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GB Railfreight (GBRf) has acquired sixteen class 56 locomotives from UK Rail Leasing Ltd (UKRL), along with a number of spares and materials.
The purchase, which includes a mixture of both serviceable and stored, non-operational ‘donor’ locomotives, is a result of the continued growth in the railway services that GBRf provide. The company could not confirm nor deny any prospective plans for re-engineering the locomotives at this stage, as this is still subject to the final contract. However, it has stated that some of the locos will be moved from Leicester to various locations across the UK for further storage pending the option of re-engineering, whilst a small number could remain at Leicester and returned to service as ‘standard’ class 56s.
Some of the sixteen locomotives are seen at EMD Longport near Stoke-on-Trent.
Lovely cucumber and spring onions become the focal point of this picture. Salad vegetables have been a main ingredient of my life since our practice nurse suggested I lost weight to help my health. Today was a milestone for me as after 31 month I reached my target loosing 64lbs in the period. It has been an uphill battle at time but as one incredibly famous cartoon character would say, “Never give up, never surrender.”
Thank you all that has been involved in this process and especially the NHs who set me on this path.
As for the picture it was photographed in Salisbury Square Hertford of the vegetable stall there weekly Friday & Saturday market days.
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THE PICTURES ARE FOR SALE
• Abbiamo conosciuto quattro donne partigiane nel territorio riminese,
• tutte con esperienze diverse,
• tutte con provenienze geografiche e socio culturali differenti,
• tutte con vissuti femminili che si distinguono con forza per il proprio carattere.
• ci hanno raccontato la loro esperienza, le loro emozioni.
• le abbiamo intervistate e fotografate.
• E' da poco tempo che si riesce a far emergere il contributo delle donne nella lotta partigiana.
•Sono spezzoni di vita di lotta partigiana, di quelle donne che con forza hanno aperto la strada al cambiamento della DONNA.
NERA NERI
•FACEVA LA STAFFETTA.
L’INCARICO CHE LE ERA STATO AFFIDATO ERA QUELLO DI “PORTARE ARMI E OPUSCOLI”.
• TRASPORTAVA LE ARMI IN UNA VALIGIA, NASCOSTE E COPERTE CON I PANNI. IL SUO TRAGITTO ERA DA SANTARCANGELO A CASALE, A PIEDI.
15-06-2014 h. 20.50
Els Gegants de Les Preses –promocionats pel Centre Cultural i realitzats amb la participació econòmica i material dels veïns presencs i de diverses entitats del poble– foren creats per l'escultor Pere Sala, mentre que la direcció artística la realitzà Miquel Duran des del Centre Cultural.
Es van estrenar el dia 13 d'octubre de 1996 i van ser apadrinats pels Gegants de Vilobí d'Onyar i els de Les Planes d'Hostoles. El Gegant (Elionardis) fa 3'85 metres d'alçada i pesa 66 kg, mentre que la Geganta (Ricarda) en fa 3'63 i pesa 63 kg. Segons l'estudiós de la història local Mn. Joan Pagès i Pons, els noms d'Elionardis i Ricarda corresponen als noms de dos personatges històrics de l'època medieval, que estan lligats amb la història local i amb la noblesa del segle x.
Festa Major de Les Preses ( La Vall d'en Bas - La Garrotxa) CAT.
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Elionardis and Ricarda.
The Giants of Les Preses –promoted by the Cultural Center and made with the economic and material participation of the residents and various entities of the town– were created by the sculptor Pere Sala, while the artistic direction was made by Miquel Duran from the Cultural Center .
They premiered on October 13, 1996 and were sponsored by the Gegants de Vilobí d'Onyar and Les Planes d'Hostoles. The Giant (Elionardis) is 3.85 meters tall and weighs 66 kg, while the Giant (Ricarda) is 3.63 meters tall and weighs 63 kg. According to the local history scholar Mn. Joan Pagès i Pons, the names of Elionardis and Ricarda correspond to the names of two historical figures from the medieval period, who are linked to local history and the nobility of the tenth century.
Festa Major de Les Preses (La Vall d'en Bas - La Garrotxa) CAT.
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Taulers laterals
Un día como cualquier otro de agosto decidí ir a pasar la mañana a Castellbisbal.
