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Continuing my seasonal series Visiting Wellesley Park... depicting a small but charming park located in Cabbagetown area here in Toronto.
And here is October update on this perfect maple in the park. Most of the trees still seem to be holding on their green dresses... so I had to choice but cast some Autumn magic spells and bring some golden touch into the scene :-)
November impressions from Wellesley Park are coming - stay tuned / bientot a l'ecran!
Given the short notice, it’s difficult for the League to muster everyone to the call, but eventually the League manages to assemble in Gotham. What catches all six of them off guard though is the reason I called them in. They all expected that I was hoping to use them to oppose Ra’s and his forces. It is a logical conclusion, but that’s not what I called upon them for.
They’re crowd control.
Given West’s reluctance to Jim’s warnings, the GCPD is unprepared for leading the evacuation of the city. So if it’s going to be successful we need more than just the police. We need the Justice League.
Superman: Bruce, I really think we have more pressing issues than crowd control given the threat made against Gotham.
Flash: Especially given the escalation caused by the deployment of the national guard. How long before they get here, Vic?
Cyborg: Last reports had the estimated time of arrival at just under two hours.
Superman: Not a huge window to evacuate a whole city.
Flash: Worried you’re too slow, Clark?
Superman: Just because you got lucky during our last race Barry, doesn’t mean you’ll get lucky again.
Flash: Is that a challenge?
Aquaman: Stop it, both of you. We don’t have time to indulge in your rivalry.
Green Lantern: It’s always a weird day when I agree with Arthur.
Wonder Woman: Perhaps a more reasonable strategy would be to anticipate where this Ra’s Al-Ghul will make his first move from, so we can halt this assault with a preemptive strike.
Aquaman: Diana does raise a valid point. Severing the head of this beast before it has a chance to take root would be the best course of action.
Flash: Not to mention it sounds like an easier job.
Green Lantern: Not up to the challenge, Barry?
Flash: What? No, I was just pointing out that it’d be a damn sight easier taking on a small unprepared army than it would be evacuating a whole city.
Cyborg: Not to mention it would avoid us potentially overstraining the Watchtower’s systems in the process.
Inevitably, they all come to the same conclusion. My decision is the foolish decision. Understandable given the circumstances.
On any other day, I’d be obliged to agree.
Why make more of a challenge for yourself when you can end a problem when it’s only in its infancy?
Thankfully, I have an appropriate answer to that question.
Batman: No. We press ahead in leading the evacuation of the city.
Green Lantern: I thought he was the supposed smart one here? Even I can tell you that’s the wrong move to make.
Batman: Usually yes, it would be. We’ve faced countless villains with ambitions of taking lives on a large scale. But in this case, we’re facing something different. This is a man who knows full well his capabilities as well as those of his opponents. If he suspects your involvement, he’ll go to ground again. Or worse still, he’ll have ways to combat you all.
Superman: We can take him.
Green Lantern: We’re the Justice League. We can take anyone.
Cyborg: Don’t tempt it. You know how well things work out when you say something like that.
Flash: Especially after that mess with Hades.
Wonder Woman: You mean Ares.
Aquaman: Not to mention Amazo.
Superman: Guys, this isn’t the time.
It’s funny really. Clark was always one of the most reluctant members to join the League following the conclusion of the Star incident, and yet to the public he’s the one who leads us. The reality of the situation couldn’t be further from the truth. There is no leader of the Justice League. At least, not one that the seven of us are aware of.
Some would say that’s crazy, for a team with such diverse abilities as ours you’d need some form of a command chain to stop the clashing of egos. It’s a valid point. But probably the main thing that’s kept the Justice League together for so long is its flexible command structure. Given the diversity of problems we encounter, it makes perfect sense why the structure would change accordingly. After all, someone such as Diana and Arthur are more adept at combating magic users than Barry and I. Just as Clark and Hal are more experienced in combating threats from space.
But every once in a while, one of us has to take charge and usually, whether he likes it or not, that’s Clark. Well….when it’s not me that is.
Batman: Thanks Clark. Look. This fight isn’t your fight. It’s my fight. Ra’s hasn’t come all this way for the Justice League, he came here for Bruce Wayne, and that’s exactly what I intend to give him.
Wonder Woman: You can’t fight him alone, Bruce. As you said, he has an army of followers at his command.
Batman: So do I.
Flash: A few birds don’t really count as an army Bruce.
