View allAll Photos Tagged immutable
Το κάστρο της Μονεμβασιάς
Το 375 μ.Χ. μία σεισμική δόνηση απέκοψε τη χερσόνησο δημιουργώντας ένα βράχο που έμελλε να μείνει στη θάλασσα αγέρωχος και αναλλοίωτος στην αιωνιότητα, φυσικό φρούριο, προστάτης ψυχών, διακηρυγμένος πόθος των μεγαλύτερων αυτοκρατοριών που γνώρισε ο πλανήτης. Αυτός ο βράχος, κάποτε μονοπάτι του Μυκηναϊκού και του Μινωικού πολιτισμού, χάρη στη μία και μοναδική πρόσβαση (μόνη έμβαση) που τον ενώνει με την Πελοπόννησο ονομάστηκε Μονεμβάσια.
The castle of Monemvasia
In 375 AD an earthquake cut off the peninsula, creating a rock that was to remain at sea cocky and immutable in eternity, a natural fortress, professed desire of the largest empires the world has known. This rock, sometimes the path of the Mycenaean and Minoan culture, through a single access who joins the Peloponnesus, called Monemvasia.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
Zion National Park Utah
All this is the music of waters, John Wesley Powell, 1895
Wrought by Water
The cliffs of Zion stand resolute, Immutable yet ever changing. They are a glowing presence in late day and a wild calm. Melodies of waters soothe desert parched ears, streams twinkle over stone, wren song cascades from red-rock cliffs, and cottonwood leaves jitter on the breeze. But when lightning flashes waterfalls erupt from dry cliffs, and floods flash down waterless canyons, exploding log jams, hurling boulders, croaking wild joyousness, and dancing stone and water and time.
Zion is alive with movement, a river of life always here and always changing.
Everything in Zion takes life from the Virgin River’s scarce desert waters. Water flows, and solid rock melts into cliffs and towers. Landscape changes as canyons deepen to create forested highlands and lowland deserts. A ribbon of green marks the river’s course as diverse plants and animals take shelter and thrive in this canyon oasis. From the beginning people sought this place, this sanctuary in the desert’s dry reaches. The very name Zion, a Hebrew word for refuge, evokes its significance.
More than the river’s music and the soaring heights alone, Zion’s nature multiplies with each slope, aspect, and soil type, with each minute change in precipitation or temperature. Add to these influences species from nearby ecosystems, and Zion becomes an assemblage of plants and thus of animals, found nowhere else exactly like this. Although the southwest desert may look homogeneous, each fold, wrinkle, bend, slope, mesa top, and canyon bottom creates its unique conditions. This unlikely desert harbors a mosaic of environments, each fine-tuned to place. Welcome to the one called Zion!
Zion National Park Utah
All this is the music of waters, John Wesley Powell, 1895
Wrought by Water
The cliffs of Zion stand resolute, Immutable yet ever changing. They are a glowing presence in late day and a wild calm. Melodies of waters soothe desert parched ears, streams twinkle over stone, wren song cascades from red-rock cliffs, and cottonwood leaves jitter on the breeze. But when lightning flashes waterfalls erupt from dry cliffs, and floods flash down waterless canyons, exploding log jams, hurling boulders, croaking wild joyousness, and dancing stone and water and time.
Zion is alive with movement, a river of life always here and always changing.
Everything in Zion takes life from the Virgin River’s scarce desert waters. Water flows, and solid rock melts into cliffs and towers. Landscape changes as canyons deepen to create forested highlands and lowland deserts. A ribbon of green marks the river’s course as diverse plants and animals take shelter and thrive in this canyon oasis. From the beginning people sought this place, this sanctuary in the desert’s dry reaches. The very name Zion, a Hebrew word for refuge, evokes its significance.
More than the river’s music and the soaring heights alone, Zion’s nature multiplies with each slope, aspect, and soil type, with each minute change in precipitation or temperature. Add to these influences species from nearby ecosystems, and Zion becomes an assemblage of plants and thus of animals, found nowhere else exactly like this. Although the southwest desert may look homogeneous, each fold, wrinkle, bend, slope, mesa top, and canyon bottom creates its unique conditions. This unlikely desert harbors a mosaic of environments, each fine-tuned to place. Welcome to the one called Zion!
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (171x1.5mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/250"
F zenbakia / number F: 10
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
"You and me
Meant to be
Immutable
Impossible
It's destiny
Pure lunacy
Incalculable
Insufferable
But for the last time
You're everything that I want and ask for
You're all that I'd dreamed"
The Smashing Pumpkins - Stand Inside Your Love
Te amo.