Bien, comencé la mañana con el Ermewa, seguido fue el Químico de Abroñigal y Plaza.
Pasados unos minutos la señal de la vía 4 cambió su aspecto de parada a anuncio de precaución con una "R" en la alfanumérica que significa que el itinerario está hecho para ir a Rubí.
A los pocos minutos vi una 253, de vista parecía de Renfe Mercancías, pero al acercarse vi que pertenecía a AMF.La sorpresa fue que iba aislada, cuando no suelen hacerlo.
Según la información de un amigo, estaban de rotación cambiando a la 253.004 por la 253.003.
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253.003 Vicálvaro-Portbou/Cerbere.
material girl magazine autumn 2011. I shot the editorial with beautiful helen from md-management www.materialgirl-mag.com/
styling by christiane schwambach
necklace by the vamoose
In March 1943, about 1,000 international people living in Shanghai were interned in Chapei Civil Assembly Centre by the Japanese. As the war progressed, food rations became smaller and less varied. Many people living in the camp were helped by people living in Shanghai from countries which were neutral during WWII, like Sweden. Also Chinese employees from foreign companies sent their former colleagues food.
This photo shows a label of such a food aid package, sent by the Swedish family Asker, to the Dutch family Hennus. Mr. C.G.C. Asker worked for the Maritime Customs Service of China (as per Records of the Maritime Customs Service of China 1854 –1949 Part Three: Semi-Official Correspondence from Selected Ports by Professor Robert Bickers, University of Bristol).
The text reads:
"DONOR: Mr C G C Asker, Swedish ...
1300 Rue Lafayette
CONTENTS:
Milk powder, 12 ozs
Jam, 1 tin 12 ozs
Sugar, 2 lbs
Margarine 1 lb
Peanuts 2 lbs
Tomato sauce, 1 bot
Cocao cubes 1 pkt
Fruit drops, 3 pkt
BENEFICIARY:
Master M F Hennus, Netherlands, C.829
CHAPEI CIVIL ASSEMBLY CENTRE
4th Febr. 1944"
Chapei Civil Assembly Centre was liberated on 15 August 1945, 76 years ago today.
California Digital Newspaper Collection, Vestkusten, Number 39, 28 September 1944:
"SWEDEN PRAISED FOR ASSISTANCE IN BRINGING AID TO WAR PRISONERS. By Dr. I). A. Davis, Associate Executive Director, Y. M. C. A. Worlds Committee,
Sweden and Switzerland, spared the horrors of warfare, are doing their share to lighten the burden of war victims. These two neutral countries are cooperating with the War Prisoners Aid of the Y. M. C. A., with headquarters in Geneva and New York, in sending material aid to war prisoners and civilian internees in Europe and the Far East. The rights and privileges of more than 6,000,000 prisoners of war confined behind barbed wire throughout the world are protected by the treaty called “The Geneva Convention Relative to the Treatment of Prisoners of War,” signed by 47 nations on July 27, 1920. Among other things the Geneva Convention specifies that various welfare organizations may have access to war prison camps to render certain services to prisoners; thus War Prisoners Aid, under the auspices of the Y. M. C. A. World’s Committee carries on its stimulating programs of educational, recreational and religious activities among war prisoners, regardless of race, creed or nationality. The role that Sweden plays in this important services are manifold, for giving financial support as well as supplying materials for leisure-time activities. They provide also a large percentage of the personell necessary. From Sweden comes books, writing materials, lumber and other materials hardly found now in other european countries and piany of the neutral secretaries are permitted to visit war prison and internment camps. “We sail never forget what your Swedish colleague, Hoffman, did for us in England,” said a German prisoner of war to Gunnar Celander, Swedish representative of War Prisoners Aid, during a recent prisoner of war exchange between Germany and England, through Sweden. Boatloads of German prisoners from Canada, U. S. and .England, and British prisoners from Germany, docked at Trelleborg and Goteborg, while they transferred to boats waiting to take them home.