Green Lantern: No matter who trained them.
Batman: Who says that’s all I have?
Wonder Woman: Sounds like you’ve been busy.
Cyborg: When you’ve actually stepped out of your cave that is.
Eventually, they relent and agree to focus on safely evacuating people from the city. It’s clear as day that they’re not content with this, hoping instead to do more as is there, I couldn’t be more honoured to call them my friends. But they cannot be a part of this. This my battle, and mine alone.
I’ve known it was coming for years. I didn’t know when, I didn’t know how. But I knew what, and that gives me an unusual advantage.
Often warring armies would rely upon the genius of their generals to lead them to victory. A similar situation is now presenting itself here between Ra’s and myself. The sole difference? We’re aware of each other’s methods to some degree or another. So then the question becomes what separates my tactics from his? The answer to that question is simple.
Home field advantage.
Not to mention the fact that whilst Ra’s’ tactics are unlikely to have changed given how he’s spent hundreds of years refining them, mine have evolved. Where Ra’s will rely on the Lazarus Pit’s restorative powers to keep him in prime physical condition, I shall be relying on the arsenal I carry in my belt, as well as the blade Hephaestus forged for me. I had also hoped to be able to use the sample of Lucifer I tasked Jason with retrieving, but it appears he won’t be back before Ra’s gets here, assuming he’s still alive. I hope he’s alright.
But I can’t worry about him right now.
The battle ahead will be difficult, and it needs my full attention. They’re counting on me. They need me, and I need them.
I can’t guarantee that any of us walk away from this unscathed.
I can’t even guarantee if anyone of us will walk away alive
As I active the war room protocol for my office, I walk outside to greet the team. To my surprise, there are two extras I didn’t expect. A man and a woman. The woman appears familiar for some reason.
It’s not until I look at the man that I realise why she seems familiar to me.
Batman: Jason?
It’s at that moment that it all becomes clear to me.
Whilst the odds are not in our favour, we have one advantage that Ra’s does not.
His army are simply soldiers. Loyalists. Servants.
Mine are family, and we will do anything to help one another.
Some come with all that you can muster, Ra’s.
Your fight isn’t just with me.
Your fight is with us.
All of us.
An intimidating sight to most inhabitants of the icy mountains, Jarlin uses his un-dwarfish size to bully travellers into giving him food and coin or 'risk the consequences'. The fact that nobody has yet stood up to him is not surprising, but there IS a logical reason why he's exactly twice as high as any other dwarf from around the region.
Built for CCCXIII - Custom Castle Figure.
The beautiful watch of the Wonder Week! The new Romain Gauthier Logical One, the most avanced Chaine-Fusée ever build! www.watchonista.com/2914/watchonista-blog/watchographer/r...
There must be a logical reason for this sort of ridiculous behavior ...... but I just can't think what it is!
As the Leicestershire rain hammers down, GBRf's 66784 'Keighley & Worth Valley Railway 50th Anniversary 1968 - 2018' swims through Barkby Thorpe in charge of 4L13, the 11.11 intermodal from Hams Hall to Felixstowe North.
London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.
The mapping of the listed building does not reflect the full extent of its below-ground footprint.
Reasons for Designation
124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:
Architectural interest:
* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.
Historic interest:
* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.
History
124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.
The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.
RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.
Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).
The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.
124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.
Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.
Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.
Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.
Details
Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.
MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.
PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.
Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.
EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.
The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.
The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.
INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.
Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.
The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.
The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.
The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.
* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.
It is fun, convenient and versatile.
owner since 2/2019
Type
Compact digital still camera with built-in flash, 65x Optical, 4x Digital and 260x Combined Zoom with Optical Image Stabilizer
21mm - 1365 mm - 5460 mm
608g. 127 x 91 x 117 mm - 21-1365mm - Fully Articulated Screen
Considering the SX70 HS is such a feature-packed camera, its control layout is fairly simple and logical.
Construction
15 elements in 11 groups (3 UD lenses, 1 double-sided aspherical lens)
10.0fps Fast Continuous Shooting
You can shoot at maximum resolution of 5184 x 3888 pixels with aspect ratios of 1:1, 4:3, 3:2 and 16:9.
SWEEP PANORAMA
Allows you to create a single panoramic image from multiple images shot while panning the camera.
