View allAll Photos Tagged immutable
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: 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) (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.
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) (205x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
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) :
www.hauserwirth.com/exhibitions/1431/phyllida-barlow-late...
New York, NY… Hauser & Wirth New York is pleased to present ‘...later’, an exhibition of new work by celebrated British artist Phyllida Barlow. Opening 5 November 2012, this dense and exuberant sequence of installations is Barlow’s US follow-up to her recent solo show ‘siege’ at the New Museum in New York City. The exhibition continues her exploration into the ways in which sculpture can dissolve boundaries between realms of experience.
‘...later’ will remain on view through 22 December.
For more than forty years, the urban environment has preoccupied Phyllida Barlow and provided a fecund source for her process-oriented sculpture. Construction debris, signs, fences, and discarded objects are the sorts of unloved materials she adopts, assembles, and paints colorfully and crudely into sculptural forms that are simultaneously menacing and playful, overwhelming and delicate. Incorporating intimately scaled objects and enormous forms alike, her jammed-to-the-rafters installations actively engage viewers by drawing them among, under, and around obstacles in much the same way that the city does on a daily basis. Barlow explains that she is compelled by ‘the way things are replaced, destroyed, and covered over very quickly’ in the world around us, to fashion analogs for the joys and fears of everyday life. ‘The work,’ she has said, ‘is completely about the fragility of existence’.
At Hauser & Wirth New York, Barlow is unleashing a series of more than two dozen rough-looking and vaguely anthropomorphic forms across two floors of the gallery’s townhouse. Here she is reacting against the conventional definition of sculpture as an immutable form separated from its surroundings: Large ‘awnings’ and ‘lattices’ will climb the walls. Enormous suspended boulder-like ‘lumps’ will hang from ceilings. Along with freestanding objects, these will merge into an unsettled cohesion with the gallery’s domestic spaces, swallowing their environment and drawing visitors into intriguing physical encounters.
Sculptures with such titles as ‘upturnedhouse’ and ‘holedwall’ – constructed from ubiquitous low-brow materials like plywood, cement, polystyrene and wire netting – will be part of a complex, topsy-turvy topography conceived by Barlow to interrupt viewers’ consciousness and awaken them to their own assumptions.
Among the works on view in ‘...later’ will be a grouping of eleven large painted cement and plywood steles topped with barely recognizable remnants of the sculptors’ process – ‘anvil’, ‘holeddrill’, ‘midchainsaw’, ‘roaddrill’. A sly commentary on classicism, authorship, and perceived value, this group suggests an object lesson in what it takes for everyday stuff to become art. Color animates the surfaces of the pieces, rendering a delicate friction that engages the eye as it climbs from base to top. Together with the other works on view in ‘...later’, these precarious-looking sculptures critique monumentality while capturing the joyfulness, absurdity, and transience of life.
‘There’s something about walking around sculpture that has the possibility of being reflective, like walking through a landscape’, Phyllida Barlow has said. ‘The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience’.
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
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
Is blockchain a good solution to current technological issues from several different industries? Blockchain technology is much faster and secure than previous technologies ....
Much more infographics and embed codes here:
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
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: 6.3
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.
Ampex sign - marking Gateway to Silicon Valley and peninsula midpoint between SF and SJ. While Stanford goes about retrofitting the previous Excite buildings, for its new hospital in Redwood City, the Ampex sign remains in place: fixed, immovable, immutable, nada, sorry can't move - for the exclusive use of its tenants - and a continuing si vly landmark.
Just wondering out loud - is it even on the state register of historic locations yet? (...should be on the county's historic spots, if it isn't already, hint, hint.)
Frozen Records :
www.youtube.com/watch?v=h5G2scukRSM
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) (70mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/2500"
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 (24mm)
ISO: 400
Programa / Program: P /Program)
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.
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.
§ There is no absolute reality in the sublated consciousness of our waking or dreaming world • Objectivity in our consciousness is a mere illusive barrier of ignorance—the inexplicable, reflective existence of maya in Vedic phantasmagoria • All beings are endlessly imprisoned in the negative realm of this perpetual agitation and perturbation—altogether in boundary of time, space, and cause • Nonetheless, maya invigorates and decimates the perennial cosmic mobility • Riddance of maya will reveal the truth of all mobilised beings; then the truth in our frail humanity will be apprehended before the relinquish of our intellection and independent self-negation • On the other side, maya is the natural phenomena or the lower prakrti (the utmost substance) • It is decently not a restricted allusion, but a reflection of reality—the sakti (creative power) which attach to the truth • The pure bliss of Self (anandamaya Atma) can be released when the phenomenal Self is purified and perceived the Truth of God (Isavara) •
§ Depiction of the temple (vimana) as mirrored on the surface of a pond in front of the main sanctuary is a reflection of an immutable reality; albeit it does not actually comprise within its intriguing phenomenon since it does not relate in its own right • It allegorises the refracted Absolute of pure being and the illusory apparent of endless becoming, as well as the unity of plurality of limitness and unlimitness • Categories of world experiences in the spatiotemporal and the causal phenomena are ineluctably the allusions of our self-contradiction • The epistemological self-cognition is the dialectical path of animated perception to reach the abstract thought of maya elimination by realising the Truth of this objective reality •
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: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/2500"
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: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/2500"
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.
