation between the two Lodges.
On March 28, 2003 at the Rodney Temple, on Queen St., Cipu, the Grand Lodge Officer saw the West Elgin Lodge become a reality.
He said 14 new members joined the lodge last year and the fraternity is steeped with local prominence.
'We're really strong.' said Cipu.
Former mayors, doctors, funeral directors, church leaders and businessmen have frequented the lodge at its monthly meetings throughout the freemasons history here, said Cipu.
He said the group is not religious but religious in principle.
To be a member, the man must believe in a Supreme Being. No atheists allowed, said Cipu.
The fraternity is incorporated, serving the interests of local charities and morally supporting the leaders of local institutions.
?We do amazing things here,? said Cipu, adding the fraternity is open for more members.
At the 125 ceremony, Master Worship Brother Donald Mumby, from the Grand Lodge of Canada in the Province of Ontario greeted a large concourse of members and wives.
Also, District Deputy Grand Master, George Akers and Worship Master, Kevin Schleihauf made presentations.
The last few days have been a flurry of activity with building on the river and wet lands. But, in between I have gone to a bunch of new places and back to some of my favorite venues.
Xavier & I love to salsa. So we did a search and wham, we found >Latin Palace Dance Club. Couples were dancing in dressy attire to wonderful salsa music. Wearing a tuxedo without a shirt and me in a short cocktail dress, it so reminded Xavier & me of Miami clubs.
A stopover at Organica to catch the last hour of DJ Qee's set woke us up with a nice psy jolt! So good to hear Qee's dynamic sounds and see old friends.
A brand new club called Fear FM sent me a tp. I got to meet owner/builder Cypher Webb. Beautifully built by Cypher, he was also spinning an awesome set of hardstyle and goth rock. I had a blast there. Cypher is also recruiting DJ's so peeps, give him a shout!
It was so late on Thursday night (Fri morn?) that I just had to stop off and say hi to DJ Xavi at The Cave. Owner Tasty Hax was there, too. I run into her at every party!
Friday afternoon, I got a tp from one of the builders. I ended up at Blackhearts 80's club. I love the funkiness of this club. So simple. It feels like a rock n roll club. Halloween was coming and the Pillsbury Dough Boy showed up! LOL!
Late night, and Xavier & I headed for DJ Nebulae's set at Piranha. Xavi loves this club. He set his JMD Effects hud on and we were in psy heaven. We always have fun at Shad's club!
In between all the craziness, I hit New Berlin's Electro Smog. Gee... I can't seem to get enough of this place. Zap Hax was hosting and DJ djleftydc Denja was spinning a sweet set of tunes.
Another new place I landed upon was Le Ghetto Hype. This is a fun club of alternative and eclectic tunes. Owner DJ Frederick Neberle & partner ARNAUD Mureaux have built a wonderful place to hang.
Off to Divaz Lounge! DJ 8wall Wrigglesworth just sent me a tp! OMG, 8wall is spinning at Divaz.
I met 8wall at Dance Island last year and then over at Nutrie. He spins a very chill set of house and minimal tunes.
But, the highlight of my night was at Old Factory listening to DJ Jeangilles Anthony. This frenchman is an artist. Beautiful industrial noise layered with a hardstyle beat... then transcending into experimental music... psychedelic experimental noise. LOL! and I fell asleep there... just couldn't leave!
Late night on Friday, Xavier and I ended up at DJ Digital Francis' Le Pardis de Digital Nation. It was an after party and Digi was spinning. Xavi & Digi started a "stump me" game. I think Digital was very impressed with Xavier's musical knowledge. They bro-downed the entire night leaving me and DJ Snowkitty dumbfounded... 'cause neither of us knew any of the tunes. LOL! I think Xavier has a new favorite dj now!
Forgeline SC3C Concave Wheel finished in Silver.
Learn more at www.forgeline.com/products/concave-series/sc3c-concave.html.
I came to this gallery every single day of our 4-day stay in Trinidad - mainly to look at (drool over) this painting. On the third day the owner of the gallery casa told me that she will contact the artist (Rudy Rubio) to ask about discount (gotta bargain a bit, right?:)) On the fourth day, after I heard Rudy is fine with the offered price, he came in & met us. We had about 1-hour long banter about this & that and I left with a new addition to our UK walls.
