immutable photos on Flickr

Muskildi - Sohütako Maskaradak 039 by ninaiznaizena

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: 1/200"

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.

What a force for good you run, 2017 by B

By Ryan Gander

Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.

[everythingatonce.com]

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

MAYA MUROFUSHI by Guido Fuà Eikona

1

La tradizione orientale verte verso l'armonia, la razionalità, l'immutabilità; la bellezza delle forme trasformarsi in origami. Una cultura ricca d'arte, dove le relazioni emotive sono dense di affettività. In particolare verrebbero privilegiati i rapporti verticali: tra giovane e anziano, tra novizio e esperto, tra subordinato e superiore, dove il primo offre la sua dedizione fedeltà, il secondo comprensione e paterna protezione. La mentalità giapponese si muove lungo strade, agli occhi degli stranieri, irrazionali, inspiegabili e incomprensibili.

The Eastern tradition relates to harmony, rationality, the immutability; the beauty of the shapes turn into origami . A culture rich in art, where emotional relations are full of affection. In particular would be privileged vertical relationships: between young and old , novice and expert , subordinate and superior , where the first offers his dedication loyalty, the second understanding and paternal protection . The Japanese mentality moves along streets, in the eyes of foreigners, irrational, inexplicable and incomprehensible .

Model: Maya Murofushi

Styling: Giulia Grincia

Make Up: Rosy Alai

Muskildi - Sohütako Maskaradak 034 by ninaiznaizena

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) (136mm)

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.

Muskildi - Sohütako Maskaradak 035 by ninaiznaizena

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) (246mm)

ISO: 400

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.

Muskildi - Sohütako Maskaradak 016 by ninaiznaizena

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 (27mm)

ISO: 800

Programa / Program: P (Program)

Exposizioa / Exposition time: 1/640"

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.

Muskildi - Sohütako Maskaradak 007 by ninaiznaizena

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: 1/800"

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.

Muskildi - Sohütako Maskaradak 036 by ninaiznaizena

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: 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.

Muskildi - Sohütako Maskaradak 004 by ninaiznaizena

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) (149x1.5mm)

ISO: 800

Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)

Exposizioa / Exposition time: 1/400"

F zenbakia / number F: 20

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 only one immutable law in life - in a gentleman's toilet, incoming traffic has the right of way." Hugh Leonard by ANNE

1 5

"pay and use toilet..."

DSC_1744 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Great Food and Music Highly Recommended

...only God Himself by Katrina †

2 8

(Starrush Whitetop)

"There once was in man a true happiness of which now remain to him only the mark and empty trace, which he in vain tries to fill from all his surroundings, seeking from things absent the help he does not obtain in things present. But these are all inadequate, because the infinite abyss can only be filled by an infinite and immutable object, that is to say, only by God Himself."

Blaise Pascal

Tokina AT-X 116 #1 - 11mm at f/8 by Radoslav Bielik

These are 1:1 corner crops of the first copy of Tokina AT-X 116 Pro DX (serial 8211669) that I have used.

These shots were taken at 11mm and f/8 and 1/200, focused manually at infinity, before returning the lens. Each picture was composed to place the yellow building into each corner, approx. 700px from the edge.

Since the difference in corner sharpness was so significant even when stopped to f/8, I have decided to return the lens under warranty after less than 2 weeks of use. Then I had to wait for almost 10 weeks to get another copy...

Make sure you check the full size picture for the highest level of detail.

Rails Pacific 2014 Taiwan: Chef Workshop / Immutable infrastructure by Rails Pacific

Monument Plaza, Hoover Dam, Boulder City, NV (3) by Tim Stewart

1

**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

Slanted Magazine #32—Dubai by Slanted Publishers

1

In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!

Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.

Llandrindod Wells, Old Parish Church by David Morris

Llandrindod Wells is an amalgam of two very different settlements. Early Llandrindod in the

form of the old parish church and Llandrindod Hall occupies a spur sandwiched between

valleys that drop down towards the Ithon from the high ground to the east. One kilometre to

the north-west on lower ground which has been ridged and hollowed by several streams is the

Victorian and modern creation of Llandrindod Wells.

This brief report examines Llandrindod’s emergence and development up to 1750. For the

more recent history of the settlement, it will be necessary to look at other sources of

information and particularly at the origins and nature of the buildings within it.

