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2016 Singing Belle doll with LE Belle's full outfit on (except for the petticoat). Low angle shot to show that she still has her original skirt under the LE Belle's gown. She is now wearing LE Belle's heels instead of her original flats.
Here are detailed photos of the singing Belle 16 inch doll swapping outfits with the 2010 Limited Edition Belle 17 inch doll. Since the skirt of the singing Belle is permanently attached to the doll, and I didn't want to cut it off the doll, I had to pass the LE gown over the skirt. Since the opening at the top of the dress wasn't very wide (just barely wider than the waist of LE Belle), it was very difficult putting the gown on the singing doll. It took more than 10 minutes, and I was afraid of busting a seam of the gown as I got closer to singing Belle's hips. But finally it was done. Then I found out that singing Belle's waist is considerably wider than LE Belle's waist, so the bodice didn't close up all the way at the waist. This is because of the size of the battery compartment on the singing doll. Since the singing doll's skirt was full length and very stiff, it was not necessary to use the LE Belle's petticoat to keep the gown full. I then put LE Belle's heels on singing Belle, and finally her gloves and rose. Singing Belle really looks like a LE doll with the gown and gloves, and in fact looks better in it than the original LE Belle.
Created for HonestReporting.com on April 19, 2012.
Please credit as "CC BY-SA HonestReporting.com" (without quote marks) and link back to this page for attribution.
Original appearance: The So-Called Jenin “Massacre”: The Media at its Worst
Original interactive feature: The Big Lies
Erika R. as Nightmare Before Christmas Sally in a cage. I'm not gonna lie, I don't remember the scene, but it's an amazing cosplay.
A distorted reflection of truth
ok, avevo dato un titolo diverso ma l'ho cambiato, ho ascoltato queste due canzoni di un gruppo che anni fa disprezzavo perchè giovane e cretino credevo troppo commerciale, stanotte 3-4-2011 per curiosità ho ascoltato queste due canzoni e mi sono accorto (buongiorno Teo!) che i testi sono spettacolari, rispecchiano perfettamente gli ultimi due anni e nove mesi della mia vita, e di quanto abbia sofferto a lasciare una ragazza che amavo alla follia e che invece mi ha quasi trascinato nella sua pazzia e ad oggi, capisco che lei nella sua pazzia, nei suoi dolori, nelle sue bugie ci sguazzava. Non penso al tempo sprecato, penso ad anni che mi hanno insegnato tante, forse troppe cose tutte insieme, anni che mi hanno quasi fatto perdere la fiducia nell'amore ed in tutti i valori in cui credevo. Preferisco sembrare uno stupido e soffrire piuttosto che velarmi di una maschera, mentire e sembrare la persona migliore del mondo, come volevi far vedere tu.
Quindi con tutto l'amore che ti ho dato, tutta la vita che ho bruciato per te, perchè volevo non soffrissi più , non pretendevo dimenticassi, ma con me cominciassi a rivivere. Te lo dicevano tutti, dalla tua famiglia allo psicologo, ai veri amici...non hai ascoltato nessuno, continua a soffrire, sei come la maschera qui sopra, bellissima fuori ma vuota dentro.
Quindi perdona lo sfogo, ma solennemente fottiti.
Ma ti prego, comincia a prenderti cura di te.
A BEAUTIFUL LIE
Lie awake in bed at night
And think about your life
Do you want to be different?
Try to let go of the truth
The battles of your youth
'Cause this is just a game
It's a beautiful lie
It's the perfect denial
Such a beautiful lie to believe in
So beautiful, beautiful it makes me
It's time to forget about the past
To wash away what happened last
Hide behind an empty face
Don't ask too much, just say
'Cause this is just a game
It's a beautiful lie
It's the perfect denial
Such a beautiful lie to believe in
So beautiful, beautiful it makes me
Everyone's looking at me
I'm running around in circles, baby
A quiet desperation's building higher
I've got to remember this is just a game
It's a beautiful lie
It's the perfect denial
Such a beautiful lie to believe in
So beautiful, beautiful it makes me
So beautiful, beautiful...
THE KILL
What if I wanted to break
Laugh it all off in your face
What would you do? (Oh, oh)
What if I fell to the floor
Couldn't take all this anymore
What would you do, do, do?
Come break me down
Bury me, bury me
I am finished with you
What if I wanted to fight
Beg for the rest of my life
What would you do?
You say you wanted more
What are you waiting for?
I'm not running from you (from you)
Come break me down
Bury me, bury me
I am finished with you
Look in my eyes
You're killing me, killing me
All I wanted was you
I tried to be someone else
But nothing seemed to change
I know now, this is who I really am inside.
