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Zuid | Bolivarplaats
Antwerp Courthouse and District Court of First Instance.
Arch. Richard Rogers
2000-06.
You may treat most instances of hemorrhoids that aren't severe through a mix of such things as topical ointments, mild analgesics, sitz baths and also other commonly available ingredients. Protection against hemorrhoids is often as simple as consuming more fiber, drinking more water and going for a stool softener as required. This informative article also can provde the additional pointers for handling external hemorrhoids in addition to their symptoms.
Dramatically upgrading your bath room hygiene habits decreases your probability of external hemorrhoid formation. Toilet paper that may be soft and is not going to leave residue is a superb start. After each bowel movement, likewise use a moistened wipe to clean purposes.
Alternating ice as well as heat is the best way to treat hemorrhoids in your house. Switching between your heat along with the ice will assist shrink your hemorrhoid and help heal it. For the best results, the ice needs to be place on the hemorrhoid-area affected for no less than ten mins daily, combined with damp, warm heat for a minimum of twenty or so minutes.
While you are fighting nasty hemorrhoids, be sure to will not expose you to ultimately products produced by essential oils. You must avoid dyes and fragrances, at the same time because these ingredients can bring about unneeded irritation and horrible inflammation. Allowing the hemorrhoid into the future in touch with substances such as these even for a concise moment could bring on pain, stinging, and exacerbated swelling.
Cold methods are usually efficient at relieving the stinging pain of hemorrhoids. Hemorrhoids might cause a great deal of pain. An ice pack will both decrease pain minimizing swelling. Turn off between having an ice pack plus a warm compress. Placed in a warm bath and alternating by having an ice pack application, will also help reduce pain and swelling of hemorrhoids to help you become convenient.
In order to avoid hemorrhoids, make sure you get plenty of fluids. Getting no less than eight servings of water every day keeps the stools soft. You're also gonna would like to limit and gauge simply how much caffeine and alcohol you take in simply because this can hurt you.
The most beneficial and affordable, or else free, treatment solutions are as elementary as drinking more water, applying topical produces, getting exercise, and taking fiber supplements. When you use these techniques, you may minimize hemorrhoids. ehemorrhoidnomorereview.com/
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
Lore of the Cat
A Mystical History of Catdom
"Thou art the Great Cat, the avenger of the Gods, and the judge of words, and the president of the sovereign chiefs and the governor of the holy Circle; thou art indeed...the Great Cat." ~ Inscription on the Royal Tombs at Thebes
The White Cat
Most people who readily admit that they "adore" cats would be shocked if one took them literally. The cat has, however, a disdainful aloofness, a quality of meditativeness and inscrutability which has often been mistaken for divinity.
The Deity: The only fully developed cult of the cat existed in Egypt and it lasted over two thousand years. No one knows when the Egyptian cat was first sanctified, and it was never officially considered to be divine. But such a distinction was too subtle for the general public, and Egyptian art provides ample evidence that the Egyptians treated these sacred animals as gods.
The cat was considered very early on to be sacred to the Egyptian goddess Isis. It gradually came to be recognized as an incarnation of deity, and it was as the daughter of Isis and her husband, the sun god Osiris, that the great cat goddess Bastest (Bast or Pasht) emerged. Egyptian gods and goddesses have a confusing way of merging into one another, and it is important to remember this in considering myth and ritual with which Bastet is connected. For instance Osiris, Horus, Ra and Ptah were all different forms of the sun god. Isis merged with Hathor, the cow goddess, and with Mut, the Theban mother goddess. Osiris, Bastet's father, was not only a sun god but also a moon god and god of the underworld; while Isis, her mother, was a sun/moon/earth goddess. The worship of Bastet overlapped that of Isis, Hathor and Mut, and also that of the lion goddesses, Tefnut and Sekhmet, according to the district and to which of Bastet's many aspects were being stressed. The cat goddess had a solar son, Nefertem, by the sun god, Amen-Ra, and Khensu, the lunar god, was her son by Ptah.
At the time when the Egyptian gods were taking form, the wild cat was venerated for its ferocity and rapacity - qualities which it shared with the lion. And Bastet was originally lion-headed, like the goddesses, Tefnut of Heliopolis and Sekhmet of Memphis with whom she has so often been confused. Although it was in her later cat-headed form that Bastet became so immensely popular, she never ceased to be worshipped as a lion-headed deity, the two forms existing concomitantly through the last thousand years of Egyptian paganism.
The earliest known portrait of Bastet was found in a temple of the fifth dynasty, about 3000 BC. She is revealed as a lion-headed goddess who was honored as "Bastet, Lady of Ankh-taui." One of the earliest pictures of a cat-headed Bastet is in a papyrus of the twenty-first dynasty, now exhibited in the Cairo Museum. The center of the cult of the cat was at Babastis, which was situated east of the Nile Delta. Consequently, Bastet was known as the "Lady of the East" - Sekhmet bearing the title "Lady of the West." Bastet was worshipped, among other goddesses, in the temple at Bubastis as early as the twelfth dynasty, but it was not until a thousand years later that this goddess really came into her own.
In the twenty-second dynasty, about 950 BC, Bastet took precedence over all other goddesses. She was known as "The Lady of Bubastis" and became an immense power in Egypt. King Osorkon II built a magnificent festival hall in Bubastis and dedicated it to Bastet. A relief found on the walls of the sanctuary showed the king endowing the goddess thus: I give thee every land in obeisance, I give thee all power like Ra.
The temple of Bastet has been vividly described by the historian Herodotus, who travelled in Egypt about 450 BC. It stood in the center of the city of Bubastis and was virtually on an island, since it was surrounded (except at its entrance) by canals from the Nile, which were a hundred feet wide and overhung by trees. While the foundations of the surrounding houses had been raised, the temple remained on its original level so that the whole city commanded a view down into it. The temple was a splendid building in the form of a square, and was made of red granite. Stone walls carved with figures surrounded the sacred enclosure, which consisted of a grove of very tall trees within which was hidden a shrine. In the center of the shrine was a statue of Bastet, the cat goddess.
Little is known of what form the rites of the cat goddess took. They probably included processions, litanies, antiphonal singing, invocations, revelations of sacred images and sacrifice. "Divine" cats were always to be found in the shrine of Bastet, for it was as this animal that the goddess was incarnated. Sacred cats kept in her temple were ritually fed, and those who tended them were exempt from liturgical services. The British Museum exhibits wooden figures of girls, carrying cats or kittens, who are thought to have been temple maidens.
One of the principal Egyptian festivals was that held in honor of Bastet. Herodotus stated that, of all the "solemn assemblies," by far the most important and popular was that annually celebrated at Bubastis. He described how, in April and May, thousands of men and women set off on the pilgrimage in parties which crowded into numerous boats. Men played the flute, women a type of cymbal called crotala, and all joined in singing and hand-clapping. As they passed towns, the boats drew near to the banks and the women shouted bawdy jokes to those on the shore, often flinging their clothes up over their heads. This vulgar performance (presumably a form of ritual exhibitionism) was repeated at every town along the riverside and was a sign for those on land to start dancing and join in the festivities.
When the revellers arrived at Bubastis, they celebrated the festival of the cat goddess, sacrificing many victims and consuming vast quantities of wine. A military commander described how he brought out Bastet in procession to her barge at her beautiful feast. This may be a reference to a rite known as the "coming forth," in which the statue of a deity left its own sanctuary and was carried in procession to pay a visit to another god. It was believed that a goddess, immanuent in her statue, was entitled to pleasures and enjoyed a trip such as this, like humans. An inscription on a statue from Bubastis explains that the owner made excellent monuments before her that she might appear to be pleased in all her festivals.
Such was the popularity of the cult of Bastet that images of cats (her animal incarnation) abound in Egypt. Cats have been portrayed in every conceivable activity, sculptured in every material from gold to mud, and in every size from colossal to minute. In Thebes a number of tomb reliefs show cats beneath chairs.
A feature of the Ramesside period (about 1320 BC) was the satirical papyrus. These contained pictures of animals playing the parts of humans, ostensibly displaying their weaknesses and vices. The British Museum has one of the cat driving geese, offering palm branches to mice and fighting armies of rats.
It was during the Bubastite period, the twenty-second dynasty, that the cat cemeteries were laid out along the banks of the Nile. Digging in this area has produced bronze cat effigies and a profusion of cat amulets. The larger figures vary from peaceful, comtemplative cats, dignified and awe inspiring cats, to cats which have an ominous air about them. But all emanate vitality.
Bronze cats, which were made in temple workshops and sold at the stalls, were used as votive offerings at shrines. It is probable that they were worshipped by many people, and recognized as symbols only by the elect.