The accompanying map is offered as an indicative guide to the historic settlement. The

continuous line defining the historic core offers a visual interpretation of the area within

which the settlement developed, based on our interpretation of the evidence currently to hand.

It is not an immutable boundary line, and may need to be modified as new discoveries are

made. The map does not show those areas or buildings that are statutorily designated, nor

does it pick out those sites or features that are specifically mentioned in the text.

We have not referenced the sources that have been examined to produce this report, but that

information will be available in the Historic Environment Record (HER) maintained by the

Clwyd-Powys Archaeological Trust. Numbers in brackets are primary record numbers used in

the HER to provide information that is specific to individual sites and features. These can be

accessed on-line through the Archwilio website (www.archwilio.org.uk).

History of development

The name refers to the 'Church of the Trinity', but the former name of the church and its

parish was Llandow in 1283 and Lando in 1291 meaning ‘church of God’. Llandynddod

appears only in 1535, but the change to the Trinity is one that can be recognised in several

other churches in Wales.

The earlier focus occupies a spur overlooking this area. Whether the church represents an

early medieval foundation is unclear. The 'llan' prefix might suggest this but there is no

corroborative evidence. Its later history, too, is uncharted. The occurrence of platforms

opposite the church hints at more than just an isolated church, but the evidence as yet is not

compelling.

Llandrindod Hall by the old church was converted into a large hotel in about 1749, but it

functioned for less than forty years and was demolished by its proprietor, reportedly because

of its unsavoury clientele. It was replaced in the 19th century by a farmstead.

Reportedly the origins of the spa town go back to the late 17th century. Cae-bach Chapel

(30000; Grade II listing) in Brookland Road was founded in 1715. Saline and sulphur springs

were discovered in the 1730s and these were noted in various publications in the following

twenty years. But the emergence of Llandrindod Wells is essentially a 19th-century

phenomenon and thus falls outside the scope of this report, although in expanding over

Llanerch Common, the town enveloped the Llanerch Inn, which has some 17th-century

features.

The heritage to 1750

The old parish church of Holy Trinity (16027) lies more than 1km south-east of the town and

was sited on the edge of an extensive tract of common upland. It originally had a single

chamber of 13th/14th-century build with a south porch and small west spire. It was completely

rebuilt in 1894, after the archdeacon of Llandrindod had removed the roof in order to

'encourage' townspeople to attend the new church in the town. The old church houses several

18th and 19th-century monuments but its 'sheel-na-gig' (5960) uncovered during building work

in 1894 and presumably of medieval origin, is now in the local museum.

The churchyard (16199) is irregular in design, its shape on the west and south dictated by the

natural topography. The Tithe map depicts a smaller enclosure around the church, a short

distance away from the road and no longer distinguishable at ground level, but may not be an

accurate representation. A holy well (81710) lay close to the churchyard, though the story

attached to it point to a healing well.

The spur on which the old church sits is naturally irregular with rock outcrops protruding.

North of the church on land that was common until the 19th century are several flat terraces

some of which are certainly artificial constructions that probably supported dwellings

(16094); there is at least one authentic platform and perhaps two others, together with

enclosure boundaries and a trackway. Further earthworks (16095), the most obvious a low

curvilinear bank of unknown function, are apparent just to the south-east of Llandrindod Hall

(30020).

Capel Maelog (2055) which was excavated between 1984 and 1987 lay off Cefnllys Lane less

than 1km east of the town centre. Its foundations have now been reconstructed near County

Hall.

Information can be found here

www.cpat.org.uk/ycom/radnor/llandrindod.pdf

Laysan Albatross - Hawaii by Geoff Malosh

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Nestling at Princeville, Kauai. The Hawaiians called the Laysan Albatross "moli", apparently a reference to a type of needle that was made from an albatross bone. Like many of the seabirds, the scientific name (Phoebastria immutabilis) of the Laysan Albatross is interesting. Phoebastria is the genus of the four "North Pacific albatrosses" (Galapagos, Black-footed, Short-tailed, and Laysan) and derives from Greek meaning "prophetess", though how it came to be assigned to North Pacific albatrosses is less clear. One possibility is that it refers to an old belief among sailors that seeing an albatross was an omen. Immutabilis refers to the fact that both juvenile and adult Laysan Albatrosses look more or less the same, in other words their plumage is unchanging, or immutable. This bird is not in juvenile plumage yet, of course.