The Swedish Y. M. C. A. and Red Cross Lottas, Swedish rail roads and welfare organizations assumed a large portion of the responsibility of looking after these men— most of whom were invalided and blind during their short stay in the country. Food, travel facilities, reading matter, games, gramophones supplied with records of German and British music were made available to make the men comfortable. Crown princess Louise visited the prisoners, with representatives of the Swedish government, who officially welcomed them. Mr. Celander reported “We Swedes are happy that it was the privilege of our country to arrange this exchange of prisoners in the spirit of conciliation and kindness in the midst of the fire of conflict. I longed to share with the entire Y. M. C. A. and its secretaries the memory of the happy faces these homeward-bound prisoners and their many proofs of gratitude. All these men can testify that we were able to serve them in of their liberation. That is the highest reward and greatest encouragement for our work.” In Stockholm a War Prisoners Aid office is under the able leader their capacity as well as in' these days ship of Hugo Cedergren, Associate Director of Y. M. C. A., and National Secretary of the Swedish Y. M. C. A. Mr. Cedergren, who has visited prisoners in Europe, U. S. and Canada, said recently in America: “The spirit of prisoners is excellent. I can say that honestly from my own experience. The treatment they are receiving is correct and good.” Mrs Ceder gren is the daughter of Prince Oscar Bernadotte, brother of King Gustaf. He is honorary president of the Swedish Y. M. C. A. Pastor Carl-Erik Wenngren of the Stockholm Diocese, Associated National .Secretary of the Swedish Y. M. C. A., is now in U. S. as a neutral representative of the Ecumenical Commission for Chaplaincy Service to prisoners of war, of the World Council of Churches, and as a representative of War Prisoners Aid of the Y. M. C. A. He is visiting camps throughout America carrying the message of the church, especially to German prisoners, conducting services and other functions of a minister. Gunnar Celander, Henry Soderberg, Gunnar Janssen, O, M. Carlman and Erik Berg have been recruited from Sweden to visit war prison camps in Germany, while Bengt Hoffman carries War Prisoners Aid service to allied fliers detained in Sweden in compliance with neutrality laws. Civilan internment camps in France ares visited by mr. and Mrs. Hemming Andermo. The Swedish representative in India is Fredrik Franklin. (In the Philippine Islands, aid to prisoners of war and civilian internees is carried on under a neutral committee of Swiss, Irish, Danish, French, Belgian and Norwegian citizens, headed by Swedish Ex-Consul Helge A. Jansson, in Manila, and appointed by W. J. K. Bagge, Swedish Minister to Japan, since July 1942, chairman of neutral citizens, responsible for Y. M. C. A. services to prisoners and internees in Japan and Japanese-controlled areas. All contact between War Prisoners Aid and Japanese government are made through Stockholm. Through Minister Bagge, War Prisoners’ Aid received the first complete information about aid work in the Philippines. Final permission was given by the Japanese for the YMCA to purchase monthly in the Philippines sorely needed relief supplies for shipment to camps there in which Allied prisoners are interned. War Prisoners’ Aid service to allied war prisoners and civilian internees in Japan and Japan-held territory other than the Philippines is headed by I. P. Troedsson, Swedish Consul to Japan, assisted by N. E. Ericson of the Swedish Legation in Tokyo, under supervision of Minister Bagge. Swedish representatives of War Prisoners’ Aid make regular visits to camps in Japan are B. Gawell, John Anderson, A. Swensson and O. Pettersson, C. G. C. Asker works in Shanghai, and in Thailand, War Prisoners’ Aid service is carried to prisoners of war by F. Ehnstedt, Swedish Consul there. N. Arne Bendtz, with headquarters in Chungking, is in charge of War Prisoners Aid Services in Free China. He was responsible for taking aid not long ago to the more than two hundred German and Italian Catholic Fathers who had been interned for more than a year in the Honan Province. Traveling hundreds of miles over famine-stricken war-ridden country by car, rickshaw and on foot, climbing bleak, rugged hills, fording gushing streams, enduring scorching heat, mud and a plague of locusts, Bendtz finally reached his destination and found that the missionaries were living in dilapidated buildings, lacked essential food and clothing and faced grave financial difficulties. “For about three weeks I lived among these Catholic missionaries sharing their daily life, which I shall never forget,” wrote Bendtz in his report to Geneva. “They had suffered a lot during the past year and we came, as one said, “like an angel from Heaven, to soothe and comfort their sorrowful hearts.” “They had not met another foreigner since internment, and the concerts and speeches made in honor of the War Prisoners’ Aid representative were visible tokens of their gratitude.” Solutions to many problems facing War Prisofters’ Aid of the YMCA, a participating agency of the National War Fund, in its service to prisoners and civilian internees in Europe and the Far East, are greatly facilitated by the cooperation of Sweden.