Little amulet figures of cats, pierced or ringed for suspension on necklaces, were found buried by the hundreds in cat graves, and also behind walls and beneath floors of houses and temples.
They were carved in gold, silver, amethyst, jasper, cornelian, lapis lazuli, agate, quartz, marble, glass, stone and faience; and the mellowed glazes shifted through brilliant blues, greens, yellows and soothing grays. They portrayed cats in every mood and position: mediatative cats, alert cats, crouching, prowling, walking and pouncing cats, and cats who appeared to be in full flight.
Some of these cats were featherweight, others strangely heavy for wearing around the neck. Among the heaviest, and also the most charming of the amulets, consisted of cats on columns. The columns, perhaps three inches in height, were classic in form and were usually made of faience. Often a single cat was poised majestically on high, but sometimes a couple of kittens snuggled together on the top.
Cats were used to decorate necklaces, rings, brooches and pins, and objects such as musical instruments and sceptres.
Although the cult of the cat was at its height during the twenty-second dynasty, it never dwindled during the next nine hundred years either in importance or in popularity. At the end of the Roman period, the image of the cat gradually faded, but it did so in company with those of all other animals, before the emerging image of Christ.
During the whole of Bastet's reign, household cats were treated with the greatest of respect. Many were bejewelled, and they were allowed to eat from the same dishes as their owners. Sick cats were tended solicitiously and stray cats were fed with bread soaked in milk and with fish caught in the Nile, then chopped up for them.
A story is told of how a Persian army once won a victory over Egyptians by taking advantage of their reverence for cats. The Persians were besieging an Egyptian fort when their king had the brilliant idea of ordering his soldiers to throw live cats over the walls. The defending troops apparently allowed the city to be captured rather than risk injuring the animals they knew to be sacred and which they half-suspected to be divine.
The Sun: Cats love basking in patches of sunlight. With his usual charm Topsell, the seventeenth century naturalist, explains his conviction that: The male cat doth vary his eyes with the sunne; for when the sunne ariseth, the apple of his eye is long; towards noon it is round, and the evening it cannot be seene at all, but the whole eye showeth alike. There are Chinese who believe that the size of the pupils of cats' eyes is determined by the height of the sun above the horizon and lift up their lids to tell the time by them.
The cat goddess, Bastet, was first worshipped as a form of the sun, which was the source and sustainer of life and light. Solar power belonged to the male principle and, although Bastet was conceived of as female, during the eighteenth dynasty she was often identified with her father who, in this case, was called not Osiris, but Ra.
The Egyptians believed that when the sun disappeared below the horizon every night, a combat of cosmic proportions took place in the underworld between Ra, the god of light, and Apep, the serpent of darkness. The battle was an eternal one - though the sun rose every morning having overthrown the serpent and chopped him into pieces - Apep was immortal and appeared with renewed avidity the following night.
The Egyptian Book of the Dead includes the Papyrus of Henefer who was a royal scribe of the nineteenth dynasty. Plate 3, a vignette from this papyrus, shows in the background a persea tree and in the foreground a cat with fiery eyes and bristling fur leaping on a spotted serpent and cutting off its head with a large knife. In another papyrus Ra, the sun god, asserts: I am the Great Cat which fought hard by the Persea tree, and the serpent was the devouring Apep.
It was believed that during a solar eclipse, a crucial battle was fought between the powers of light and darkness, and that the sun on whom the lives of the Egyptians depended was in the greatest possible danger. During this time mobs of people assembled in the streets shouting and shaking sistra (a kind of rattle) in an effort to spur on the celestial cat and to terrify the threatening serpent in their struggle beside the Tree of Life.
The central theme of the great epic poems, and the most vital of all heroic engagements, is that in which a man enters into combat with a terrifying monster. The divine cat, in his nocturnal struggle with Apep, takes his place among the solar heroes of all mythologies in their fights with various forms of the Devil.
From the cat's identification with the sun has arisen "cat's cradle," a name given to certain string games. Games played by two people, in which string is wound in patterns round their fingers, are still played all over the world. People in a primitive cultural stage know a great variety of string figures, many of which they use for purposes of sympathetic magic. The cat's cradle is often employed to control the movements of the sun. Members of Congo tribes make cradles of string to encourage the sun to rest from its blazing activities. Eskimos try to entangle the solar cat, for they play their string games after the summer solstice, hoping to hold the sun back from its winter setting.
Egyptians thought of the sun and moon as the eyes of Horus, their sky god. And although the power of the sun was of the masculine principle, the Egyptian word for "eye" was feminine. So Bastet, when she ceased to be identified with her father, was first worshipped as a lion-headed goddess who was described as the "flaming eye of the sun."
As a solar goddess Bastet was at her fiercest. She has been confused with Tefnut, the lion-headed goddess of the Old Kingdom who was known as the "Ethiopian Cat." Tefnut had migrated to Nubia, and she personified the cruel, searing heat of the equatorial sun; but Ra sent Thoth, the ape god of wisdom, to bring her back to Egypt. A faience amulet from Bubastis shows the feet of an animal trampling on captives, and it is inscribed: May Bastet give life and power.
This is not the role usually played by Bastet, even in her lion-headed form, for she was a twin of Sekhmet of Memphis and, whereas both goddesses represented aspects of the sun, Bastet was always considered to be the milder of the two. Sekhmet, "the Great Cat," and Bastet, "the Little Cat," as they were known, were worshipped in the temple of the sun at Heliopolis. Texts speak of Sekhmet as a warlike goddess. She was the "Powerful" and the "Fiery One" who emitted flames against the enemies of the gods, for she incarnated the fierce destructive heat of the desert sun. Bastet respresented that life-giving warmth of the sun which encouraged the growth of vegetation. A text refers to the solar goddess stating: Kindly is she as Bast, terrible is she as Sekhmet.
When people wanted a fierce goddess to protect them they called on Sekhmet; when in need of gentler and more personal help, they turned to Bastet. The Egyptian Trinity was known by the composite name of Sekhmet-Bast-Ra.
When Bastet is lion-headed it is very difficult, in the absence of inscriptions, to distinguish her from other lion goddesses. In coffin paintings, on temple walls and in papyri, the lion-headed Bast is usually portrayed with a uraeus (sacred asp) rising from her head, and carrying in one hand a sceptre and in the other an ankh. Occasionally she also bears a solar disk, but this is more commonly worn by Sekhmet. The ankh, a T-shaped cross with a loop at the top, was a symbol of life; the sceptre and uraeus were both emblems of royalty and the asps represented solar divinity.
At the British Museum there is a colossal sienite figure of a lion-headed goddess who is crowned with a solar disk and holds an ankh in her left hand. The statue is dedicated to a priest-king of Upper Egypt who was "beloved of Pasht." There was also a statue, now broken, of a cat-headed goddess with a headdress of sacred asps each of which was crowned by a sun. Little faience figures of a lion-headed goddess, with a cat seated at her feet, bring out the dual aspect of the sun goddess.
A study by Egyptologists found that there are ways in which the lion-headed Bastet could be distinguished from other leonine goddesses. When the uraeus/crown appears on its own, it is invariably a sign that its wearer is Bastet. The enthroned sistrum bearer is usually Bastet. Only Bastet and Thoth (god of wisdom) are carriers of the sacred eye. Bastet is often found wearing it in both her leonine and her cat forms. The scarab is a sign frequently engraved between the ears of lion- and cat-headed bronzes of Bastet. Apart from Bastet, the only scarab bearing deity is Ptah.
The scarab (sacred beetle) was sometimes depicted in a boat, with its wings extended and holding the globe of the sun in its claws. It was believed that the scarab was self-produced. According to Egyptian folklore, when the male beetle wants to procreate, he searches for a piece of ox-dung which he shapes into a ball and rolls from east to west propelling it with his hind legs. Having dug a hole he then buries the ball, which varies from the size of a walnut to that of a man's fist, for twenty eight days. On the twenty ninth day the beetle throws the dung ball into water, from which its young soon emerge. As the ball of dung was rolled along the ground, so did the sun mount up in the sky, roll across it and then disappear below the horizon. As life came out of the ball of beetle dung, so all life sprang from, and depended on, the sun. Thus the scarab became a symbol and even an incarnation, of solar deity.
The classical writer, Horapollo, maintained that there were three species of beetles and that one has the form of a cat and is radiated, which, from supposed analogy, they have dedicated to the sun - the statue of the diety of Heliopolis having the form of a cat - and from its having thirty fingers corresponding to the thirty days for a solar month. The scarab, with which the cat was so closely associated was an emblem both of the self-begotten deity who created the universe, and also of the world which he created, since the maternal dung was shaped in the form of the globe.