The Drama Barrier Series (2) by Pulpolux !!!

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DSC_1750 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Great Food and Music Highly Recommended

DSC_1733a Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Great Food and Music Highly Recommended

Rails Pacific 2014 Taiwan: Chef Workshop / Immutable infrastructure by Rails Pacific

IMG_2102 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Immutable Law Of The Universe #39 by Jeff Wasson

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The odds of something like this happening to your vehicle increase by a factor of 5 for each bumper sticker that is placed on it.

And a factor of 100 if you LEAVE THE WINDOW DOWN.

The stickers, from the lower left moving clockwise:

1. "Sorry I missed church; I've been busy practicing witchcraft and becoming a lesbian."

2. "It's Better To Be Hated For Who You Are Than Loved For Who You Are Not."

3. "the little men who live behind my eyes... and scream directly at my brain... told me to tell you Hello"

: )

Ryan Fett - Squirrel Inc 2 by Jamie Nast

Ryan Fett's Idea Map or Mind Map of the book "Squirrel Inc."

IMG_2105 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

IMG_2100 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Jason Grigsby, Cloud Four - Responsive Web Design by Akamai Technologies

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

Wonder Wheel by Lisanne!

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Some things are immutable fixtures in Coney Island. The Wonder Wheel is landmarked, and will survive all the changes that are being planned for Coney Island. We can only hope that Deno's Wonder Wheel Park will also be able to profitably continue when it is surrounded by high-rise hotel and condominium towers.

Howdoo: Trustworthy social media with crypto token earning by Jasonjm D

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There are hundreds of platforms for social interaction and introducing a brand new platform might be risky, but a platform with a new dimension sounds interesting even in this high competitive marketplace, Howdoo is a messaging application which handovers the power to the users. It knows the importance of one’s time and value of data.

Almost all existing platform have been stealing the data without even notice to the owner (like Facebook and YouTube, unlike them Howdoo not even protect the data but also incentivized them the crypto token (uDoo) for their participation and sharing data after Proof of Contribution for fair and transparent reward. Say no totrust breeching social networks and join hands with the Howdoo, the trustworthy media.

This blockchain based social interaction forum is decentralized, encrypted, fair, transparent, and immutable. The Howdoo will have worldwide access with international money transfer availability with insignificant fees. Howdoo will reduce the risks of cyberbullying, misuse of data, offensiveness and harmful data. So this would be the media that everyone desires.

What’s more? Then let me tell you that you actually get paid for sharing the data and viewing the advertisements in the news feed. The token sale is ending on June 12, 2018.

ETH address: 0x895F650c7CDA6930600f34343f409b103893C403

Grania, as I see her in my imagination by Poupetta

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Grania, the daughter of an Irish king. Grania is intended to be the bride of Finn. She is young, beautiful, self-controlled, and initially calm about her impending marriage. She nurses a childhood memory of a great warrior whom she once saw in her father’s courtyard. This half-fanciful attachment is in contrast to her cool, well-mannered demeanor. The knowledge that this warrior is one of Finn’s men provokes her decision to desert Finn. Her sense of dignity remains constant even in poverty and sorrow and supports her when she is, in turn, deserted by Diarmuid.

Finn, a king of Ireland and leader of the Fenian warriors. He is in late middle age, and he plans to take a young wife for the sake of happiness and comfort. Like Grania, he at first seems reasonable and prudent in his affections, yet when he is faced with Grania’s passion for Diarmuid, Finn is overwhelmed by jealousy and hounds the fleeing couple for years, devoting all of his energy to the possession of Grania. Despite his rage, Finn shows an astute understanding of the conflicts within himself and within Diarmuid and Grania, and he proves capable of not only cruelty but also compassion.

Diarmuid, one of the chief warriors of the Fenians, known both for his bravery in battle and for his success with women. Perhaps his most prized quality is his loyalty to Finn, which he swears is immutable. It is his sense of honor that causes Diarmuid to leave with Grania; he feels obliged to protect her from the unjust wrath of the jealous Finn. Love and honor are in perpetual conflict within him, however, even after he gives in to his desire for Grania. On his deathbed, he has no memory of her but thinks only of his friendship with Finn.