Swedish representative of Y. M. C. A. War Prisoners’ Aid, Henry Soderberg (center), talks with prisoner and German camp official in war prison camp somewhere in Germany."
Courtesy Hennus family archives
pour la photographie
La lumière et le temps
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Base materials
for photography
Light and time
- 285 -
The unique landscape of the Badlands owes its appearance to the one material that is in short supply in Death Valley: water. The Badlands now exist in what was once a prehistoric lake. Mud and silt from the surrounding mountains washed down into the lake when what is now the national park was once a wetter environment. The silts settled to the bottom and were compressed and weakly cemented into soft rock over time. The clay minerals in the mudstone are shaped like tiny plates. These plates act like roof shingles, preventing water from penetrating the surface. The combination of the almost impermeable mudstone and Death Valley’s scant rainfall makes plant growth and soil development nearly impossible. If one looks closely at the photos, on some of the hills a layer of black rock covers the yellowish underlying layers. This is the result of volcanic debris deposited in the lake bottom when the valley was rimmed by ancient volcanoes. This layer forms a protective cap on the soft underlying sediments.
As the climate shifted, the lake dried and a geological upheaval (known as the Pacific Plate crashing into the North American Plate) caused the landscape to tilt. This tilt is easily identified in the rock strata. At Death Valley rainfall is intense but sporadic. Very long periods of drought are punctuated with drenching downpours. With so little vegetation and no soil, when water reaches the ground, there is nothing to absorb the rainfall. During Death Valley’s rain showers, water hits the surface and immediately begins to rush down the steep slopes, sweeping along particles of loosened mud. The rate of erosion can be incredible! Tiny rills are quickly carved into the soft mudstone. The more water in the downpour, the more rills are needed to carry the water away. Rills cut deeper to form gullies. Badlands are the ultimate result-- nature’s way of efficiently moving lots of water quickly.
Source: www.summitpost.org
December 28, 2013, Death Valley National Park, California.
Material Girl cover shoot - www.materialgirl-mag.com
♥ ♥ ♥ ♥ ♥ ♥ ♥
Photography - Lucia O'Connor-McCarthy
Styling - Coline Bach
Make-up - Elias Hove using Illamasqa cosmetics
Hair - Adlena Dignam using Kevin Murphy
Set - Stéphanie Kevers
Photo assistants - Chloe Taylor, Becca Sellers
Styling assistants - Esther MK, Kelsang Dorjee Dongsar
Models - Belle & Layla @ Select, Stacey @ Models1
SPECIAL THANKS to my lovely parents for be amazing on the day!
All images © Lucia O'Connor-McCarthy
La Cattedrale di Santa Maria Fiore - Duomo, Firenze (Florença)
www.google.com/maps?q=florença%20italia&layer=c&...
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the cathedral church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
he Basilica di Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Arnolfo di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years. The project obtained new impetus, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata. In 1331, the Arte della Lana, the [=[Guilds of Florence|guild of wool merchants]], took over exclusive patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was again halted due to the Black PDeath in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome remained incomplete.
On 19 August 1418, the Arte della Lana announced a structural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, who was supported by Cosimo de Medici. Ghiberti had been winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained acute. Brunelleschi won and received the commission.[3]
Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.[4]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed to the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two lateral doors, the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six lateral windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death) in the Pazzi conspiracy.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).
Dome
By the beginning of the fifteenth century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high 9.2 metres (30 ft) long, was standing in a side isle of the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The Duomo viewed from the heights of Piazzale Michelangelo
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts, in addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco and still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits, where platforms could be erected out of and work could progressively continue as they worked up,a system for scaffolding.[9]
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[11]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[12]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[13]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[14]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the nineteenth century.
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal of the cathedral
In 1864, a competition was held to design a new façade and was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main portal
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions, Christ enthroned with Mary and John the Baptist, and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred on canvas in the 19th c., is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th c., in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th century.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used till the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cuppola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work ended in 1995, the entire pictorial cycle of the The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
Crypt
The cathedral underwent difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries.