Pared ("Wall"), Rudy Rubio, 2011
► Ver imagen en alta resolución aquí: www.compartir.me/2014/01/frase-de-amistad-para-compartir-...
Imagen con frase acerca de los amigos. El 14 de febrero esta cerca no olvides que no solo es el mes del amor sino también de la amistad. Comparte este abecedario de amistad con tu mejor amigo por facebook.
"A"migo es aquel que
"B"usca siempre tu
"C"ariño y
"D"esea con
"E"ntusiasmo tu
"F"elicidad dandote
"G"anas de vivir
"H"ace lo posible e
"I"mposible, se
"J"uega por vos, te da
"k"ilos de amor y
"L"ealtad, lucha por
"M"antener tu amistad
"N"o te deja por nada
"O"lvida las
"P"eleas y te
"Q"uiere sin mediidas
"R"egala su corazon
"S"abe perdonar
"T"e recuerda siempre
"U"ne, no divide
"V"ence la soledad
"X" ti
"y" sobre todo sabe
"Z"ambullirte en tu corazon.
Frase de amistad para compartir en facebook | Día de la amistad, Día del Amor y la Amistad, Amistad, Frases de Amistad
.........
innisfreegarden.org/garden.html
We arrived at Innisfree as soon as it opened at 10AM one mid-August morning when the entire Northeastern US was in the middle of a record heatwave. Despite the heat and humidity, we were able to make a quick 1.5 mile circle on the path around the deep glacial lake at the heart of this 150 acre garden before we wilted and had to return to our air conditioned car. The harsh mid-day light made photography challenging, as you can see. We learned that Innisfree, said by some to be one of the world's Ten Great Gardens, opens at sunrise on three occasions each year, and we are already planning another trip to the Hudson River Valley in the future when we hope we can see and photograph this amazing place under better conditions.
"Like the pyramids of Egypt or the Great Wall of China, Innisfree helps us to define what we mean by ‘civilization’. It’s one of the few places in this world that lived up to — nay, exceeded — my expectations."
David Wheeler, Editor, Hortus (2013)
"In the late 1920s, Walter Beck and his wife, avid gardener and heiress Marion Burt Beck, began work on Innisfree, their country residence in Millbrook, New York. Walter Beck’s fascination with Asian art influenced his painting, the collecting he and his wife pursued, and their ideas on garden design. In the 1930s, Beck discovered the work of 8th-century Chinese poet, painter and garden maker Wang Wei. Studying scroll paintings of his famed garden, the Wangchuan Villa, Beck observed that Wang created carefully defined, inwardly focused gardens and garden vignettes within a larger, naturalistic landscape. Wang’s place-making technique — christened “cup gardens,” by Beck — influenced centuries of Chinese and Japanese garden design. It is also the principal design motif in the Innisfree landscape. Like his Chinese predecessor, Beck created three-dimensional pictures in the garden, incorporating both rocks from the site and horticultural advice from his wife. Unlike Wang Wei, or perhaps more familiar figures like Lawrence Johnston, who used his cup-like rooms at Hidcote in England to draw one through a sequence of events and create an overall sense of place, Beck focused more on individual compositions. Relating these to each other and to the landscape as a whole was the genius of Lester Collins."
The genius of this place lies not so much in the ideas which the designers formulated for the cup gardens, many of which are disarmingly simple, but in the way they have been maintained over the years. Essentially, everything is allowed to settle into the prevailing spirit of the place; if it does not, it is removed. It is this sensitivity, care and attention to the qualities of landscape, natural and made, that make Innisfree such a memorable success.
Tim Richardson, Great Gardens of America (2000)
Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance. The traditional Chinese garden is usually designed so that a view of the whole is impossible. [It] requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass." .