Scarabs made of gold, ivory, faience, stone or wood were later inscribed with the names of kings - combining solar power with the power of royalty. A cat would be drawn on a scarab, and its image was sometimes combined with the name of Bastet.
The solar Bastet could further be distinguished from Sekhmet by the fact that figures of the latter were often decorated with bracelets, armlets and anklets - an unknown experience for the lion-headed Bastet.
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© Lee Fly
Le chat domestique (Felis silvestris catus) est un mammifère carnivore de la famille des félidés. Il est l’un des principaux animaux de compagnie et compte aujourd’hui une cinquantaine de races différentes reconnues par les instances de certification. Dans de nombreux pays, le chat entre dans le cadre de la législation sur les carnivores domestiques à l’instar du chien et du furet.
Essentiellement territorial, le chat est un prédateur de petites proies comme les rongeurs ou les oiseaux. Les chats ont diverses vocalisations dont les ronronnements, les miaulements, ou les grognements, bien qu’ils communiquent principalement par des positions faciales et corporelles et des phéromones. Selon les résultats de travaux menés en 2006 et 20071, le chat domestique est une sous-espèce du chat sauvage (Felis silvestris) dont son ancêtre, le chat sauvage d’Afrique (Felis silvestris lybica) a vraisemblablement divergé il y a 130 000 ans. Les premières domestications auraient eu lieu il y a 8 000 à 10 000 ans au Néolithique dans le Croissant fertile, époque correspondant au début de la culture de céréales et à l’engrangement de réserves susceptibles d’être attaquées par des rongeurs, le chat devenant alors pour l’homme un auxiliaire utile se prêtant à la domestication.
Tout d’abord vénéré par les Égyptiens, il fut diabolisé en Europe au Moyen Âge et ne retrouva ses lettres de noblesse qu’au XVIIIe siècle. En Asie, le chat reste synonyme de chance, de richesse ou de longévité. Ce félin a laissé son empreinte dans la culture populaire et artistique, tant au travers d’expressions populaires que de représentations diverses au sein de la littérature, de la peinture ou encore de la musique.
The domestic cat[1][2] (Felis catus[2] or Felis silvestris catus[4]) is a small, usually furry, domesticated, and carnivorous mammal. It is often called the housecat when kept as an indoor pet,[6] or simply the cat when there is no need to distinguish it from other felids and felines. Cats are often valued by humans for companionship and their ability to hunt vermin and household pests.
Cats are similar in anatomy to the other felids, with strong, flexible bodies, quick reflexes, sharp retractable claws, and teeth adapted to killing small prey. Cat senses fit a crepuscular and predatory ecological niche. Cats can hear sounds too faint or too high in frequency for human ears, such as those made by mice and other small animals. They can see in near darkness. Like most other mammals, cats have poorer color vision and a better sense of smell than humans.
Despite being solitary hunters, cats are a social species, and cat communication includes the use of a variety of vocalizations (mewing, purring, trilling, hissing, growling and grunting) as well as cat pheromones and types of cat-specific body language.[7]
Cats have a rapid breeding rate. Under controlled breeding, they can be bred and shown as registered pedigree pets, a hobby known as cat fancy. Failure to control the breeding of pet cats by neutering, and the abandonment of former household pets, has resulted in large numbers of feral cats worldwide, requiring population control.[8]
Since cats were cult animals in ancient Egypt, they were commonly believed to have been domesticated there,[9] but there may have been instances of domestication as early as the Neolithic from around 9500 years ago (7500 BC).[10]
A genetic study in 2007 concluded that domestic cats are descended from African wildcats (Felis silvestris lybica) c. 8000 BC, in the Near East.[9][11] According to Scientific American, cats are the most popular pet in the world, and are now found in almost every place where humans live
During my visit to Limerick I used a number of different lenses. In this instance I used a Sony A7RM2 body with a Zeiss Batis 25mm Lens which I really like.
St Mary's Cathedral, Limerick, also known as Limerick Cathedral, is a cathedral of the Church of Ireland in Limerick, Ireland which is dedicated to the Blessed Virgin Mary. It is in the ecclesiastical province of Dublin. Previously the cathedral of the Diocese of Limerick, it is now one of three cathedrals in the United Dioceses of Limerick and Killaloe.
Today the cathedral is still used for its original purpose as a place of worship and prayer for the people of Limerick. It is open to the public every day from 8:30 am to 5:30 pm. Following the retirement of the Very Rev'd Maurice Sir on June 24, 2012, Bishop Trevor Williams announced the appointment of the Rev'd Sandra Ann Pragnell as Dean of Limerick and Rector of Limerick City Parish. She is the first female dean of the cathedral and rector of the Limerick parish. The cathedral grounds holds a United Nations Memorial Plaque with the names of all the Irish men who died while serving in the United Nations Peacekeepers.
It’s hard to pinpoint when, exactly, the first documented instance of side-eye appeared. But many credit this 1957 photo of Sophia Loren and Jayne Mansfield. Newcomer Loren had just skyrocketed to stardom in Europe when she became the most photographed performer at the 1955 Cannes Film Festival. The Beverly Hills party two years later was meant to officially welcome Loren to Hollywood. But the Italian bombshell found her spotlight unexpectedly stolen by Mansfield. In a recent interview with Entertainment Weekly, Loren confirms that, yes, she was thinking exactly what it looks like she was thinking.
"Paramount had organized a party for me. All of cinema was there, it was incredible. And then comes in Jayne Mansfield, the last one to come. For me, that was when it got amazing. . . . She came right for my table. She knew everyone was watching. She sat down. And now, she was barely . . . Listen. Look at the picture. Where are my eyes? I’m staring at her nipples because I am afraid they are about to come onto my plate. In my face you can see the fear. I’m so frightened that everything in her dress is going to blow—BOOM!—and spill all over the table."
www.vanityfair.com/hollywood/2014/11/story-behind-infamou...
Loren went on to explain that even though she was caught smiling or having a good time with Mansfield later in the evening, her mind was always on that dress. “No, no. Well, there may be other photos, but this is the picture. This is the one that shows how it was. This is the only picture.”
But the veteran actress, who has more than 90 film credits to her name, says that even if she was thinking all those things, she doesn’t like being associated with the photo that launched a million side-eyes.
Actually, many, many times I am given this photo to autograph it. And I never do. I don’t want to have anything to do with that. And also out of respect for Jayne Mansfield because she’s not with us anymore.
Nation
Teodoro campaigns before captive, ready-made crowd
By TJ Burgonio
Philippine Daily Inquirer
First Posted 19:59:00 02/13/2010
Filed Under: Elections, Eleksyon 2010, Politics
MANILA, Philippines—It was one of those rare instances when Gilbert Teodoro didn't see any need to bus in his own supporters.
Teodoro turned up Saturday morning at the sportsfest of the Our Lady of Fatima University at the Rizal Memorial Track and Field Stadium in Manila, and easily had a captive audience of thousands of students.
The administration standard-bearer arrived to cheers from more than 10,000 students on the field and in the stands, and ended up getting more: an endorsement from the university president.
The mammoth crowd, which university officials estimated at 20,000, was much bigger than the crowd at last Tuesday's proclamation rally of the Lakas Kampi CMD candidates at the Ynares Coliseum in Antipolo City.
“Thank you for the warm welcome,'' a pleased Teodoro, who came in with Valenzuela Rep. Magtanggol Gunigundo, senatorial candidate Silvestre Bello III and Manila mayoral candidate Avelino Razon, told the students.
Students from the university's campuses in Valenzuela, Quezon and Antipolo cities marked the university's 43rd founding anniversary with a sportsfest.
In his brief remarks, the 45-year-old candidate exhorted the students to exercise prudence when casting their ballots and thoroughly review beforehand the candidates’ track record and platform.
“Your power is very crucial in the coming days. This exercise on May 10 is not an ordinary exercise; it's very important to the future of our country. My appeal to you: Use wisely the power that is in your hands,'' he said.
“You can gather information about everybody who is going to run for whatever office. Use that power wisely,'' he added, drawing applause.
Teodoro said he trusted the youth to make a good choice.
“Whatever decision you make, I know it will be for the better because you're voting for your future, much, much more than ours. And so I leave our fate, our future in your hands. We believe, we trust in your capacity to bring our country to a better state,'' he said.
Teodoro stopped short of directly asking the students to vote for him, but Fatima University president Dr. Caroline Enriquez did not pass up the chance to endorse him.
“Dear Fatima students, we are fortunate to have Mr. Gibo with us. I've been to several forums, and I have seen how the other candidates performed. Let us choose wisely. Let us choose Gilbert Teodoro as our next President,'' Enriquez said.