Recently[when?] the archaeological history of this huge area was reconstructed through the work of Dr Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Also buried in the former cathedral of Santa Reparata was Conrad II of Italy.
A seguir, um texto, em português, da Wikipédia a Enciclopédia Livre:
A Basílica di Santa Maria del Fiore é a catedral, ou Duomo[1], da Arquidiocese da Igreja Católica Romana de Florença. Notabilizada por sua monumental cúpula - obra do celebrado arquiteto renascentista Brunelleschi - e pelo campanário, de Giotto, é uma das obras da arte gótica e da primeira renascença italiana, considerada de fundamenal importância para a História da Arquitetura, registro da riqueza e do poder da capital da Toscana nos séculos XIII e XIV. Seu nome (cuja tradução é Santa Maria da Flor) parece referir-se ao lilium, símbolo de Florença, mas, documento [2] do Século XV, por outro lado, informa que “flor”, no caso, refere a Cristo.
História
O Duomo de Florença, como o vemos hoje, é o resultado de um trabalho que se estendeu por seis séculos. Seu projeto básico foi elaborado por Arnolfo di Cambio no final do século XIII, sua cúpula é obra de Filippo Brunelleschi, e sua fachada teve de esperar até o século XIX para ser concluída. Ao longo deste tempo uma série de intervenções estruturais e decorativas no exterior e interior enriqueceriam o monumento, dentre elas a construção de duas sacristias e a execução de esculturas e afrescos por Paolo Uccello, Andrea del Castagno, Giorgio Vasari e Federico Zuccari, autor do Juízo Final no interior da cúpula. Foi construída no lugar da antiga catedral dedicada a Santa Reparata, que funcionou durante nove séculos até ser demolida completamente em 1375.
Em 1293, durante a República Florentina, o notário Ser Mino de Cantoribus sugeriu a substituição de Santa Reparata por uma catedral ainda maior e mais magnificente, de tal forma que "a indústria e o poder do homem não pudessem inventar ou mesmo tentar nada maior ou mais belo", e estava preparado para finaciar a construção. Entretanto, esperava-se que a população contribuísse, e todos os testamentos passaram a incluir uma cláusula de doação para as obras. O projeto foi confiado a Arnolfo em 1294, e ele cerimoniosamente lançou a pedra fundamental em 8 de setembro de 1296.
Arnolfo trabalhou na construção até 1302, ano de sua morte, e embora o estilo dominante da época fosse o gótico, seu projeto foi concebido com uma grandiosiddade clássica. Arnolfo só pôde trabalhar em duas capelas e na fachada, que ele teve tempo de completar e decorar só em parte. Com a morte do arquiteto o trabalho de construção sofreu uma parada. Um novo impulso foi dado quando em 1330 foi descoberto o corpo de São Zenóbio em Santa Reparata, que ainda estava parcialmente de pé. Giotto di Bondone então foi indicado supervisor em 1334, e mesmo que não tivesse muito tempo de vida (morreu em 1337) ele decidiu concentrar suas energias na construção do campanário. Giotto foi sucedido por Andrea Pisano até 1348, quando a peste reduziu a população da cidade de 90 mil para 45 mil habitantes.
Sob Francesco Talenti, supervisor entre 1349 e 1359, o campanário foi concluído e preparou-se um novo projeto para o Duomo, com a colaboração de Giovanni di Lapo Ghini: a nave central foi dividida em quatro espaços quadrangulares com duas alas retangulares, reduzindo o número de janelas planejadas por Arnolfo. Em 1370 a construção já estava bem adiantada, o mesmo se dando com o novo projeto para a abside, que foi circundada por tribunas que amplificaram o trifólio de Arnolfo. Por fim Santa Reparata terminou de ser demolida em 1375. Ao mesmo tempo continuou-se o trabalho de revestimento externo com mármores e decoração em torno das entradas laterais, a Porta dei Canonici (sul) e a Porta della Mandorla (norte), esta coroada com um relevo da Assunção, última obra de Nanni di Banco.