Lester Collins, Innisfree: An American Garden (1994)
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Payphone Project
714-778-9210
714-778-9205
714-778-9678 TDD
714-778-9568
714-778-9518
714-778-9313
714-535-9106
Space Mountain Exit
1313 Harbor Blvd.
Anaheim, CA 92802
This bank of Payphones is at the waiting area of the Space Mountain exit, near the Starcade and the ride photo booth. There is always someone nearby during operating hours.
Incoming calls: All of the payphones in this bank will accept incoming calls.
Card reader: All of the payphones in this bank will accept Smart Card and magnetic stripe card payment.
Disabled Access: This payphone provides a Loudness selector.
Also see:
* flickr.com/search/?q=714-778-9210
* payphone.wikia.com/wiki/714-778-9210
* payphone.wikia.com/wiki/714-778-9205
* payphone.wikia.com/wiki/714-778-9678 TDD
* payphone.wikia.com/wiki/714-778-9568
* payphone.wikia.com/wiki/714-778-9518
* payphone.wikia.com/wiki/714-778-9313
* payphone.wikia.com/wiki/714-535-9106
* www.waymarking.com/waymarks/WM9MT8_Space_Mountain_Payphon....
dsc08625, 2008:08:08 16:54, 3D, California, Anaheim, Disneyland®, Tomorrowland, Space Mountain, Exit, "Space Mountain Photo Capture", Restroom, Payphones, 714-778-9210, 714-778-9205, 714-778-9678 TDD, 714-778-9568, 714-778-9518, 714-778-9313, 714-535-9106
The last few days have been a flurry of activity with building on the river and wet lands. But, in between I have gone to a bunch of new places and back to some of my favorite venues.
Xavier & I love to salsa. So we did a search and wham, we found >Latin Palace Dance Club. Couples were dancing in dressy attire to wonderful salsa music. Wearing a tuxedo without a shirt and me in a short cocktail dress, it so reminded Xavier & me of Miami clubs.
A stopover at Organica to catch the last hour of DJ Qee's set woke us up with a nice psy jolt! So good to hear Qee's dynamic sounds and see old friends.
A brand new club called Fear FM sent me a tp. I got to meet owner/builder Cypher Webb. Beautifully built by Cypher, he was also spinning an awesome set of hardstyle and goth rock. I had a blast there. Cypher is also recruiting DJ's so peeps, give him a shout!
It was so late on Thursday night (Fri morn?) that I just had to stop off and say hi to DJ Xavi at The Cave. Owner Tasty Hax was there, too. I run into her at every party!
Friday afternoon, I got a tp from one of the builders. I ended up at Blackhearts 80's club. I love the funkiness of this club. So simple. It feels like a rock n roll club. Halloween was coming and the Pillsbury Dough Boy showed up! LOL!
Late night, and Xavier & I headed for DJ Nebulae's set at Piranha. Xavi loves this club. He set his JMD Effects hud on and we were in psy heaven. We always have fun at Shad's club!
In between all the craziness, I hit New Berlin's Electro Smog. Gee... I can't seem to get enough of this place. Zap Hax was hosting and DJ djleftydc Denja was spinning a sweet set of tunes.
Another new place I landed upon was Le Ghetto Hype. This is a fun club of alternative and eclectic tunes. Owner DJ Frederick Neberle & partner ARNAUD Mureaux have built a wonderful place to hang.
Off to Divaz Lounge! DJ 8wall Wrigglesworth just sent me a tp! OMG, 8wall is spinning at Divaz.
I met 8wall at Dance Island last year and then over at Nutrie. He spins a very chill set of house and minimal tunes.
But, the highlight of my night was at Old Factory listening to DJ Jeangilles Anthony. This frenchman is an artist. Beautiful industrial noise layered with a hardstyle beat... then transcending into experimental music... psychedelic experimental noise. LOL! and I fell asleep there... just couldn't leave!
Late night on Friday, Xavier and I ended up at DJ Digital Francis' Le Pardis de Digital Nation. It was an after party and Digi was spinning. Xavi & Digi started a "stump me" game. I think Digital was very impressed with Xavier's musical knowledge. They bro-downed the entire night leaving me and DJ Snowkitty dumbfounded... 'cause neither of us knew any of the tunes. LOL! I think Xavier has a new favorite dj now!