..we'll need to build museums to display its horrors to future generations. They'll wonder why poverty continued so long in human society - how a few people could live in luxury while billions dwelt in misery, deprivation and despair.”
Muhammad Yunus
No offense to Mr. Yunus, but this is exactly the kind of Utopian thinking that gets millions killed at a time.. And unfortunately - sadly - this the kind of thinking that is being taught now to your children.
I heard yesterday about the CEO of a credit card processing company who decided to pay all of his employees $70 thousand a year. He's cutting his million dollar salary to the same, and using profits to pay those salaries. The average salary before was $48 thousand, so everybody must be ecstatic, right?
Well, except for the people who got huge pay cuts, and who are now making the same amount as new hires, who have no experience and a lot less responsibility..
And people being people, in two years, those who are left will be demanding a raise, because after all, it's been two years, right? Surely they deserve a raise..
But they won't have any trouble hiring new faces, which is good, because all the best and brightest will be leaving as soon as they believe they deserve more than the booger-picking moron that just hired in.
If there is no reward - no incentive to work harder... people won't.
Have we learned NOTHING from the social experiments of Communism and Socialism in the Twentieth Century?? Apparently Mr. Yunus didn't..
The purpose of those living in luxury that Mr. Yunus hates is to inspire the rest of us. Maybe we'll never be billionaires, but I'd rather aim high and fall short, than aim low, and meet my expectations... And in the struggle, the lot of us all is raised.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
JAN WILLEM KUILENBURG
3/16/2012
N E W L I F E (note: the video has sound + voice over)
towards a Pruitt Igoe co-operative urban winery
We can look forward by looking back.
St. Louis is a damaged city. Spatial planning strategies have been impregnated with racial engineering, which led to exclusion, poverty, shrinkage and malfunction. Despite recent efforts to change this, the city is already dying for over five decades. It’s time to act and to define the Pruitt-Igoe plot as an example of local re-development, rooted in history.
The future of Pruitt-Igoe is defined by its surroundings of many abandoned, empty, urban plots.
Its future is embedded in the contrapositions of its original parameters:
1977 2012
mono functional.........................multi functional
private.......................................public
stone.........................................vegetation
zoned........................................open
top down...................................bottom up
post industrial............................post agricultural (pre natural)
discriminating............................social
excluded...................................mixed
abandoned................................attractive
radical.......................................realistic
urbanized..................................natural
regulated...................................developing
suburban...................................central
immutable.................................adaptable
contained..................................borderless
incorporated..............................productive
repetitive...................................unique
controlled..................................free
leaving generic rest space........making social space
the proposal
From 1847 Missouri has an impressive past of wine making with the third largest winery in the world and over 100 wineries until the prohibition of1920.
We propose a winery, organized as a co-operation of local citizens.
We propose a positive and productive use of the vacant plots. Available plots are gradually planted with wine plants.
During the first phase, the Pruitt-Igoe site will become a winery with a green, programmed perimeter, like a ‘hortus publicus’, with an open social space at its heart for the Borough.
The Pruitt-Igoe winery will grow along its perimeter. The perimeter has openings linking streets into its heart, an active and public park, open to all citizens. Later on, empty plots around the site will be planted with wine. The ‘figure and ground’ will be transformed from an urban desert with patches of green into a green landscape with spread buildings that will get a higher value. The boroughs that surround Pruitt-Igoe will benefit as well.
Pruitt Igoe Winery will:
-fit St. Louis climate and history,
-be organized by local citizens and give them pride,
-be productive and green,
-be able to grow and expand,
-have a social heart,
-deliver high quality bottled wines.
The air will be clean, the horizons will be green and the citizens will be responsible, productive and full of energy.
We hold the future in our hands.
How to make a file immutable on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
green
natural . calming . refreshment . defensiveness . relaxation . fertility. masculinity . conservativeness . understanding . perserverance . wealth . perfomance-enhancing . possessiveness . lucky . unlucky . tranquility . expensiveness . healthy . jealousy . envy . spring . money . aggression . danger . greed . vigor. cleansing . enviromental . movement . unconditional love . autonomous . circular . safety .inexperience . death . sickness . generosity . youth . misfortune . technological . concentric . life . balance . meticulousness . harmonizing . retentiveness . humble . immutable . religious . compassion . revitalisation . persistance . moral . intelligence . infinity . decay . carefulness . sensitivity . security . peace . maturity . holistic . obstinance . restlessness . wisdom . intuitiveness . laziness . soothing . victory . tenacity . firmness
Moët & Chandon announced a new international advertising campaign featuring Scarlett Johansson, celebrity ambassador for the brand since March 2009.