Teodoro stayed for over an hour to watch the opening dance numbers before going to the stands to greet the students, amused by the “synchronized moves'' of the performers which he said should serve as a model for Filipinos.
Mobs of shrieking female students jostled to get a glimpse of him, snap pictures, and press flesh with the candidate who ranks fourth in poll surveys, but draws large crowds in his campus tours.
“There are three major things about the youth: Keep them healthy, educate them properly and make sure that they have utmost opportunities after they graduate,'' he told reporters later.
To do this, the government must implement basic education reforms, say adding one more year to elementary and high school; expand the coverage of health care to more people, and make the country more conducive for investors, he said.
“We can't stop anybody from leaving. We can only encourage them to stay. That's a function of your economy, and the public sector,'' he added.
Teodoro conceded that the youth was crucial not so much for its role in his electoral victory as for its role in “setting the political stage for the future.''
“They have to mature politically, and you know, I'm comfortable that they are because they will be setting public policy, public opinion in the future,'' he said.
Teodoro later motored to the SM Mall of Asia in Pasay City for a mall tour.
Source: newsinfo.inquirer.net/breakingnews/nation/view/20100213-2...
This model is a thorough conversion of a 1:60 "SEE Type-7 Brocken" IP kit from Bandai, and it is part of a Group Build at whatifmodelers.com under the theme "De-/Militarize it" (which still runs until the end of August 2015).
The mecha belongs into the Patlabor anime TV series. Anime is certainly not everyone's business, but it has a lot to offer.
The charm of the Patlabor universe is that these vehicles exist (these are no robots, except for rare cases there's a pilot inside) in everyday life. When the series was conceived in the 80ies it was a near-future setting in the nineties - SF, but VERY down to earth and "realistic".
The 'Labors', how these more or less humanoid vehicles are called, are special duty heavy machinery, e. g. for construction, loading, hazmat handling. They are also employed by the police (hence the title of the series, Patlabor, which circles around a police unit which fights labor crime) and by the military.
The Brocken is one of the dedicated military designs. It actually comes from Germany, hence probably the plate mail armor design. I am not certain if its name, Brocken, is the German word for hulk, or the mountain close to the inner German border in FRG/GDR times, because the Brocken was designed to patrol and protect this border - the Cold War was still part of the series' script!
There are actually firefighting Labors in the TV series, and the background story is built around the two types I am aware of. And in order to de-militarize the Brocken and change its look so far that the kit appears like a different vehicle, a lot of things had to be modified.
The head is completely new and supposed to remind of typical firefighter helmets. The cockpit section (in the breast) was changed, too, as well as the knee sections and different hands. Parts from other mecha kits (e. g. from a 1:72 Battroid VF-1 , a 1:100 Gerwalk VF-1, a 1:100 Destroid Phalanx, a 1:144 Gundam Zaku and even from an NGE EVA) were intergrated, but a lot of details were scratched.
For instance, the head with its sensor booms and the complex shape consists of ~30 pieces and putty, and the flashlights were completely scratched from clear sprue, styrene sheet and parts of PET toothbrush head protectors!
Having a dedicated duty, a lot of special equipment had to be integrated - in a fashion that it looks plausible and as an integral part, not just an add-on. Therefore, several light installations were added, two water cannons (one on the shoulder, one on the right forearm), a scratched winch, plus several protection bars all around the hull.
A CO2 tank was added on the back, plus a turbo pump installation that would drive the two water cannons and allow external water supply. An extandable hydraulic crusher on the right forearm was added, too, when knocking on the door simply does not meet the situation. Integrating the stuff into the hull meant much body work, and all the devices were meant to appear plausible and functional.
The paint scheme was simple: an all-red livery, inspired by typical German fire engines which wear RAL 3000 as official color. With some shading this eventually turned into a rather orange hue, but the Florian still looks like a fire fighting vehicle.
The yellow trim for a more international look was created with decals from several HO scale firefighting vehicle aftermarket sheets. Finally, after a black ink wash and some dry-painting, the kit received a coating with semi-matt acrylic varnish, and some pigment dust around the legs.
Hotel Elysees Mermoz at the lower end of the Champs-Elysees, is both a boutique hotel and a gallery. At the initiative of its director, Olivier Breuil, himself an artist, the hotel unveils contemporary works in which photography, painting and design mix. Until January 31st, 2010, the hotel welcomes Eric Cloutier and his series “Traveling Robots.”
Born in Montreal and having lived in New York, The Hague and now Paris, Eric Cloutier is the perfect model of the urban nomad for whom the journey is the key motivation of his existence. Leading an artistic life at the same time as pursuing a career in finance, he finds it important to understand the city in which he is living. For him, each town has its own energy and personality. It is the memories of his travels that form the heart of his artworks, a mix of photography, drawing and graphic design. Modern, his works are inhabited by robots, a nod to his childhood during which he collected vintage robots.
“Traveling Robots arises from a personal interpretation of different places I have lived in or visited. These locations are the protagonists of my art. The robots, curious and humorous, also travel across my artworks, replacing me in telling the story of my observations and memories”, says the artist. We can observe that the artwork representing London refers to the cover of the album “Abbey Road” by the Beatles. Inspired by Japanese futuristic art and the representation of surreal universes by artists such as David LaChapelle and Matthew Barney, Eric Cloutier’s works are resolutely contemporary and high-tech. For instance, the artwork of Montreal, in which a giant iPod is walking a dog robot on a leash, evokes the Summer music scene of the city.
“Traveling Robots”, from November 21st to January 31st, 2010.
Free entrance – All day.
Hôtel Élysées Mermoz
30, rue Jean Mermoz
75008 Paris
T. : +33.(0)1.42.25.75.30
F. : +33.(0)1.45.62.87.10
hotel@emhotel.com
artensuite.com/traveling-robots-invasion-de-robots-a-hote...
Eric Cloutier contact : travrobots@gmail.com
In this instance, the definition of Irony!
This poor old car couldn't dodge the collapsing garage that once kept it protected.
For the non soft version view in lightbox...Will flickr ever sort this out?
Le chat domestique (Felis silvestris catus) est un mammifère carnivore de la famille des félidés. Il est l’un des principaux animaux de compagnie et compte aujourd’hui une cinquantaine de races différentes reconnues par les instances de certification. Dans de nombreux pays, le chat entre dans le cadre de la législation sur les carnivores domestiques à l’instar du chien et du furet.
Essentiellement territorial, le chat est un prédateur de petites proies comme les rongeurs ou les oiseaux. Les chats ont diverses vocalisations dont les ronronnements, les miaulements, ou les grognements, bien qu’ils communiquent principalement par des positions faciales et corporelles et des phéromones. Selon les résultats de travaux menés en 2006 et 20071, le chat domestique est une sous-espèce du chat sauvage (Felis silvestris) dont son ancêtre, le chat sauvage d’Afrique (Felis silvestris lybica) a vraisemblablement divergé il y a 130 000 ans. Les premières domestications auraient eu lieu il y a 8 000 à 10 000 ans au Néolithique dans le Croissant fertile, époque correspondant au début de la culture de céréales et à l’engrangement de réserves susceptibles d’être attaquées par des rongeurs, le chat devenant alors pour l’homme un auxiliaire utile se prêtant à la domestication.
Tout d’abord vénéré par les Égyptiens, il fut diabolisé en Europe au Moyen Âge et ne retrouva ses lettres de noblesse qu’au XVIIIe siècle. En Asie, le chat reste synonyme de chance, de richesse ou de longévité. Ce félin a laissé son empreinte dans la culture populaire et artistique, tant au travers d’expressions populaires que de représentations diverses au sein de la littérature, de la peinture ou encore de la musique.
The domestic cat[1][2] (Felis catus[2] or Felis silvestris catus[4]) is a small, usually furry, domesticated, and carnivorous mammal. It is often called the housecat when kept as an indoor pet,[6] or simply the cat when there is no need to distinguish it from other felids and felines. Cats are often valued by humans for companionship and their ability to hunt vermin and household pests.
Cats are similar in anatomy to the other felids, with strong, flexible bodies, quick reflexes, sharp retractable claws, and teeth adapted to killing small prey. Cat senses fit a crepuscular and predatory ecological niche. Cats can hear sounds too faint or too high in frequency for human ears, such as those made by mice and other small animals. They can see in near darkness. Like most other mammals, cats have poorer color vision and a better sense of smell than humans.