You can turn the control dial * on the shooting screen to select the shooting direction
2360k dot Viewfinder Resolution
Both RAW Shooting, Full RAW or Compact RAW,( CR2, CR3)
- plus ALO preset (Standard, medium, strong) or off.
4K - 3840 x 2160 Max Video Resolution
Tele: F 6.50 at 1365 mm
Remote control with a smartphone
-
All-in-one with the looks of a DSLR and the weight and flexibility of a fixed-lens camera. Capture everything from distant details to macro shots without lens changes.
Bridges are, by their nature, versatile ‘everyman’ cameras.
Its snappy 65x zoom make it ultra convenient.
The SX70HS also boasts the latest image processor, the DIGIC 8 – the very same chip that powers the EOS R.
Still, the 35mm equivalent focal range of 21-1365mm (with a variable aperture of f/3.4-6.5) is an obvious highlight of the camera.
This camera is a great travel camera and performs exceedingly well for what it is designed to do.
How a Point-and-Shoot Became
My New Best Friend
Canon PowerShot SX70 HS Digital Camera Deluxe Kit.
I too believe the introductory price to be fair and reasonable.
Comprising the essentials needed to begin shooting, the Canon PowerShot SX70 HS
Digital Camera Deluxe Kit from xxx bundles the long-zoom point-and-shoot with a fast memory card, a spare rechargeable lithium-ion battery, and a camera bag
plus
Filter Circular 67mm and Canon SX Filter- Adapter.
FA-DC67A Filteradapter.
Home
www.canon.co.uk/cameras/powershot-sx70-hs/
Capture special moments in stunning style with the PowerShot SX70 HS, the top of Canon’s bridge range, with DSLR looks and latest tech.
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Photography /
Digital Cameras /
Point & Shoot Cameras /
Canon PowerShot SX70 HS
Canon PowerShot SX70 HS Digital Camera
Characterized by its impressive reach, the PowerShot SX70 HS from Canon is a flexible point-and-shoot offering high-resolution imaging and a wide-ranging 65x zoom lens. The 20.3MP CMOS sensor pairs with the DIGIC 8 image processor to afford stills shooting at up to 10 fps for working with moving subjects, and also enables recording UHD 4K video content as well as producing 4K time-lapse movies. For working in a variety of shooting situations, the 65x optical zoom covers a wide-angle to super-telephoto focal length range, and is complemented by five stop-effective image stabilization to minimize the appearance of camera shake for sharper handheld shooting. Benefitting the imaging capabilities, this camera also incorporates a 2.36m-dot OLED electronic viewfinder for clear eye-level shooting and built-in Wi-Fi and Bluetooth permit seamless wireless control and sharing capabilities.
20.3MP CMOS Sensor and DIGIC 8 Image Processor A 20.3MP CMOS sensor pairs with the DIGIC 8 image processor to realize notable image quality and speed to permit stills shooting at up to 10 fps, UHD 4K video recording, and in-camera 4K time-lapse movie creation. Together, the sensor and processor also produce clean image quality and enhanced sensitivity with minimal noise for working in difficult lighting conditions. 65x Zoom Lens and Image Stabilization An expansive 65x optical zoom lens offers a wide-angle to super telephoto 21-1365mm equivalent focal length range to suit working with a wide variety of subjects. This extensive reach is complemented by a versatile image stabilization system that minimizes the appearance of camera shake by up to five stops. Body Design and Wireless Connectivity A 2.36m-dot OLED electronic viewfinder is available as a clear and bright means for eye-level monitoring.
Built-in Wi-Fi allows you to wirelessly share your photos and movies with a linked smartphone or tablet as well as remotely control the camera from the mobile device by using the Camera Connect app.
Mobile devices can also connect to the camera using Bluetooth for remotely adjusting settings and gaining a live view image from your smartphone or tablet. Bluetooth connectivity also allows you to use your smartphone's location data to geotag your photos, and the date can also be stamped on your imagery for easy reference.
Other Camera Features Zoom Framing Assist automatically zooms in or out to keep a subject within the frame and in focus when using longer focal lengths.
PS
only in Standard PicStyle
the cam's UI
offers sliders for
Sharpness - (includes NR) 0 -7
Contrast, +/-2
Saturation +/-2
and
Color Tone (color of human skin). +/-2
and free Color space! Option
WB - White Blance
A1, M1
4.0,0,0 - normal NR
Eagle1effi:
suggest
6,1,2,-2
plus ALO high
or FD fine Detail , sunny
7,2,2,-2 - but lowest NR, noise reduction
plus ALO (Standard, medium, strong)
or off for best Details!