R205.
Lancia D24 #36.
Ganador (1º) en la IV Carrera Panamericana, México 1953.
Escala 1/43.
Serie Revival.
Brumm.
Made in Italy.
Año 2009. (?)
Más información:
www.minicar.es/Lancia-D24-1%C2%BA-Carrera-Panamericana-Me...(1953)-Brumm-143-a60~R205.html
www.brumm.it/04-prodotti/collezionali/04-revival.html
www.brumm.it/00-media/03-catalogo/pdf/09_xraybrumm%202009%20(pag%2046-81).pdf
www.hobbydb.com/catalog_item_types/model-racing-cars/keyw...
-----------------------------------------------------------------------------------------------
Juan Manuel Fangio
"Juan Manuel Fangio (Balcarce, provincia de Buenos Aires, Argentina, 24 de junio de 1911 – Buenos Aires, Argentina, 17 de julio de 1995) fue un automovilista de velocidad argentino. Es considerado para muchos expertos como uno de los mejores pilotos profesionales del automovilismo mundial de todos los tiempos, incluso el mejor, por haber logrado cinco títulos mundiales de Fórmula 1 durante las temporadas de 1951, 1954, 1955, 1956 y 1957, y los subcampeonatos de 1950 y 1953."
(...)
Fuente: es.wikipedia.org/wiki/Juan_Manuel_Fangio
-----------------------------------------------------------------------------------------------
Museo Fangio
Lancia D-24 / 25 Sport
Características técnicas
"Año de producción: 1953
Cantidad de ejemplares: 4
Tipo de carrocería: Biposto spider
Tipo de Chasis: Estructura tubular formado por dos largueros tubulares de 2 mm de espesor y 90 mm de diámetro en acero.
Distancia entre ejes: 2,45 m
Trocha: delantera 1,29 m y trasera 1,25 m
Motor: V6 - 60º
Diámetro x Carrera: 88 x 90 mm
Cilindrada Total: 3284 cc (3100 cc para la IV Carrera Panamericana de 1953)
Potencia máxima: 245-265 CV a 6200 RPM
Relación de compresión: 9: 1
Arboles de levas: 4 a la cabeza
(...)
Peso: 740 Kg
Velocidad máxima: 265 Km/h"
(...)
Trayectoria
"Carrera Panamericana de México 1953 - (Fangio) Nro. 36 - Ganador
12 Horas de Sebring 1954 (con Castellotti/Fangio) - Nro 36 - Abandonó
RAC Tourist Trophy Circuito de Ards - Belfast - Irlanda 1954 (con Taruffi/Piodi/Fangio) Nro 3 - Segundo (Castellotti/Fangio comenzaron la carrera con un Lancia D25 - Nro. 2 - cambiaron de máquina por rotura de motor)
La Panamericana reunió en un convenio muy especial a Juan Manuel Fangio y a Gianni Lancia.
Aunque Fangio estaba corriendo carreras Sport para Maserati, como ésta no se presentaría para la competencia de México, le dio libertad para que corriese para Lancia en la última prueba del Primer Campeonato Mundial de Marcas."
(...)
LA AVENTURA TÉCNICA DEL "D24 - Carrera"
"La evolución mas saliente que tuvo la "D24" fue el relativo a su chasis, al motor y ala posición de varios de sus componentes.
El motor de 3284 cc - 88 x 90 mm- con potencia variable de 245 a 6200 RPM a 265 CV a 6500 RPM, fue transformado luego de su participación en Nürburgring, a carter seco. Le redujeron la distancia entre ejes de 2600 mm a 2400 mm, adoptando el puente De Dion que pasaba sobre la caja de cambio, doble elástico cantilever y bieletas paralelas superiores. Un tanque de aceite estaba bajo el guardabarros trasero derecho. Un tanque de combustible centrado sobre la parte posterior trasera de 110 litros era suplementado por otro de 50 litros para los casos de competiciones de largo kilometraje. La tracción mejoró con el agregado de un diferencial autoblocante a disco, del tipo ZF.