Despite being solitary hunters, cats are a social species, and cat communication includes the use of a variety of vocalizations (mewing, purring, trilling, hissing, growling and grunting) as well as cat pheromones and types of cat-specific body language.[7]
Cats have a rapid breeding rate. Under controlled breeding, they can be bred and shown as registered pedigree pets, a hobby known as cat fancy. Failure to control the breeding of pet cats by neutering, and the abandonment of former household pets, has resulted in large numbers of feral cats worldwide, requiring population control.[8]
Since cats were cult animals in ancient Egypt, they were commonly believed to have been domesticated there,[9] but there may have been instances of domestication as early as the Neolithic from around 9500 years ago (7500 BC).[10]
A genetic study in 2007 concluded that domestic cats are descended from African wildcats (Felis silvestris lybica) c. 8000 BC, in the Near East.[9][11] According to Scientific American, cats are the most popular pet in the world, and are now found in almost every place where humans live
An unusual instance of a Citylink liveried coach working a City service shows Leopard 13 (RFC 13T) in Cornmarket on a service 2 to Cutteslowe during 1987. This was one of a pair rebuilt with SBG front domes.
The symbol AUM is composed of three syllables, namely the letters A, U, M, and when written has a crescent and dot on its top. A few instances of the various interpretations given to it may be mentioned here to convey its meaning.
The letter A symbolises the conscious or waking state ( jagratha-avastha ), the letter U the dream state ( svapna-avstha ) and the letter M the dreamless sleep state ( susupta-avastha ) of the mind and spirit. The entire symbol, together with the crescent and the dot, stands for the fourth state ( turiya-avastha ), which combines all these states and transcends them. This is the state of samadhi ).
The letters A, U and M symbolise respectively speech ( vak ), the mind ( manas ) and the breath of life ( prana ), while the entire symbol stands for the living spirit, which is but a portion of the divine spirit.
The three letters also represent the dimensions of length, breadth and depth, while the entire symbol stands for the perfect man ( a sthita-prajna ), one whose wisdom is firmly established in the divine.
They represent the three genders, masculine, feminine and neuter, while the entire symbol stands for the Creator, who transcends the limitations of time.
They stand for the three gunas or qualities of sattva, rajas and tamas, while the whole symbol represents a gunatita, one who has transcended and gone beyond the pull of the gunas.
The letters correspond to the three tenses - past, present and future - while the entire symbol stands for the Creator, who transcends the limitations of time.
They also stand for the teaching imparted by the mother, the father and the Guru respectively. The entire symbol represents Brahma Vidya, the knowledge of the Self, the teaching which is imperishable.
The A, U and M depict the three stages of yogic discipline, namely, asana (2), pranayama (3) and pratyahara (4). The entire symbol represents samadhi (1), the goal for which the three stages are the steps.
They represent the triad of Divinity, namely, Brahma - the creator, Visnu - the Maintainer, and Siva - the Destroyer of the universe. The whole symbol is said to represent Brahman from which the universe emanates, has its growth and fruition and into which it merges in the end. It does not grow or change. Many change and pass, but Brahman is the One that ever remains unchanged.
The letters A, U and M also stand for the mantra 'Tat Twam Asi' ( 'That Thou Art' ), the realisation of man's divinity within himself. The entire symbol stands for this realisation, which liberates the human spirit from the confines of his body, mind, intellect and ego.
A newspaper report from the time.....
Died at No. 6 Monti Street Edinburgh, on the 3rd instance, the Rev. William Limont, Minister of the relief Church, South College Street.
Mr Limont was born in 1799, licensed to preach the gospel in 1819, ordained to the pastoral charge of the Relief Church Kilmarnock, in 1820, and thence transferred to Edinburgh in 1821.
The removal by death from an extensive sphere of usefulness of a much esteemed minister, is calculated in any circumstances, to make a strong impression on the public mind; in the present instance, the sensation excited has been rendered more than usually intense and deep, by the comparative youth of him who has been taken away, as well as by the awful suddenness of the event itself; within three days of the termination of the past year, the deceased was in his usual state of health; before three days of the present one had come to a close, he had passed away from among living men.
In a brief notice of this kind, it were impossible to give any thing like a full detail of the many excellencies which adorned his public and private character. In the numerous and highly respectable assemblage who accompanied his body to its resting place, and in the tearful eye of hundreds who looked on the mournful procession, the best and the most honourable of eulogies has already been pronounced over him. His brethren in the ministry, his disconsolate people, and a vast multitude who had stood to him neither of these relations, all united over his open grave, in lamenting his removal as a great and common loss.
In his death, the Relief Church, College Street, has been bereft of a spiritual guide, whose exertions in his sacred calling were as unwearied as they were highly valued - and who, while his pulpit appearances were popular in no ordinary degree, was unremitting in his attention to ministerial duties of a more private kind. The Ministers of the Edinburgh Presbytery have lost in him a brother, whose activity and zeal were the admiration of all who had intercourse with him. The Synod has been deprived of one of whom any Synod might well have been proud, while the Church of the Redeemer on earth has had removed from her a member, whose holy example is no narrow sphere, was well eslculated to recommend her to the respect not only of friends, but also of foes.
While in his public character the deceased was respected and beloved, in private life he was marked by many amiable and endearing qualities. As a husband and a father he was tenderly affectionate. As a companion highly agreeable. As a friend warm and steady in his attachments, and at all times ready to oblige. - A prudence ever on the watch, and a strict sense of propriety characterized in an eminent degree his whole life and conversation, and the faith that animated him in the full enjoyment of health and every temporal comfort displayed at once its strength and its supporting influence when amid intensity of suffering, he anticipated immediate death. While consciousness remained, he gave evidence that the Gospel which he had so eloquently and so acceptably preached to others was sweetly comforting and consolatory to his own soul, - he died in the hope of a blessed resurrection, and the memory of his worth is embalmed in the grateful hearts of mourning thousands.
Erik Skanke Høsøien (b. 1980) has studied the lute, theorbo and historical guitars at the Staatliche Hochschule für Musik in Trossingen, Germany. He is also educated at NTNU Department of Music in Trondheim, Norway, and at the Guildhall School of Music & Drama in London. Høsøien has played with The Norwegian Baroque Orchestra, Barokkanerne, and various symphony orchestras. He has also performed at several festivals, for instance Oslo Chamber Music Festival, Northern Lights Festival, and Oslo Church Music Festival.
TUAW is spamming their website with "WWDC". I used Safari to find that on their website while I was looking for stories about this year's WWDC. I found the stories, but I also found 20 hidden instances of "WWDC" right underneath their Blogsmith badge.
Well, on the track in this instance, but I successfully made it to work and back in it today after getting the MoT sorted last week, putting it onto my classic insurance policy and getting it taxed.
Very smooth, temperature gauge sat where it should, went well. Something's a little noisier than it ought to be under the bonnet though, hope it's not the water pump after the cam belt has been changed in the relatively recent past. Anyway, I'll keep an eye on that and just get some miles under it before I consider spending anything else.
Likely I'll be selling it on when I get an estate sorted, but in the meantime it'll provide a bit of fun.
This is the first and only instance of this behaviour that I have observed. The moth is licking the honeydew exudate from the fulgorid, despite the presence of the ants which are doing the same thing. Not sure is this is something specific to this moth sp., if it's pure luck, or just a not very often described phenomenon. In any case I was happy to find and document it. Found during a night hike in kanuku mountains. For a greater selection of photos which include different angles and species ask by pm to be added to my friend's list.
Yesterday the tire flew off my minibus, I cut the head off a pit viper and I was banned from a commercial flight by associating with a narco-trafficker. Today I am bushwhacking through the jungle in the remote trail-less backwaters of Guyana, waist deep in water and praying to make it through the rest of the day alive. What will tomorrow bring? God only knows. The adventure starts here- pbertner.wordpress.com/.
A relook at the passed images.
We tend to see more of an image, not in the instance we depressed that shutter, but persistent meditation on the meaning of life, of existence and being. Inherent in the image is the message of birth, being and death. When meditating on the image, the meaning of an image reveals itself, in slow certainty, not in a flash, but it could come in a flash, a leap from normalcy, across the gap of invisible terrain.
Nights are always quiet, silence; days are a whole loaf of materialistic demands and bodily desires, that is the lure of the urban live. The night clears away those disturbances; we gain focus when darkness obliterated sight, reducing all existence to its essential. Only commanding a calm sense of ignorance, through sheer responsibility to the quest, silence could be found in daylight, with selfishness and irresponsibility required to overcome that momentous monster, social culture, a ‘they’ invisibly cajoling conformity, a slew of slogans of accepted goodness. Morality is borne from them, a form of coercion, to conform, to become, for the good of predictability and governance. Would we need morality when living in solitude and remoteness? Do we need morality when you are you. Or I am me. Would you think there is a need for morality in the social being of the ants and bees? Would you think that morality exists, or it is a mortal invention? And why all mortals think there is one, morality, and is it truth? What is creativity? Create, implies, new, leaping from the here and now to another landscape, non-conforming, difference, other than. And when creativity and morality collided, an immense nebular came into being, and when the nebular subsided, you rejoiced, like the nebular it too would subside.