“Moët & Chandon, the most loved champagne since 1743, is a universal symbol of joie de vivre and success. This new campaign highlights a return to the immutable elegance and glamour that are inherent to both Moët and Scarlett” stated Moët & Chandon President & CEO Daniel Lalonde.
---
Details
Épernay - Moët & Chandon
Moët & Chandon - a French fine winery and co-owner of the LVMH Moët Hennessy Louis Vuitton SE. One of the world's largest champagne producers and a prominent champagne house. Established in 1743 by Claude Moët, and owns 1,190 hectares (2,900 acres) of vineyards with an anual production of 28 million bottles of champagne.
Dom Pérignon is the most prestigious Champagne, named after Dom Pérignon, a Benedictine monk who was an important quality pioneer for Champagne wine but who, contrary to popular myths, did not discover the Champagne method for making sparkling wines. Mercier owned the original rights to the name Dom Pérignon but gave the brand to Moët et Chandon in 1927.
Info: en.wikipedia.org/wiki/Moët_et_Chandon.
---
Richard Poppelaars
About Pixels Photography: #media #Moët #Épernay #FR
Agnolo di Cosimo di Mariano
known as Bronzino
Monticelli 1503 - Florence 1572
In 1539 Bronzino was involved in the decorations to celebrate the marriage of Duke Cosimo I de’Medici, first Grand Duke of Tuscany, and Eleonora of Toledo daughter of the Spanish Viceroy of Naples and member of the family of the Dukes of Alba, and at that point was appointed court painter to the Duke. Bronzino produced religious and mythological paintings but was particularly outstanding as a portraitist. Rather than depicting every detail of the sitter’s appearance, Bronzino focused on aspects such as social position, the elegance of the pose and the restraint and bearing of his models. In his portraits, elements such as the rich, brightly coloured materials, jewels, gleaming armour and complex hairstyles all acquire great importance through their decorative merit and ability to suggest power and wealth. Bronzino’s portraits are undoubtedly among his most important works. His most significant examples date from the 1540s onwards, but it was in the 1530s that he began to formulate their prototype. This involved a distant presentation of the sitter, a sense of immutability, and an elegant, stylised appearance.
Cosimo de Medici in Armour
ca. 1545
Oil on panel. 76.5 x 59 cm
Museo Nacional Thyssen-Bornemisza, Madrid
DSC02750
**Hoover Dam** - National Register of Historic Places Ref # 81000382, date listed 4/8/1981
E of Las Vegas on U.S. 93
Boulder City, NV (Clark County)
A National Historic Landmark (www.nps.gov/subjects/nationalhistoriclandmarks/list-of-nh...
Much of the sculpture is the work of Norwegian-born, naturalized American Oskar J.W. Hansen. Hansen's principal work at Hoover Dam is the monument of dedication on the Nevada side of the dam. Here, rising from a black, polished base, is a 142-foot flagpole flanked by two winged figures, which Hansen calls the Winged Figures of the Republic. They express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."
The winged figures are 30 feet high. Their shells are 5/8-inch thick, and contain more than 4 tons of statuary bronze. The figures were formed from sand molds weighing 492 tons. The bronze that forms the shells was heated to 2,500 degrees Fahrenheit, and poured into the molds in one continuous, molten stream.
The figures rest on a base of black diorite, an igneous rock. In order to place the blocks without marring their highly polished finish, they were centered on blocks of ice, and guided precisely into place as the ice melted. After the blocks were in place, the flagpole was dropped through a hole in the center block into a predrilled hole in the mountain.
Surrounding the base is a terrazzo floor, inlaid with a star chart, or celestial map. The chart preserves for future generations the date on which President Franklin D. Roosevelt dedicated Hoover Dam, September 30, 1935. (1)
References (1) Bureau of Reclamation www.usbr.gov/lc/hooverdam/history/essays/artwork.html
Millions of bitcoin are permanently lost from its immutable blockchain network because of cases like the loss of funds of Howells. A study done by Chainalysis, a blockchain-focused digital forensics company, found that 3.79 million BTC are potentially lost permanently and can no longer be re-obtained.
cryptoworld.news/2018/05/28/cryptocurrency-investor-lost-...