Resultó esta una unidad de buena tenida, maniobrabilidad y frenaje, fue preparado para la IV Carrera Panamericana de Méjico - 1953 ganada por Juan Manuel Fangio, en su versión de motor de 3100 cc - 80 x 85 mm - para dar mayor fiabilidad ante una tan larga competencia."
(...)
Fuente: www.museofangio.com/es/autos/19-lancia-d-24-25-sport/
-----------------------------------------------------------------------------------------------
Carrera Panamericana
"La Carrera Panamericana, también llamada la Carrera (the Carrera, en inglés)1 , la Panamericana o solamente la Pana, es un evento deportivo de automovilismo tipo rally organizado anualmente a través de la República Mexicana.
Su historia se divide en dos etapas, la antigua u original, que se efectuó de 1950 a 1954, y la moderna, que se organiza desde 1988 hasta esta fecha. En la etapa actual la participación de modelos de automóviles se divide en 4 grupos y 9 categorías.6
El director de la división deportiva de Mercedes Benz en los años 50, el alemán Alfred Neubauer llegó a considerar la Carrera como una mezcla de las 24 Horas de Le Mans, la Mille Miglia, el Gran Premio de Trípoli y el autódromo Nürburgring.
La prueba atrajo la participación de las principales marcas de autos deportivos europeos como Ferrari, Porsche, Lancia, Talbot, Mercedes-Benz, Pegaso y Alfa Romeo."
(...)
1953
"La Carrera Panamericana de 1953 se caracterizó por los grandes accidentes.
El Lancia de Bonetto chocaba contra un muro en el pueblo de Silao Guanajuato, luego de haber brincado excesivamente rápido un vado que no estaba debidamente señalizado, y falleció.
Antonio Stagnoli y Giuseppe Scotuzzi sufren un pinchazo en su Ferrari en la zona de Oaxaca, que les provoca una espectacular salida que los obliga a abandonar.
Pegaso participó en esa edición con un coupé construido específicamente para la carrera, de portón trasero y barras contra zopilotes en el parabrisas.
La carrera fue dominada en esta edición por Lancia con su D24, un vehículo especialmente diseñado para la Panamericana, cuyo motor de 6 cilindros en V de 3096 cc, disponía de una potencia de 226CV con un peso total en su conjunto de 760 kg, con el cual consigue las tres primeras plazas de la prueba, ocupadas, respectivamente, por el argentino Juan Manuel Fangio, aun sin haber ganado ninguna etapa, y los Italianos Taruffi y Castellotti."
(...)
el.kingdomsalvation.org/videos/lives-come-from-God-hymn.html
Ύμνοι
Ύμνος λόγων του Θεού|Οι ζωές όλων των όντων της Πλάσης προέρχονται από τον Θεό | Δοξάζουμε τον Παντοδύναμο του Δημιουργού
Η ζωή που χάρισε στον άνθρωπο ο Θεός δεν τελειώνει,
αδέσμευτη από σάρκα, χρόνο, ή χώρο.
Αυτό είναι το μυστήριο της ζωής, η απόδειξη του δώρου της ζωής απ' τον Θεό.
Οι άνθρωποι μπορεί να πιστέψουν ή όχι ότι η πηγή της ζωής είναι ο Θεός,
αλλά απολαμβάνουν ότι προέρχεται απ' τον Θεό.
Εάν ο Θεός άλλαζε γνώμη κι ανακτούσε όλο τον κόσμο και τη ζωή Του,
τότε όλος ο κόσμος και τα ζωντανά όντα, όλη η πλάση θα χαθεί για πάντα.
Ο Θεός δίνει την ζωή Του για να τροφοδοτεί τα πάντα.
Η δύναμη και η εξουσία Του φέρνουν καλή τάξη,
μια ακατανόητη αλήθεια μαρτυρία της ζωτικής ενέργειας του Θεού.
Τώρα ο Θεός θέλει να σου πει ένα μυστικό:
Το μεγαλείο κι η δύναμη της ζωής Του, βρίσκεται πέρα από τα όρια των πλασμάτων Του.
Έτσι είναι τώρα και για πάντα.