With such monstrosity, with colorized lenses we could derive meaning and insight from behind each image we had taken. Exert values such as ‘to kill is to sin’ and we well up emotion of pity and a sense of injustice, from our righteous souls. ‘Wasp nibbling in mid-flight’ stirred the ocean of morality, jolted you. Imagine you were the spider. In that silence, death gripped you, you are as helpless as the spider, when face with the superior wasp, face with nature, face with fate, torn and tattered to the core, utterly helpless, if you are as omnipotent as god, you could right the wrong, but you, human, powerless, painful, is trapped, trapped within a body and an illusive heart. You need liberation. You need a way out of this unfairness. Why? Why some are borne to die a tragic death? All are borne to die. Why the privilege of one over the other? You see the pain and the painless. What if your death gives life and meaning to other souls? Indeed, a good deed in death, over a painless unworthy death, is preferred. Yet, it is still death. Death has to be worthy. Death has to be worthy. Death has to be worthy. It screamed in silence and determination. Death has to be worthy; life has to be worth living too. We latched on to its last defence, some are willing to die a worthy death, unwilling to believe otherwise, some see the futility of life, others see the futility of death, facing it squarely as the moment of returning to the source. All those thought are indeed a form of burden, death cannot be proven of its worthiness, all livings however they think and thought have to cease living at one moment or another when it come. Yes, nature’s fairness, the being of beings.
Calm down, take deep breath, long and slow.
Remove the veil of morality, remove questions, and return to the surface of the image. Draw towards the wasp, trace the wasp, from the eyes, amazing red, glittering, energy, radiant, vitality, the mouth, the thorax, the flapping wings, in unison, the legs, the constricted waist, the abdomen, the curve, the pointedness, the texture, the pattern, colour, the minuscule hairs. Complete beauty!!! Such wondrous miniature contains life, being and death. It is so small and yet so complete. Complete! Life in this being is.
The flapping of the wings in unison with the pull of the beaks, tearing the Cyclosa’s remaining cephalothorax away from its head, the Cyclosa in its death had offered itself up as nutrients to the wasp and its offspring. The cyclosa becomes the giver of live and sustenance so the wasp could live.
Facing death. a mangled piece, a head, an eye pops, the placid legs, red, torn, see it, go through every nuance of it. Fear and the urge to escape gripped us. Fix on it and see it as you would see the beauty of the wasp. In death we find liberation. Unite both within a single instance. Life, being and death. The being of the wasp is to feast on the spider. A completion, closure, calm and peaceful. Nature is. Is wonderful. Here we see a completion of nature’s work, again, in repetition -¬ birth, being and death.
Why is death liberating? Imagine you are the spider. Imagine that dying moment, as death grips you, it erases all that you had done, it erases your worthiness, it erases you. Fear, extreme fear, penetrates you deep, deep into your soul, and erases your soul, erases your being, to the point of total erasure. You scream. Scream out your soul. See it vanished. Your denial is futile. You feel that cold sweat and coldness shrivel up the spine.
In death, nothing else matter, desires, debt, hatred, anger, anxiety, joy, love and all emotions; all vanished. One is forgiven and one forgives. So imagine you are the spider, in that instance, liberated, one gave its life to another being, there is no foe, enemy, nor love, pure being, freeze in that moment, a singular moment. All is a pristine whiteness. Lost grips you, shaken, and arrive at a sense of immense liberation.
From that barren whiteness, a wasteland, life start a new, death nourishes beings and gives birth to another, more live flourish, another time, another day, another month, another year, in recurrence, in eternity. One sees its persistence and our futility of denial. It is an impossibility to phantom death, but we could phantom that death liberates. Life is a form of energy, transforming from one form into another.
The Cyclosa’s death, had also liberated those that could had been captured by the web that was spun by the Cyclosa. Now those smaller animals were given a chance to survive and mature; they have the wasp to thank. As one lay down their power, whether destructive or creative, it allows others to flourish and mature. Those that had risen would have to fall some days, the sage cautions, in high places, serve with humility and in low places, serve with pride. Did not Christ proclaimed he was your servant?
Today was my first instance of true paparazzism. It was actually quite fun yet dumb at the same time. A bunch camera people and reporters pushing pushing to get the right spot in front of Pamela Anderson as she unveiled PETA's new campaign against Canada's commercial seal slaughter with a guy dressed up as a big baby seal. I was asked to shoot it for SIPA Press. The rest of the photos can be viewed on the Sipa site.
This stereographic projection is concerned with the large, white sculpture on the right side of the image. Geometric Mouse was one of Claes Oldenburg’s early, large-scale works. The sculpture came in many sizes, from the very small, made out of cardboard to the very large, as in this instance. The reason the sculpture is called Geometric Mouse is not only because the work is essentially made of basic geometric shapes, but because mice tend to reproduce geometrically.
The Sculpture Garden is now quite different, as MoMA renovates itself frequently. I believe I made the initial fisheye shots for this image in 2010.
Of course, the inspiration for this work came from Walt Disney’s Mickey Mouse. Oldenburg was not alone among Pop Artists in using Mickey as fodder for their pop cannon. Wayne Thiebaud, Andy Warhol, and Keith Haring, and other artists not considered Pop, like Jean Dubuffet, Howard Finster, Peter Max, and Maurice Sendak all did their versions of the Mickey.
This picture is a 3D stereo image. To see the 3D, cross your eyes. Or, download the image to your smart phone, drop the smart phone into your phone-driven headset and enjoy. For the best results, use Oculus Go.
The Canadian War Museum is Canada's national museum of military history. Located in Ottawa, Ontario, the museum covers all facets of Canada's military past, from the first recorded instances of death by armed violence in Canadian history several hundred years ago to the country's most recent involvement in conflicts.
It includes major permanent exhibitions on wars that have been fought on Canadian soil, the total wars of the twentieth century, the Cold War and peace support operations abroad, and Canada's history of honouring and remembrance.
There is also an open storage area displaying large objects from the Museum's collection, from naval guns to tanks, from motorcycles to jet aircraft. The exhibits depict Canada's military past in its personal, national and international dimensions, with special emphasis on the human experience of war and the manner in which war has affected, and been affected by, Canadians' participation.
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
From left to right: partial view of Mirea Gibert, Jose Badosa, Teco's friend, Bill Rodwell, Teco, Joelma Batista, Branko, partial view of Mirea's and Jose's daughter.
When I told Teco about the 111 First Street Documentary Project, he graciously offered his collaboration, and I'll always thank him for that.
Teco, you came from very far away, all the way from Brazil to become a Skateboard Champion and to offer your presence for this documentary.
Now that you're no longer with us, may the Good Lord have you skating in Heaven. RIP
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
How incredibly true this is. Each thing has it's moment where you notice it or it shouts out, "Hey! Look At Me!".
Take this piece of ginger for instance.... I am an avid cook and have been cooking and creating in the kitchen since I was young, hanging around my dad in his kitchen longer than I can remember. He taught me so much about spices and herbs and the love of mingling flavours and aromas together. I love the smell, taste and almost prehistoric look of the ginger root. It is gnarled yet smooth to the touch, smells totally glorious, yet has only ever been, "just Ginger" to me, that gets picked up, peeled and sliced to release the scents of the exotic....well, until the other day that is, when I noticed a tiny bud appearing on the one edge. I have watched with eager fascination as it is has grown over this week into a beautiful green 'sword' of interleaved shapes and am dying to see what grows out of it. It never usually lasts long enough to grow anything at all.
I immediately thought of this gorgeous song by the velvet-voiced Art Garfunkel, "Everything Waits To Be Noticed", which comes off his album by the same title - it is the ninth solo album by him, with collaboration from singer-songwriters Maia Sharp and Buddy Mondlock. It is also his debut album as a songwriter.
www.youtube.com/watch?v=BGs9D3JwwqE
I first fell in love with his solo music back in the 80's (again :-D) when he released Scissors Cut
www.youtube.com/watch?v=YwVplMNpUtY
Scissors cut was his fifth solo album and released in August 1981. It was his second album to miss the US Billboard Top 40 and his second album containing no US Top 40 singles. It was this album that convinced Simon & Garfunkel to reunite for their famous 1981 Concert in Central Park. That is one concert I never tire of listening to or watching. I was 16 and remember watching it on the TV with my mum with much excitement. I have a DVD copy that my son bought for me a couple of years ago.
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
This is Calthorpe Park in Edgbaston.
It seems a bit run down - the paths need repairing for instance.
You can access it from the Pershore Road.