Dennis Miller Bunker
Brittany Town Morning, Larmor
1884
Caught in the glare of high morning light, the clustered stone buildings of a French village spread across the view in Dennis Miller Bunker’s Brittany Town Morning, Larmor. Throwing the walls of the buildings into contrasting darkness, steep slate roofs reflect the diffused brightness of a silvery sky punctuated by the dark forms of birds in flight. They circle around a tall church steeple, which provides a strong vertical counterweight to the emphatic horizontality of the composition. The almost monochrome bands of sky and buildings in the upper half of the picture set off the brilliant greens of the fields in the lower half. In the near ground at the right, a woman wearing a traditional Breton lace headdress spreads laundry to dry, adding touches of bright red, white, and blue to the scene. This note of everyday incident and the smoke curling from two chimneys just below the dominant church spire suggest the peaceful immutability of a rural way of life regulated by practical necessity and religious faith. Yet Bunker’s image is less a narrative interpretation of the setting than a record of the purely optical effects of looking into brilliant light as it strikes such varied surfaces as slate roofs and verdant grasses, accentuating tonal contrasts as well as color.
Bunker had painted landscapes outdoors in and around New York City, Long Island, and Nantucket, Massachusetts, before traveling to Paris in 1882 to enroll in the prestigious École des Beaux-Arts. In his studies there, he absorbed the conventions of fashionable studio portraiture, later demonstrated in The Mirror (TF 1999.22). Like many other American art students in Paris, however, during summer vacations and on excursions from Paris he sought rural locales in which to indulge his interest in landscape. Bunker was among many artists who reveled in the soft, diffused quality of the natural light of northern France, which lends a subtle gray tonality to outdoor colors.
Larmor (now known as Larmor-Plage) is a small harbor town on Brittany’s southern coast dominated by its medieval church, Notre Dame de Larmor. Notwithstanding its picturesque architecture and old-fashioned ways, the town attracted few American tourists when the twenty-three-year-old Bunker visited for the first time in July 1884, following his friends Kenneth R. Cranford (1857–?) and Charles Adams Platt (1861–1933). In contrast to the subdued local color seen in such earlier canvases as Lacroix-St.Ouen, Oise (TF 1987.11), Bunker’s Larmor paintings demonstrate a greater attention to light and atmosphere. Bunker made as many as six views of Larmor, including several showing the town at a distance, from the road to Pont-Aven to the east. This work is the largest and most monumental of the group. Believing that brushwork should be exposed rather than hidden, Bunker rendered the sky and ground with vigorous strokes. The crisply rendered structures in the image’s contrasting middle third suggest the influence of the early paintings of French artist Camille Corot (1796–1875), which the young American is said to have admired. In its particular attention to light and atmosphere, Brittany Town Morning, Larmor marks Bunker’s decisive turn toward an impressionist aesthetic he would fully display in landscapes painted around Medford, Massachusetts, later in the decade.
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: 800
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 8
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) (269mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 8
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: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 6.3
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) (79mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/800"
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.
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.
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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: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/1600"
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.
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.
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) (196mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 8
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: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/2500"
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: TAMRON SP 24-70mm F/2.8 Di VC USD (70mm)
ISO: 800
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/1000"
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.
The blockchain (through Bitcoin) is unarguably the key invention of the 21st century. The accelerating forces of decentralization do not only change how we think about electronic cash, but also changed our perception of organizations, trust and non-human agency through the introduction of immutable and unstoppable code on the blockchain. RIAT examines the global crypto-economic condition and its effects on culture and society.
Credit: Florian Voggeneder
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
October is here, once again,
barely transcending the threshold of autumn.
The maple is turning yellow to orange, to red,
soon to be bared by winter.
Ah winter, when blankets of bliss
cover spoon-fit bodies,
flickering sparks to flames. . .
until love of spring gardens
becomes the rapture of summer bloom.
And looking from outside-in,
beyond recognizable beauty,
the ruby of jewels glows bright,
pumping currents of rivers red,
deep into the wells of every extremity.
Our chest fills with laughter.
When apart, even so brief,
this season stays with you,
whether I am or not
and your voice with me,
through wind’s immutable breath.
October’s Opal
Robert Savino
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: 400
Programa / Program: P (Program)
Exposizioa / Exposition time: 1/500"
F zenbakia / number F: 8
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.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Siso Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
19th C. engraving
[much as I would like to, I have not visited Skerryvore to take my own photographs - it's rather remote !)
An sgeir mhòr – the great rock stands
In mid-Atlantic far from shore.
It’s claimed the lives of many hands
From sailing vessels by the score.
And how the winds and waves did roar
Around the rock of Skerryvore.
There came a man called Stevenson,
From watery grave brave souls to save,
To build a lighthouse, he’s the one,
Long battling with wind and wave.
And how the winds and waves did roar
Around the rock of Skerryvore.
With granite from the Ross of Mull
He manufactured giant blocks,
Transported them when storms would lull
To land them on the murderous rocks.
And still the winds and waves do roar
Around the rock of Skerryvore.
His team worked hard in every weather
Assembling blocks, dressed to perfection;
With dovetailed joint they locked together –
Precisely engineered, each section.
And still the winds and waves do roar
Around the rock of Skerryvore.
For thirty months o’er six long years
They laboured seventeen hours a day,
With common aim and conquered fears
And mainland safety far away.
All day the winds and waves would roar
Around the rock of Skerryvore.
Completed eighteen forty three,
Immortal and immoveable,
A lonely tower in lonely sea,
Her light still shines – immutable.
For aye the winds and waves will roar
Around the light of Skerryvore.
Poem by
Mike Jones
Justice is served for this poor blue fool on this, Halo 3 Friday!
That's right, I gave this fine fellow a laser sword enema, a searing hot photon colonoscopy, a proctology exam with a white light scalpel of immutable righteousness!
Happy Friday, peeps and peepettes.
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) (130mm)
ISO: 400
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 8
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: Av (Irekidurari lehentasuna / Aperture priority)
Exposizioa / Exposition time: 1/6400"
F zenbakia / number F: 2.8
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.