Finally found myself
Fighting for a chance.
I know now, this is who I really am.
Ah, ah
Oh, oh
Ah, ah
Come break me down
Bury me, bury me
I am finished with you, you, you.
Look in my eyes
You're killing me, killing me
All I wanted was you
Come break me down (bury me, bury me)
Break me down (bury me, bury me)
Break me down (bury me, bury me)
(You say you wanted more)
What if I wanted to break...?
(What are you waiting for?)
Bury me, bury me
(I'm not running from you)
What if I
What if I
What if I
What if I
Bury me, bury me
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LOGIE-BUCHAN, a parish, in the district of Ellon, county of Aberdeen, 2 miles (E. by S.) from Ellon; containing 713 inhabitants.
The word Logie, expressive of a low-lying spot, was given to this place on account of its applicability to the tract in which the church is situated; while the affix is descriptive of the position of the parish in that part of the county called Buchan.
Logie-Buchan Parish Church is located on the southern slope of the River Ythan valley, in gently rolling countryside with small fields, rough grazing and enclosures of trees. There is a narrow trackway and footbridge across the river a short distance to the north. The church stands in a sloping graveyard, bounded by a rubble wall. The large former manse is positioned to the south and the church itself closed recently and a new use had not been found when it was visited (2012).
A church here was granted to Aberdeen Cathedral by David II in 1361, while the current church was built in the late 18th century with later additions and alterations.
Description (exterior)
The church is a small, simple building with little architectural detailing. It is aligned roughly east-west and has harled, rubble walls and a slate roof. There are narrow strips of granite stone around the windows and doors. The church is rectangular on plan, with a small, gabled porch and a lean-to vestry at the west end.
The east elevation has a hipped or piended roof rather than a gable. There are two rectangular windows with simple timber tracery and small panes of leaded glass. There has clearly been alterations carried out at this end of the church, shown by two blocked openings, a doorway and window, in the centre of the east elevation.
The north elevation of the church has four equally-spaced rectangular windows, each with simple tracery and latticed glazing. The opposite south elevation has two larger rectangular windows, towards the centre, again with tracery and latticed glazing.
The west end of the church has a small, gabled porch with a rectangular doorway on the south side, which is the main entrance into the church. There is a rectangular window in the west gable of this porch and a tall chimney rises from the apex, serving a fireplace in the small lean-to vestry extension to the north of the porch. The church has a tall gable at the west end, topped by an ashlar-built bellcote, which has a stone ball finial.
Description (interior)
Some of the fittings remain in the church but are likely to be removed if and when a new use is found for the church, which is no longer in use.
People / Organisations:
Name RoleDates Notes
William RuxtonRecast the interior 1912
Robert MaxwellMade the church bell1728
Events:
Church built on site of older church (1787)
Porch and vestry added to west (1891)
Interior recast (1912)
Logie-Buchan is separated on the east from the German Ocean by the parish of Slains, and is intersected by the river Ythan.
The river abounds with various kinds of trout, also with salmon, eels, lounders, and mussels; and pearls are still occasionally found.
It has a ferry opposite the parish church, where its breadth at low water is about sixty yards; and two boats are kept, one for general passengers, and the other, a larger boat, for the conveyance of the parishioners to church from the northern side.
A tradition has long prevailed that the largest pearl in the crown of Scotland was obtained in the Ythan; and it appears that, about the middle of the last century, £100 were paid by a London jeweller to gentleman in Aberdeen, for pearls found in the river.
Most of the inhabitants of the district are employed in agricultural pursuits, a small brick-work recently established being the only exception.
The great north road from Aberdeen passes through the parish, and the mail and other public coaches travel to and fro daily. On another road, leading to the shipping-port of Newburgh, the tenantry have a considerable traffic in grain, lime, and coal, the last procured from England, and being the chief fuel.
The river Ythan is navigable for lighters often or twelve tons' burthen at high water. The marketable produce of the parish is sent to Aberdeen. Logie- Buchan is ecclesiastically in the presbytery of Ellon, synod of Aberdeen, and in the patronage of Mr. Buchan.
The church was built in 1787, and contains 400 sittings.
Cemeteries - Presbyterian / Unitarian
Logie Buchan Parish Church, Logie-Buchan, Church of Scotland
The church of Logie-Buchan was dedicated to St Andrew.
St Andrew's Church was built in 1787 and has been much altered. It contains a 1728 bell.