I heard that the original plinth of the Robert Peel statue (now outside Tally-Ho! further down Pershore Road), so headed to Calthorpe Park to get shots of it.
I hope that the Victorian Society can get the Peel statue and plinth restored and moved to the City Centre, like they managed with the Edward VII statue.
Currently the plinth has a bit of graffiti on it, and could to with restoration.
The L's in PEEL have the feet broken off them (so it looks like PEll).
The statue was inaugurated in August 1855 (probably in Congreve Street) by the then Mayor.
Peel was Prime Minister in 1834 - 35 (under William IV) and 1841 - 1846 (under Queen Victoria).
He created the concept of a modern police force while Home Secretary. It lead to officers being known as "bobbies" in England and "peelers" in Ireland.
He was Home Secretary in the 1820s where in 1829 he established the Metropolitan Police Force for London at Scotland Yard.
It has moved around the city many times. It originally stood in Congreve Street, then in 1873 it was moved to Council House Square (now Victoria Square). In 1926 a gas lamp knocked it off its pedestal which had been hit by a lorry, and was moved to Calthorpe Park. Since 1963, it has stood here on the Pershore Road outside the Police Training Centre.
Was the day after the big thaw, so leaves from the autumn can be seen again on the grass.
The statue stood at the top of New Street for 70 years, for sometime being surrounded by cast iron railings topped with ears of wheat (to commemorate Peel’s involvement in the Repeal of the Corn Laws). It was relocated to Calthorpe Park in 1925. Then in 1963 the statue was moved to be outside the Police Training College on the Pershore Road, Edgbaston, but without its plinth, which remains in Calthorpe Park.At long last the view is crystalising that the separation of the plinth and statue was unwise and placing outside the Police college is of no relevance, since his statue was erected to commemorate the Repeal of the Corn Laws and not for his involvement in setting up the Metropolitan Police. Suitable places in the city centre are to be looked at and the Society is to assist in this.
Above text from the Victorian Society April 2009 newsletter.
Here's the first instance of me spotting a Lincoln decker running on the 53, with 19300 arriving at the bus station on 4.5.21 in the rain. Double deckers are continuing to run on it (in fact looking at Bustimes right now I see a black-bib ALX400 on it, damn - wish I was out for that!) so I expect it is for extra capacity now more people are travelling again, but so they can maintain social distancing on board.
Decree of the Lords of the Council, at the instance of the college, ordaining letters of four forms to be issued against the occupiers of lands and houses indebted in payment of rents and dues to the chaplaincies, altarages and prebends of the city of Glasgow, and against the parishioners of Govan for the teinds and dues of that parish, with an exception in favour of the parishioners during the continuance of the tack granted to Archibald Betoun of the teinds of Govan, and another exception as to the Black Friars' Yards, in favour of John Graham. (1 November 1577)
(University of Glasgow Archive Services Ref: GUA BL/418)
The document is written in Scots on paper in a secretary hand. The first letter is ornamented. It bears the signature of James MacGill.
Image of back available here
Bibliography
Munimenta Alme Universitatis Glasguensis, Records of the University of Glasgow from its Foundation till 1727, ed. by Cosmo Innes (Glasgow : the Maitland Club, 1856), I, p. 114-116 (entry no 59).
Udaipur is a city, a municipal corporation and the administrative headquarters of the Udaipur district in the state of Rajasthan in western India. It is located 403 kilometres southwest of the state capital, Jaipur and 250 km northeast from Ahmedabad. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Sisodia clan of Rajputs ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after founding city of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent.
Udaipur is a very popular tourist destination. Apart from its history, culture, and scenic locations, it is also known for its Rajput-era palaces. The Lake Palace, for instance, covers an entire island in the Pichola Lake. Many of the palaces have been converted into luxury hotels. It is often called the "Venice of the East", and is also nicknamed the "Lake City" or "City of Lakes". Lake Pichola, Fateh Sagar Lake, Udai Sagar and Swaroop Sagar in this city are considered some of the most beautiful lakes in the state.
HISTORY
Udaipur was founded in 1559 by Maharana Udai Singh II as the final capital of the erstwhile Mewar kingdom, located in the fertile circular valley-"Girwa" to the southwest of Nagda, on the Banas River, the first capital of the Mewar kingdom. This area already had a thriving trading town of "Ayad" which had served as capital of Mewar for over 200 years and 17 rulers of Mewar had ruled from Ayad town of Girwa Valley (~10-12th centuries, Ruler #18-34), still earlier (4+1) Rawals ruled from Nagda; so the “Girwa” (& adjoining) valley was already well-known to Chittaud rulers who moved to it whenever the vulnerable tableland (Mesa)Chittaudgadh was threatened with enemy attacks. Maharana Udai Singh II, in the wake of 16th century emergence of artillery warfare decided to move his capital to a more secure location, importance of which he had realized during his exile at Kumbhalgadh. Ayad was flood-prone, hence he chose the ridge east of Pichola Lake to start his new capital city, where he came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and asked him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In November 1567, the Mughal emperor Akbar attacked & laid siege of the venerated fort of Chittor, which was reduced to one of the 84 forts of Mewar.
As the Mughal empire weakened, the Sisodia ranas, and later maharanas (also called the Guhilots or Suryavansh), who had always tried to oppose Mughal dominance, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence in spite of much pressure. The rajvansh of Udaipur was one of the oldest dynasties of the world. Maharana Mahendra Singh Mewar (the Royal Family of Udaipur),is the current symbolic ruler of the city.
GEOGRAPHY & CLIMATE
Udaipur is located at 24.525049°N 73.677116°E. It has an average elevation of 598.00 m. It is located in the southern region of Rajasthan and is close to Gujarat. It has five major lakes, which are under restoration with funds provided by the National Lake Conservation Plan (NLCP) of the Government of India:
Fateh Sagar Lake
Rangsagar Lake
Pichola Lake
Swaroopsagar Lake
Dudh Talai Lake
Udaisagar Lake
Udaipur's autumn / winter climate is the most appealing time to pay her a visit. Tourists arrive in numbers, anytime between mid-September to late March or early April. Even in January, the coldest month, the days are bright, sunny and warm with maximum temperature around 28.3 °C. Mornings, evenings and nights are cold with minimum temperature around 11.6 °C especially if there is a slight breeze in the air.
CITY PALACE
Standing on the east bank of Lake Pichola is a massive series of palaces built at different times from 1559. The balconies of the palace provide panoramic views of the "Jag Niwas" (the Lake Palace Hotel). They also have views of Jag Mandir on one side and the city of Udaipur on the other. Its main entrance is through the triple-arched gate - the Tripolia, built in 1725. The way now leads to a series of courtyards, overlapping parations, terraces, corridors and gardens. There is a Suraj Gokhda, where the maharanas of Mewar presented themselves in the times of trouble to the people to restore confidence. The Mor-chowk (Peacock courtyard), gets its name from the mosaics in glass decorating its walls. The chini chitrashala is noteworthy while a series of wall paintings of Krishna are on display in Bhim Vilas. There are numerous other palaces such as Dilkhush mahal, Sheesh mahal, Moti mahal and Krishna vilas - in memory of a princess of striking beauty who poisoned herself to avert a bloody battle for her hand by rival princes. Now the palace contains many antique articles, paintings, decorative furniture and utensils and attracts thousands of visitors every day. Celebration mall (Highest rated mall of Rajasthan) that is India's first and only Heritage mall, is now serving as a tourist attraction destination.
The former guesthouse of the city palace, Shiv Niwas Palace and the Fateh Prakash Palace have been converted into heritage hotels.
LAKE PALACE
The Lake Palace was built in 1743-1746. It is made of marble and is situated on Jag Niwas island in Lake Pichola. It was originally built as a royal summer palace, but is now a luxury 5 Star hotel, operating under the "Taj Hotels Resorts and Palaces" banner.
JAG MANDIR
Jag Mandir is another island in Lake Pichola which is known for its garden courtyard. Shah Jahan took refuge here while revolting against his father. There is a restaurant run by the HRH group of hotels.
MONSOON PALACE
Monsoon Palace also known as Sajjan Garh Palace The summer resort of the Maharajas is atop the hill overlooking all of the lakes. This palace had a way to collect rain water for consumption all year around.
Jagdish Temple
The Jagdish Temple is a large Hindu temple in the middle of Udaipur. It was built by Maharana Jagat Singh Ist in 1651 A.D. It is an example of Indo - Aryan architecture. This temple is a great example of architecture and art. The area is the main tourist place in the city. You can also find some special kind of things like rajasthani dress, paintings etc.