IMG_2103 Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie by photographer695

Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie

Ruggine&Vernice by Angelo Sampino

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Molto spesso non ci facciamo caso, le nostre attenzioni viaggiano in velocità e in divenire, per noi osservare diventa sempre più difficile. Ma le cose comuni che spesso riteniamo immutabili, immobili da anni nel loro ambiente, meritano una visione ravvicinata e consapevole. Ogni volta che tutto ciò accade ci stupisce inesorabilmente.

Particolari usurati dal tempo e dal ambiente.

----------------------------------------

Very often we do not pay attention, our attention traveling speed and become, for us it becomes increasingly difficult to observe. But the common things that we often immutable properties for years in their environment, they deserve a closer look and aware. Whenever this happens amazes us inexorably.

Worn out by time and environment.

Jason Grigsby, Cloud Four - Responsive Web Design by Akamai Technologies

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

Claudia Märzendorfer & Nik Hummer : Frozen Records by Marc Wathieu

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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.

www.thilges.at/

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.lamediatheque.be/med/details.php?ref=XT352V

Rails Pacific 2014 Taiwan: Chef Workshop / Immutable infrastructure by Rails Pacific

Slayer - Alcatraz - Milano - 19 giugno 2013 - © Mairo Cinquetti-4 by Mairo Cinquetti

Slayer

Alcatraz - Milano

19 Giugno 2013

Tom Araya

Kerry King

Jeff Hanneman

Dave Lombardo

Tutti i diritti sono riservati. L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.

Per contatti: mairo.cinquetti@gmail.com

From the opening squeals of the guitars of Kerry King and Jeff Hanneman and the punishing breakaway attack of Dave Lombardo's drums on "Flesh Storm" it's clear from the first thirty seconds the thrash metal titans have returned to pummel listeners with a raging onslaught of new music guaranteed to lay waste to MP3 players, car stereo speakers and whatever else gets in their way.

Christ Illusion marks the long-awaited return of the legendary Slayer. Its first record in five years and its first record in fifteen years with the original band line-up, Christ Illusion is a cacophony of brutality. A soundtrack for the post-Apocalypse. Steeped in scorching riffs and a litany of menacing tracks/tirades on religion and violence, Slayer forges ahead on its devastating path of aural destruction with ten new songs, each charged with the electric hostility for which Slayer is renowned.

Of the record Kerry King is ecstatic: "I love it. I really like God Hates Us All and I think that's the best record we've done in my opinion since Seasons In The Abyss, and I like this better than that one. I think it's a more complete record, I think sonically it better: all the performances are awesome. I think this one is more intense not because we're trying to do 'Reign In Blood: The Sequel,' it's just that's where our writing is taking us now."

Songs like the "Flesh Storm," "Eyes of the Insane," "Skeleton Christ," "Jihad" and the first single, "Cult" showcase the band at its most blazing intensity. The sonic excitement of speed, propelled by King, Hanneman and Lombardo and lead by the immutable roar of Tom Araya provoke the listener with Slayer's trademark fascination with terror, violence and religion.

For as long as Slayer has been making records it has been surrounded by controversy.

Since the band recorded its first album, "Show No Mercy," Slayer has been plagued with accusations of Satanism, fascism, racism and so on. Christ Illusion gives no quarter to critics who would mindlessly attack the band for, what the Germans call, "der Reiz des Unbekannten" (meaning "the attraction of the unknown"). A lyric fascination with violence and terror which guitarist King enthusiastically describes this way: "When I was I kid I would see a horror movie over a love story. Being shocked, being in an environment that's not reality might be frightening but is cool nonetheless. With a lot of our songs we put people in that place. It doesn't bother me because I enjoy it. It could easily be programming from all the fucking news channels."

Slayer is often assailed for its subject matter, though the band is unrepentant. " According to Araya, "Violence, darkness... So much of my inspiration comes from news articles or pictures and just start describing the images. Television- A&E, the History Channel, Court TV, Documentaries."