Ο Θεός είναι η ζωοδόχος πηγή όλης της πλάσης σ' όλες τις μορφές της.
Όλα τα ζωντανά όντα ακολουθούν το μονοπάτι που έφτιαξε ο Θεός.
Μέσα από την φροντίδα και πρόβλεψη του Θεού ο άνθρωπος λαμβάνει το δώρο της ζωής,
χωρίς αυτά χάνει την αίσθηση της αξίας και τον σκοπό στην ζωή.
Αν ο άνθρωπος αποτύχει να εκτιμήσει όσα του απονέμει ο Θεός,
ο Θεός, ο Δημιουργός, θα τα πάρει όλα πίσω.
Οι αποζημιώσεις του ανθρώπου θα είναι βαριές για όλα αυτά που ο Θεός έχει δώσει στον άνθρωπο.
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Χριστιανικοί Ύμνοι
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
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mini.ming - eo mỡ (2/13/2011 10:54:29 PM): hehehehe
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----
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Babie Bo: má
Babie Bo: đág sợ
mini.ming - eo mỡ (2/14/2011 12:30:50 PM): =)) =))
-----
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www.transportheritage.com/find-heritage-locations.html?so...
The sole surviving industrial aerial ropeway in Britain.
Constructor:
Unclassified
Period of construction:
1900 - 1949
Red Wheel plaque:
Yes
Transport Mode:
Rail
Address:
Hanson Brickworks, Claughton, Lancashire, LA2 9JY
Postcode:
LA2 9JY
Nearest Town:
Lancaster
Heritage Centre:
No
Website:
www.heidelbergcement.com/uk/en/hanson/home.htm
Little changed since its construction in 1924, the ropeway is used to bring shale from a quarry on Claughton Moor, approximately a mile and a quarter distant from, and 750 ft above, Hanson Brick Works.
At the quarry, shale is lifted by a front loading shovel and moved up a ramp to be tipped into an initial crusher, and fed into the loading bunker, from which the ropeway buckets are loaded. Having made the journey to the works, the shale is either tipped into dry stock, or loaded into a dump-truck and moved into the stocking area.
The remaining ropeway is one of two, originally constructed to serve the east and west works. That to the west works was taken out of use when that works ceased operation in 1990. The trestles of the former route to the west works remain, although the rope is now gone. Both routes started together at the quarry and radiated out in basically straight lines, to cross the A683 about a quarter of a mile apart. The remaining route has 26 trestles and from the works, initially climbs gently across an open field before climbing more steeply up the wooded valley side. About half way into its journey, the ropeway emerges from the woods to climb more gently across open moorland, before finally following the line of a narrow tributary valley for the last section. A couple of trestles before the top, there is a slight bend to the right to take the route into the top station.
The ropeway is powered by gravity. The extra weight of the loaded buckets pulls the empties back to the loading point. There is a braking system to maintain the correct speed and allow the rope to be brought to a controlled stand when required.
When "on the rope" the buckets are suspended from a hanger, the head of which has two free running wheels, and two clips. The clips sit on top of the rope, to which they are held fast by a combination of gravity and friction between the rope and the clips. As a bucket approaches the top or bottom station, the wheels engage with a rising Bull rail to lift the clips off the rope. The bucket is then free to run along this rail, which allows it to be manually controlled during the loading and unloading processes.
The loading and unloading operations require two men at each end of the ropeway and are achieved in an average time of 20 to 30 seconds.
At the loading point the first operator catches the bucket as it comes off the up rope onto the guide rail and guides it to a stop underneath the loading chute then returns to take the next bucket. The second operator loads the bucket, pushes it around the guide rail then releases it onto the down rope at the correct moment to maintain the desired speed of the moving rope. Typically this is when the previously loaded bucket can be seen to be two trestles into its journey. This maintains the optimum weight distribution between upward moving empty and downward moving filled buckets.
The ropeway generally operates with between 40 and 46 buckets with a round trip for an individual bucket of about 32 minutes. The daily capacity is 250 tonnes.
Lisa Jo Outlaw
Blind Wino pinhole camera photo. Fayetteville, Arkansas
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.