FATEH SAGAR LAKE
Fateh Sagar Lake is situated in the north of Lake Picholas. It was originally built by Maharana Jai Singh in the year 1678 AD, but later on reconstructed and extended by Maharana Fateh Singh after much destruction was caused by heavy rains. In 1993-1994, the water vanished from the lake, but in 2005-2006, the lake regained its water.
LAKE PICHOLA
Lake Pichola has two islands, Jag Niwas and the Jag Mandir. This lake is 4 km long and 3 km wide, originally built by Maharana Udai Singh II. There are many ghats, like the bathing and washing ghats, which can be approached through boats from the City Palace of Udaipur (Bansi Ghat). In the heart of the lake the Lake Palace stands, which is now converted into a heritage palace hotel. The lake remains fairly shallow even during heavy rains, and gets dry easily in times of severe drought.
SAHELION KI BARI
Sahelion ki Bari was laid for a group of forty-eight young women attendants who accompanied a princess to Udaipur as part of her dowry. The gardens set below the embankment of the Fatah Sagar Lake have lotus pools, marble pavilions and elephant-shaped fountains. These fountains are fed by the water of the lake gushing through ducts made for the purpose.
UDAIPUR IN POPULAR CULTURE
Udaipur is mentioned under the spelling Oodeypore in Rudyard Kipling's The Jungle Book as the birthplace of Bagheera, the fictional panther in the king's Menagerie.
Because of its picturesque and scenic locations, Udaipur has been the shooting location for many Hollywood and Bollywood movies. Indian sections of the James Bond film Octopussy were filmed in the city,[10] the Lake Palace, and the Monsoon Palace. The nearby desert was the backdrop of the remarkable rescue of Octopussy (Maud Adams) by Bond (Roger Moore). Some scenes from the British television series The Jewel in the Crown were filmed in Udaipur. The Disney channel film, The Cheetah Girls One World, was shot in Udaipur in January 2008. Additional non-Indian movies/TV serials filmed in Udaipur include: Darjeeling Limited, Opening Night, Heat and Dust, Indische Ring, Inside Octopussy, James Bond in India, Gandhi, and The Fall.
Some of the Bollywood movies shot here are Guide, Mera Saaya, Phool Bane Angaray, Kachche Dhaage, Mera Gaon Mera Desh, Jalmahal, Yaadein, Return of the thief of the bagdad, Eklavya: The Royal Guard, Dhamaal, Jis Desh Mei Ganga Rehta Hai, Chalo Ishq Ladaaye, Fiza, Gaddaar, Hum Hain Rahi Pyar Ke, Khuda Gawah, Kundan, Nandini, Saajan Ka Ghar,Yeh Jawaani Hai Deewani,Ramleela, In addition, many Bollywood films' songs were filmed in Udaipur. Udaipur is also the setting of Star Plus's hit serial Yeh Rishta Kya Kehlata Hai. TV serials Swayamber of Rakhi Sawant and Swayambar of Rahul Mahajan on NDTV Imagine also filmed here at Hotel Fatehgarh. A hit historical show by Contiloe Telefilms named "Maharana Pratap" on Sony is shooting in that place. The pop Star Shakira performed in a party on 15 November 2011 of real estate tycoon owner of DLF Kush Pal Singh.The Party was held in Jag Mandir Palace.
WIKIPEDIA
From 16 to 20 January 2012, the judges of Trial Chamber II of the International Criminal Court (ICC) visited Ituri, in the east of the Democratic Republic of the Congo. The Chamber, which is trying the case of The Prosecutor v. Germain Katanga and Mathieu Ngudjolo Chui, travelled to Bogoro, Aveba, Zumbe and Kambusto, visiting the scenes of the alleged crimes in this case and the home villages of the two accused and of a number of witnesses.
© ICC-CPI
Through the generosity of the webmaster of Evergreenfleet.com (who graciously provided more than a half dozen photos of the Kalakala's main engine room), I have now been able to complete *most* of the Kalakala's main engine room details.
There are still some incomplete areas. These incomplete areas are due to a lack of available views into a certain area and a lack of research material available. For instance, in the first rendering there are large copper pipes leading up to a series of large electric pump motors from under the engine room floor.
Since the last upload, I examined some of those photos and determined there were two large tanks there, with a central Y valve leading off of the main piping assembly from both tanks.
I've modeled this area as accurate as possible given technical research limitations.
Video of Rainey Reitman of EFF
www.youtube.com/watch?v=tEeU667tsfA
The Best of Cablegate: Instances Where Public Discourse Benefited from the Leaks by Rainey Reitman
www.eff.org/deeplinks/2011/01/cablegate-disclosures-have-...
Description of event
www.facebook.com/event.php?eid=178950392136750
"Since its release of about 2000 diplomatic cables (as of January 7th, 2011), Wikileaks has been subject to extraordinary pressures, seemingly at the behest of the US government. Amazon and EveryDNS have denied Wikileaks internet service and Visa, Mastercard, Paypal, and Bank of America have been prevented supporters from donating money to Wikileaks. This is despite the fact that Wikileaks has not even been charged with a crime.
Unfortunately, the situation has gotten even worse. The press has been spreading lies about Wikileaks. Mainstream media outlets do not appear to be doing even the most rudimentary fact-checking. The most blatant of these lies is the idea that Wikileaks has “indiscriminately dumped 250,000 cables on the internet”. This is flat-out false.
A few news organizations, including NPR and InformationWeek, have corrected this mistake, and NPR has even offered an apology. By contrast, most news organizations ranging from the AP to the Wall Street Journal continue to print this falsehood.
We call upon all news organizations to correct previous articles and statements, to issue apologies to their readers, and to take steps to prevent this mistake from occurring in any future articles and shows.
We will be protesting outside the TransAmerica pyramid, across from a San Francisco office of the New York Times, on Saturday, January 15th, at 4pm. On that day, we will be joining in protesting against the repression of Wikileaks with many others around the world, including Washington, DC, and several cities in Canada and Australia.
To counter the New York Times’s censorship of reality, we plan to publish the released cables on the walls of their building. In addition, participants will be provided cable printouts and markers and encouraged to throw down their artistic abilities by adding a graphic representation of their favorite cable to the Cablegate Coloring Book.
References:
[1] 8 Smears and Misconceptions About WikiLeaks Spread By the Media
www.alternet.org/story/149369/8_smears_and_misconceptions...
[2] NPR Fesses Up to WikiLeaks’ Coverage Blunder, Now It’s Everyone Else’s Turn
lippmannwouldroll.com/2010/12/28/npr-fesses-up-to-wikilea...
more wikileaks photos
Another instance of Heather's amazing ability to take silly photos. She claims this was a comfortable position.
The curious instance being that they weren't passengers. I'd heard about some training or route familiarisation trips being done on the Settle and Carlisle, and had seen a Class 37 briefly coming back from shopping, but today's trip, 0Z33 from Skipton to Carlisle Upperby depot, used a Class 40, supplied, I think, from Locomotive Services Ltd.
Whilst I was waiting for the locomotive to appear at the station, I noticed a couple of people, not in railway company uniform, waiting on the down platform. 'They'll have a long wait' I thought, as the next train to Carlisle wasn't due for another 90 minutes.
When the locomotive arrived it slowed down and stopped at the platform. The couple, a man and a woman, talked to the driver, and then got on board the locomotive. All very odd, but I imagine they had some official status.
[D3_02291]
In this design, a MoinMoin instance is used to maintain the site, and a simple Django application is used to render output.
A live demo can be found here: pydotorg.dyndns.org:8000/
The first recorded instance of movies being shown in Accrington was in 1902 when a travelling company called Edison Animated Picture Company hired the Town Hall to show a silent film.
The town's first permanent picture house was the Dowry Street Picture Palace. It opened in February 1910 in a former engineering works building and seated between 400 and 500 people.
It eventually closed in 1916, but the popularity of the cinema continued to grow. By 1950, there were six cinemas in and around Accrington town centre, as well as two in Oswaldtwistle, one in Church, two in Clayton-le-Moors, one in Rishton and two in Great Harwood. But the boom lasted only a decade. By 1960 four of Accrington's cinemas were closed.
Accrington's first purpose-built cinema was the Empire in Edgar Street, which opened its doors in April 1911.
Thanks Michelle McKenna MEN
I have had a few instances of my wash water hose falling out of my lo tech film washing tank (a 2liter bottle with the top cut off and 3 small holes drilled into the bottom of it) and coming back into the darkroom to find the film dying instead of washing. So I decided to build this. It will hold 2 120 reels or 4 35mm reels and they sit below the water line. Of course after I get it all done, I realize I could have done it different and had it not cost as much. Oh well. Tank 2 is in the process of being built. I can then daisy chain them and stagger my film washing. The"dirtier"film will go in the second tank and the first film's water won't be contaminated by the second film.
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)