By the 1960s, this pre-war Horch had become something of a rarity. Even so, with his typical ‘finder’s luck’ Ghislain Mahy managed to acquire three: two type 780s, of which only 303 were built, and one Horch 853, of which 950 were made between 1936 and the start of the Second World War. After the war, the Horch factory in Zwickau was on the eastern side of the Iron Curtain and was converted to production of the less impressive Trabant.
Mahy’s Horch 853 was first bought in 1937 by the Austrian actor Willi Forst. Forst’s starring roles in melodramatic box-office hits made him hugely popular with the public and brought him to the attention of the Nazis, who saw him as a useful propaganda tool. Like his co-star, Marlene Dietrich, he was able to resist their blandishments, but as a result he soon found himself out of favour with the regime – and out of work. His cabriolet with its fine leather seats passed into military hands and saw service in occupied Belgium, where it was abandoned in a barn when the Germans withdrew in 1944. By the time Mahy tracked it down some two decades later, it was on the point of being sent to the scrapyard.
Or tracked down its body, at least. Its original giant 4.9 liter engine had been replaced by a much smaller Standard, which swam in the oceans of space under the bonnet. This was far more economical to run than the huge straight 8 that had once needed 22 litres of petrol per 100 kilometres to give this powerful cabriolet its speed. Not long after the 853 was installed at the Winter Circus, Mahy was asked if he would be prepared to parade the car through the streets of Ghent to promote The Longest Day, a star-studded film about the Allied invasion of Normandy in 1944. Ghislain had been given a bit-part as the driver of the German Field Marshal Erwin Rommel, played by Werner Hinz. In the film, Mahy drove Rommel home in the Horch 780 to celebrate his wife’s birthday, not knowing it was the eve of D-Day. Using the same Horch to drum up interest for the film seemed like a logical choice. But the stubborn Mahy, having just manoeuvred the car into its new position in the garage, was unwilling to manoeuvre it out again. As a result, he rode in the parade with his Horch 853, cruising the 2.5 ton German giant through the streets at a snail’s pace. The tiny Standard engine just couldn’t go any faster!
4.955 cc
8 In-line
120 hp
Mahy - a Family of Cars
09/09/2021 - 31/10/2021
Vynckier Site
Nieuwevaart 51-53
Gent
Belgium
For the Battle Beasts group July challenge: WATER OX and FIRE LARK.
Ox based on a musk ox. The lark's head gave me heaps of trouble; what you see is version #29! Everything I tried looked like an ostrich, camel, duck, goose-anything but a simple lark. He nearly got pimped with huge flame wings, inspired as a was by Uspez's Luminous Lark.
So get in on the fun whydon'tcha?!
A friend who, at the time, had four young children and a husband who had just lost his job, was finding money to be very tight. So tight that each week she put all the bills in a hat and paid the one that she pulled out. One day she went shopping and came home having bought a very expensive and luxurious leather three piece suite. When I asked how she could afford such a luxury this was her reply.
Today the We're Here group members are paying a visit to the Someone Once Told Me group.
Someone Once Told Me is a website that displays black and white images of people who hold up a sketchbook, on which they have written something that someone has told them.
A new picture is displayed every day, with the previous ones going into a gallery. People can submit their own SOTM images through the site, so if you feel like having a go yourself then please do send your photograph in.
Here's the link to the website.
pure mathematics is, in its way, the poetry of logical ideas. [Einstein]
the key to the apprehending (birthing) beauty gains momentum paintdrop by paintdrop, worddrop by worddrop, numberdrop by numberdrop... let the top of your head blow off and dare to see the splendour of chaos....