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (196x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/250"
F zenbakia / number F: 13
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
2005-2007
Colored pencil, modeling paste on wood panel
Collection:
Crocker Art Museum
Hereafter is a transcription of the handwritten text above:
"The confessional panel of Myself was an attempt to eradicate puerile speculation, to simply state the who of me in terms of the what of me, my skin, my song. An acknowledgement of personal Isness. The facts of the maker, the failure, he who produced and produces the skin, the song, the myth. He who is disposable and deposed by history. The face and format encapsulated within the parentheses of linear time. The who of me. He who dies. My body, this solidity which is subject to all natural controls, carries within itself the inventor of all that is defined human—god, war, art, law, alphabets, religions, history, time, science, aesthetics, mathematics, Art—all identifying characteristics of specie umano. No laws control him, not gravity, not death, nothing linear what-so-ever. His being requires no boundaries for definition, no parameters of moral rectitude. He is chaos, an infinity of possibilities. He creates himself and the reality of contradiction in which he lives. The body which encloses him, that which conforms to natural laws, exists in a constant state of compromise and approximation, a bridge between the actual and the real, that which can be seen enclosing a sphere that cannot be seen or touched or entered. This duality must invent dimension upon dimension, layer upon layer of illusion to support a balance which cannot be supported solely by one entity. It must enter into alliances with other entities to confer a shared agreement on that which is real and that which is not. A compliance of conformity, an illusion of necessity. It is within this zone of safety called community that actuality performs its catalogue of repetition, ever watchful, ever fearful of contradiction. The inventor within is a constant threat to the community without, his body a purgatory of suspension. This I believe. Every body is a duality struggling to free Itself from itself. (As I have confessed my bipolarity and homosexuality, do I now profess my shizophrenia?) This to me is the myth of Marsyas. The liberation of the skin, the song, the inner anarchist from the entrapping body of linearity, community, dogma, and death. I see no horror in the myth of Marsyas, only the exhilaration of Art. Invention of inventions, transparency of the species, epiphany of epiphanies, destroyer of illusion, invention and inventor of truth. It has become ever more fascinating to me how the most primitive of human characteristics are the most actual, actualized to the point of immutability. Resistance to an evolving humanity is fierce and uncompromising. Tribal and religious prejudice and dogma cripple the flight of the inventor...and so it has always been. The insistence for projecting out that which is internal into an existence of actuality is the struggle of reality. To make actual that which is real. To externalize that which is internal. To fuse the duality. This process of destruction and creation is our identity. This humanity. This is our Isness. This is our evolution. The body of the artist, that mortal inconsequence struggles to create and shed his skin in a process worthy of the ordeal of Marsyas. The process of destroying answers and creating questions is his fulfillment, his pain and his ecstasy. An artist deserves neither praise nor pity. Both are insults to his process of becoming. To evolve as iconoclast without the arrogance of nihility is the song of Marsyas. To challenge the gods. To contest the incontestable. To embrace failure with the joy of inevitability. This is the consequence of mortality. This is the artist’s song and his fate. The death of the body and the liberation of its song, the history and the myth—"
There's nothing in this crazy world immutable. Change is that smt come and smt gone. However it takes, u are mostly the reason.
Música: Hans Zimmer - Music box
Si la nina de porcellana poguès triar,
potser sacrificaria de bon grat
la seva bellesa immutable
per un dia,
un sol dia de vida imaginada
en les petites mans d'una nena real.
La belleza inmutable
Si la muñeca de porcelana pudiese elegir,
tal vez sacrificaría gustosamente
su belleza inmutable
por un dia,
un solo dia de vida imaginada
en las pequeñas manos de una niña real.
The immutable beauty
If the porcelain doll could choose,
maybe she would gladly sacrifice
her immutable beauty
for one day,
just one day of imagined life
in the tiny hands of a real girl.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: TAMRON SP 24-70mm F/2.8 Di VC USD (56mm)
ISO: 400
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/640"
F zenbakia / number F: 10
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Information Technology = IT
infotechsector.exchange/?afmc=SNiB980NX5If0cRQAZkU3
8 of 11
The Global Industry Classification Standard used by Morgan Stanley defines the information sector and industry that includes companies that offer software and information technology services, manufacturers and distributors of technology hardware & equipment such as communications equipment, cellular phones, computers & peripherals, electronic equipment and related instruments, and semiconductors. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with I.T. services, software, communications equipment, technology hardware, storage, peripherals, electronics, instruments and components. Additionally it includes semiconductors and semiconductor equipment.
Our mission is to horizontally and vertically unite IT services, software, hardware, storage, peripherals, electronics, communications equipment, semiconductors and semiconductor equipment on our NexGen Blockchain in order to DEMOCRATIZE the Information Technology Experience for your HUMAN IDENTITY.