Logie-Buchan (Aberdeen, Buchan). Also known as Logie Talargy, the church was granted by David II in 1361 to the common fund of the canons of Aberdeen cathedral, and this was confirmed to the uses of the canons by Alexander, bishop of Aberdeen in 1362, both parsonage and vicarage fruits being annexed while the cure was to become a vicarage pensionary.
Although possession was obtained by the dean and chapter, this was subsequently lost, and the church had to be re-annexed in 1437, the previous arrangement being adhered to, with both parsonage and vicarage remaining annexed.
St Andrew's Kirk, 1787. Undistinguished externally, porch 1891, inside original ceiling with Adam-like centrepiece and two-light Gothic windows, part of 1912 recasting, William Buxton. Pulpit was originally in the centre of the N wall with a horseshoe gallery bearing the Buchan coat of arms (George Reid, Peterhead, carver). Monuments to Thomas (d. 1819) and Robert (d. 1825) Buchan.
Bell, 1728, Robert Maxwell. Church bought by Captain David Buchan to ensure access and survival.
Kirkyard: plain ashlar gatepiers and rubble walls; some table tombs.
Captured as the clouds rolled in, while snowshoeing in the backcountry of Grand Teton National Park (this was taken off trail, somewhere northwest of and above Taggart Lake, the peak near the center of the frame is Buck Mountain).
Scanning a field with binoculars, I spotted this hare out in the middle. Using the cover of a patch of chicory, I was able to approach more closely. Lying motionless in its form, it seemed impervious to the steady drizzle. I watched for about 30 minutes and then crept away, leaving it to wait out the rain.
Deze stadswoning aan de Lisperstraat in Lier dateert uit het derde kwart van de 18de eeuw. In 1980 werd het huis beschermd als monument.
Foto: Tijl Vereenooghe
THE LIE MACHINE (2014)
Suitcase, computer, speaker, Voice Stress Analysis software, autobiographical read-by-the author audiobooks (Palin, Obama, Clinton, Bush)
Voice Stress Analysis (VSA) is a highly contested and controversial lie detection technology. Through the detection of variations in the microtremors of speech, truthfulness is evaluated through analysis of live or recorded voice. As a result, the technique can be applied surreptitiously, even posthumously, to the vast storehouses of spoken audio available.
The Lie Machine processes recorded audio with standard Voice Stress Analysis algorithms. The archive chosen for this analysis is a set of audiobook autobiographies, each read by its author: Decision Points by George W. Bush, Going Rogue: An American Life by Sarah Palin, A Journey: My Political Life by Tony Blair, My Life by Bill Clinton, The Audacity of Hope: Thoughts on Reclaiming the American Dream by Barack Obama.
The title, “The Lie Machine” is taken from a 1973 Playboy Magazine article by Craig Vetter of the same name, on the subject of the Psychological Stress Evaluator (PSE). The PSE was the first commercially available VSA-based instrument, “designed to fit into a Samsonite briefcase.” The algorithm gained notoriety recently in the U.S. trial of George Zimmerman for the charge of the second-degree murder of Trayvon Martin, where Zimmerman was cleared of the charges based partly on his successful passing of a CVSA test (Computer Voice Stress Analysis).
“We are not concerned with the guilt or innocence of a suspect, only in whether or not he seems to be lying. He’s either D.I. or N.D.I. -- deception indicated or no deception indicated.” (Playboy, 1973)
The project was produced and supported by LEAP Berlin. Many thanks to John McKiernan, Daniel Franke at LEAP, as well as Samo Tadin and Tuk Bredsdorff in Copenhagen, for their interests, generosity and contributions.
Opening: Friday 04.4.2014, 19:00
Exhibition:05.04.2014 – 26.04.2014, 12:00 – 18:00 Tuesday-Saturday
Participating Artists:
Jamie Allen, James Auger and Jimmy Loizeau, Ralf Baecker, Rosemary Lee, Sascha Pohflepp and Chris Woebken, Addie Wagenknecht
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The group exhibition Obsessive Sensing features works which as their basis look at the programming of the world as an expression of artistic research. The participating artists aim to ‘’sense’’ with the help of complex systems and thus to reimagine how we perceive the world. How do we go about sensing that which we cannot perceive? This is reflected in the idea of technical images, as described by Vilém Flusser – the preparation of the information which we cannot perceive for our senses. ‘’This can be achieved neither with hands nor with eyes nor with fingers, for these elements are neither graspable, nor are they visible. For this reason, apparatuses must be developed that grasp the ungraspable, visualize the invisible, and conceptualize the inconceivable.’’ (Vilém Flusser, Into the Universe of Technical Images)
(Photos by LEAP)