The singer continues, "With this record, as far as a theme: there is none. That's just our favorite subject matter. The common thread is death. I think that's just a common thread in general: we all share death, and we all share it at different times in different ways, but it's the one thing that we all have in common. We all die. It's how we live that makes us different."

Beyond being controversial Slayer is an exceptional force in music, highly praised for its trailblazing style of fast, heavy and aggressive music yet bristling with melody. The much-heralded return of Dave Lombardo to the drummer's throne will leave fans gasping for breath as he clobbers the listener on song after song.

Commenting on Lombardo's return to the fold, King notes, "Not to say the shine's worn off, but it's old news to us. I think the thing the kids are going to get into, besides just being the first Slayer album in five years, is that Dave's on it. When he came back he wasn't a member, he just came back to do a couple of tours and people started asking back then 'Is he gonna hang around?' And I would tell them that was up to Dave. But I could tell that Dave was having a killer time." King confided. "So it was just a matter of time before he said, 'Yeah, let's do it!' But it's great. And now that he's got a new Slayer album that he's played on, I think he's going to get some more enjoyment out of playing. He takes pride in everything he does and it's awesome to have him back with us."

Having the original members record their first album together in fifteen years is certainly newsworthy but the lasting might of the band and its continued popularity is an achievement few can boast. For each of the members, the band is resolute. There is no other band like Slayer.

"The staying power behind Slayer is that we've stuck to our guns," Says Araya. "Integrity... that would be number one. A lot of it has to do with the fact that we've stuck to what we do best. And the fact that we've been together as a band for so long. Ten years with Dave; another ten without Dave; and now Dave's back. It has a lot to do with compromise, that's just the way it has to be. You have to be able to compromise and give and take and that has a lot to do with why we're still together and a force to be reckoned with. I've learned that without each other, Slayer wouldn't exist, and that the whole is greater than its parts."

Kerry King is far more succinct. "Slayer to me is the coolest band on the planet. There is a timeless quality to Slayer. It's cool, but I can't explain it. It's our life."

Slayer has created one mesmerizing record after the next, has influenced many of today's most successful bands, including Slipknot, Sepultura, Killswitch Engage, and continues to earn new generations of fans, while staying true to its ceaselessly devoted followers. Slayer's legacy is cemented in music forever and the band remains undaunted in its directive to make punishing, aggressive and exciting music. With Christ Illusion the band marks its territory. Slayer has exceeded itself far beyond thrash metal to become an unstoppable juggernaut without equal.

Tom Araya sums it up: "I think the best thing is the band's longevity and the fact that we haven't bowed to anyone. That we were able to make a record like Reign In Blood, which, to us, was just another record, but to others, was something very special, it's had such an impact. People will remember it for a long time, and it's all because we did things our way, we didn't bow down to anyone. We didn't compromise. We stuck to being who we are."

Eiger und Mönch Berg, Interlaken, Switzerland by javadoug

"I had a finer and a grander sight, however, where I was. This was the mighty dome of the Jungfrau softly outlined against the sky and faintly silvered by the starlight. There was something subduing in the influence of that silent and solemn and awful presence; one seemed to meet the immutable, the indestructible, the eternal, face to face, and to feel the trivial and fleeting nature of his own existence the more sharply by the contrast. One had the sense of being under the brooding contemplation of a spirit, not an inert mass of rocks and ice--a spirit which had looked down, through the slow drift of the ages, upon a million vanished races of men, and judged them; and would judge a million more--and still be there, watching, unchanged and unchangeable, after all life should be gone and the earth have become a vacant desolation." -- Mark Twain, "A Tramp Abroad" (seen from Interlaken Switzerland)

Little Coffee Shop of Horrors by Matthew Ward

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LITTLE COFFEE SHOP OF HORRORS - Notes

by Matt Ward

This was a commissioned piece for the Fall 2011 issue of CRAM Magazine.

MEANING:

I was working as a hobby shop clerk, and a dock worker at Macy’s, and sustaining my daily momentum on a steady diet of job application rejections and debt collection calls, and the math at the end of the day looked bleak, okay? In retrospect, it could’ve been worse, but as far as I was concerned at the time, my situation was immutably fucked.

Copic Markers, Prismacolor Markers & Colored Pencils on Strathmore medium-tooth drawing paper.

10.7.2011 ©Matthew E. Ward