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (257mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/2500"
F zenbakia / number F: 7.1
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: TAMRON SP 24-70mm F/2.8 Di VC USD (24mm)
ISO: 400
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 10
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: TAMRON SP 24-70mm F/2.8 Di VC USD (70mm)
ISO: 50
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/50"
F zenbakia / number F: 16
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (70mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 7.1
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Immutable Cloud storage is remote storage on the Internet that once uploaded cannot be deleted nor changed. It can be used for instance to prevent ransomeware attacks, since precious data in immutable cloud storage cannot be changed, nor deleted let alone encrypted. Phew.
The image was created by BIng and Dall-e AI.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 7.1
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (75mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 11
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Ciphers and any types of word games using initials were popular in the Tudor period and were particularly associated with lovers. Henry’s love letters to Anne Boleyn are full of them; they are also seen on various objects, buildings and jewellery. Several of these designs by Holbein are associated with Anne Boleyn. For example the HA was Henry and Anne’s initials incorporated. The letters ‘HISA’ intertwined probably stands for ‘Henri immunable serviteur Anne’ (which I think roughly means Henry is Anne’s immutable servant). Some of the designs appear to hold the initials ‘ABCE’. This may mean ‘Henri cherche Anne Boleyn’.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (269mm)
ISO: 2000
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 7.1
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
A monarchy is a form of government conceptual representations,Visible connexion one of constitutional monarchy,the Immutability of Divine,that any supernatural being worshipped as controlling some part of the world presents two primary means whereby may be safely and confidently,greatest philosophers in Europe inclusion of solidity the abolishment of the monarchy.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 14
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Amazing sounds from ice records !
Artist Claudia Märzendorfer DJ delicate records made of ice on specially prepared turntables for her act “VLUN/Much ado about nothing”. In stark contrast to the immutability of contemporary methods of sound storage – the digital world of mp3s, wavs and AIFFs – the artist has chosen a storage medium that disintegrates almost immediately.
After the first few grooves the sound begins to degrade as the stylus digs deeper through the deteriorating groovestructures. Each disc lasts an average of only ten minutes, and most can be played only once. The medium melts, the grooves disintegrate into puddles. Metaphors abound in the art of freezing sounds and melting records : the impermanence and fragility of art and life.
Nik Hummer est membre du groupe autrichien Thilges, dans lequel il joue notamment du Trautonium.
en.wikipedia.org/wiki/Trautonium
fr.wikipedia.org/wiki/Trautonium
Le CD "La double absence" de Thilges est disponible à la Médiathèque (Bruxelles-Passage 44) :
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (75mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 9
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Nadie realmente conoce donde la vida le llevará, aunque lo planee o lo imagine, aunque trace caminos que piense inmutables. Ya que todo camino se moldea por variables que no controlamos, que se escapan de nuestras manos. Y lo único que podemos hacer es dejarnos llevar y compartir ese viaje, con la persona con la que mas disfrutemos, al caminar.
Nobody really knows where the life will take, although they plane or imagine it, although they trace paths they think that it is immutable. Because all the roads are molded with variables, that scape from our hands. And all we can do is let go and share that journey with the person you most enjoy, walking more.
I took this photo to illustrate a sad state of affairs illustrated by Election 2020; the Jan. 6, 2021 assault on the U.S. Capitol; and the deployment of 25,000 National Guard for Inauguration of the 46th President of the United States: Citizens see things as black and white—meaning right and wrong where one person’s right is another’s wrong and visa versa.
We sadly live in a nation where, currently, irreconcilable differences about culture, education, economy, politics, and religion separate Conservative and Liberal values, resulting in immutable intolerance for one another.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (83mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 16
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (179mm)
ISO: 2000
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 5.6
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300x1.5mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/250"
F zenbakia / number F: 11
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
It is a firm rule - as immutable as the laws of the Medes and Persians - if any unusual rail activity occurs in Scotland, it will go cloudy (and probably rain). Despite an SNP pro independence rally at Annan Harbour, today was no different.
The sun has gone for ScotRail 156439, entering Annan with the 15.01 SuO Dumfries - Carlisle.
All photographs are my copyright and must not be used without permission. Unauthorised use will result in my invoicing you £1,500 per photograph and, if necessary, taking legal action for recovery.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (75mm)
ISO: 2000
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/250"
F zenbakia / number F: 4.5
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (70mm)
ISO: 2000
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 5.6
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS5D MKIII
Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 10
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.