my textures
Supertramp / Breakfast in America
Side one:
- "Gone Hollywood" (Rick Davies) - 5:19
-"The Logical Song" (Roger Hodgson) - 4:07
- "Goodbye Stranger"(Rick Davies) - 5:46
- "Breakfast in America" (Rick Davies) - 2:37
- "Oh Darling" (Rick Davies) - 3: 43
Side two:
- "Take the Long Way Home" (Roger Hodgson) - 5:08
- "Lord Is It Mine" (Roger Hodgson) - 4:08
- "Just Another Nervous Wreck" (Rick Davies) - 4:22
- "Casual Conversations" (Rick Davies) - 2:56
- "Child of Vision" (Roger Hodgson) - 7:24
Rick Davies – vocals, piano, Hammond organ, Wurlitzer electric piano, Harpsichord, harmonica, wah-wah clavinet
Roger Hodgson - vocals, electric guitar , acoustic 12-string guitar, piano, Wurlitzer electric piano, pump organ
John Helliwell – saxophones, clarinets, siren whistle
Dougie Thomson – bass
Bob Siebenberg (credited as Bob C. Benberg) – drums, percussion
Slyde Hyde – tuba and trombone
Gary Mielke – Oberheim programming
Studio: The Village Recorder (Studio B) in Los Angeles (May–December 1978)
sleeve design: Mike Doud (art direction, cover art concept, artwork); Mick Haggerty (art direction, cover design)
Label: A&M Records / 1979
ex Vinyl-Collection MTP
I am using D3 with :
Nikon Nikkor 35mm f/2 AI-s
www.kenrockwell.com/nikon/35f20ais.htm
Location: Barcelona Paseo Marítimo de la Barceloneta
www.barcelona.cat/es/coneixbcn/pics/la-vila-olimpica_9940...
The Logical Song- Supertramp-
Rhythm of Line
In Early period Jaisini has more meaning manipulation creating concept of visual line’s enclosure in unison with logical line.
Movement in the space and constructed thinking process together seem to come to a deceptive simplicity of continuous line.
In reality the artist works in complicated manner of multiple approaches that has multi personalities united in one through a fight.
Was line predetermined in her movement?
But it is technically immediate, imaginative, and not prepared.
In accordance to the artist’s own assumptions, his line matures in his mind for long period of time before he could release it on the canvas together with the painting’s unique plot.
The plot of the picture’s characters usually serves purpose of mixing the originality of beauty with simple decorative purpose of line interlacing and sometimes it brings images in most unexpected connections, mixing such themes as classical music with semi erotic depictions where aesthetic flare of creative fertilization is deeply connected to erotic display of mastery, a dialectical incentive of creation.
Mixtures of refine eroticism and ultimately conservative in appearance subject of classical musicians brings the theme to unexpected prominence.
In paintings subject is not ever explicit or hidden too deeply between the lines to be hypocritically implied, to the opposite the artist sets his ideas in perfect harmony.
Jaisini tends to perfect all angles of his creation to the level of condition with constant curiosity about his art.
If you had learned the meaning you would start to see more of its visual technique.
Then it could start to change the meaning.
The process of growing together with Jaisini’s artworks is unlimited.
Just when you thought that you have grasped the capricious creation it starts to run away from you again.
And this is exactly what Jaisini stage in his art, the game that never ends and develops into new game.
Music is a particularly relevant aspect of Jaisini’s inspiration as a part of the artist’s daily life.
The connection of art images and subjects is not straightforward but still in many ways is connected to music sensitivity.
The immediate execution of Show Must Go On with the soundtrack of a song gave an impulse to conceive a concept of creation and destruction in the unusual visual image.
The conjunction of self-destructive meaning of true creativity and moment of elation often turns dreadfully in artist’s personal situation.
Jaisini’s paintings reveal a general tendency observed in almost every component of style he uses, the self-conscious rhythm of line that could be just as expressive as musical rhythm.
Rhythm has importance applied to musical composition but not to cacophonic sounds.
Same with the line with meaningful rhythm applied to significant composition.
The rule of content in Jaisini’s art is not the final.
The artist creates content to make see the form and reduce content in a process.
Content could be associated with human attributes.
For Jaisini content is a tool to express in art evolution of mind returning to beginning when line was a primary definition of childishness and purity.
The overall process of formalization of this line takes many stages but is rewarding as never before.
A style is new in its complexity mastering graphical with visual, logical with emotional and communicative ability.
Jaisini uses dialogue as a conveyor of meaning through lines it contain as in theatrical performance but following artistic tendency to train the viewer’s eye to enjoy color, tone, plasticity of line, composition with development of all the elements of painting to the point of great significance to add complexity to the context, to highlight visual with textual and otherwise.
The created web of signification and intertextual references is even more complex then artist might think in beginning of his work.
With development of his style Jaisini had realized the further complexity to stage a painting as a play.
The idea in his pictures can’t be controlled but is in the middle of a meaning’s vortex some of which is external and allows endless interpretation as if it was musical.