Contudo, o problema da cúpula ainda não fora resolvido. Brunelleschi fez seu primeiro projeto em 1402, mas o manteve em segredo. Em 1418, a Opera del Duomo, a centenária empresa administradora dos trabalhos na Catedral, anunciou um concurso que Brunelleschi haveria de vencer, mas o trabalho não iniciaria senão dois anos mais tarde, continuando até 1434. A Catedral foi consagrada pelo Papa Eugênio IV em 25 de março (o Ano Novo florentino) de 1436, 140 anos depois do início da construção. Os arremates que ainda esperavam conclusão eram a lanterna da cúpula (colocada em 1461) e o revestimento externo com mármores brancos de Carrara, verdes de Prato, e vermelhos de Siena, de acordo com o projeto original de Arnolfo.
A fachada
A fachada original, desenhada por Arnolfo di Cambio, só foi começada em meados do século XV, realizada de fato por vários artistas em uma obra coletiva, mas de toda forma só foi terminada até o terço inferior. Esta parte foi desmantelada por ordem de Francesco I de Medici entre 1587 e 1588, pois era considerada totalmente fora de moda naquela altura. O concurso que foi aberto para a criação de uma nova fachada acabou em um escândalo, e os desenhos subseqüentes que foram apresentados não foram aceitos. A fachada ficou, então, despida até o século XIX, mas estatuária e ornamentos originais sobrevivem no Museu Opera del Duomo e em museus de Paris e Berlim.
Em 1864, Emilio de Fabris venceu um concurso para uma nova fachada, que é a que vemos hoje, um enorme e magistral trabalho de mosaico em mármores coloridos em estilo neogótico, com uma volumetria dinâmica e harmoniosa. Pronta em 1887, foi dedicada à Virgem Maria, e é ricamente adornada com estatuária de elegante e austero desenho. Em 1903 terminaram-se as monumentais portas de bronze, com várias cenas em relevo e outras decorações.
Interior
Sua planta é basilical, com três naves, divididas por grandes arcos suportados por colunas monumentais. Tem 153 metros de comprido por 38 metros de largo, e 90 metros no transepto. Seus arcos se elevam até 23 metros de altura, e o cume da cúpula, a 90 metros.
Suas decorações internas são austeras, e muitas se perderam no curso dos séculos. Alguns elementos acharam abrigo no Museu Opera del Duomo, como os coros de Luca della Robbia e Donatello. Subsistem também os monumentos a Dante, a John Hawkwood, a Niccolò da Tolentino, a Antonio d'Orso, e os bustos de Giotto (de Benedetto da Maiano), Brunelleschi (de Buggiano - 1447), Marsilio Ficino, e Antonio Squarcialupi.
Sobre a porta de entrada há um relógio colossal com decoração em pintura de Paolo Uccello, e acertado de acordo com a hora italica, uma divisão do tempo comumente empregada na Itália até o século XVIII, que dava o por-do-sol como o início do dia.
Os vitrais são os maiores em seu gênero na Itália entre os séculos XIV e XV, com imagens de santos do Velho e Novo Testamento. O crucifixo é obra de Benedetto da Maiano, a talha do coro de Bartolommeo Bandinelli, e as portas da sacristia são de Luca della Robbia.
I got my material out to make a new knitting bag. So glad I found this appropriate material. All ironed and ready to go.
Projects to work on while staying home.
Here are some more images from this morning's observations of the activity. Nesting material being brought in, feasting on breakfast, and repositioning on a branch.
Material Circulante: CPA 4009
Hora: 18:42
Data: 16-03-2017
Local: Estação do Entroncamento (PK 106 - Linha do Norte)
Obs: Primeira aparição em público de um CPA renovado.
Risin' up, back on the street /
Did my time, took my chances /
Went the distance, now I'm back on my feet /
Just a man and his will to survive /
So many times, it happens too fast /
You change your passion for glory /
Don't lose your grip on the dreams of the past /
You must fight just to keep them alive...
Crescendo, de volta às ruas /
Aproveitei meu tempo, aproveitei minhas chances /
Percorri um longo caminho, agora estou de volta /
Só um homem e sua vontade de sobreviver /
Muitas vezes, acontece tão rápido /
Você troca sua paixão por glória /
Não deixe de lado seus sonhos do passado /
Você deve lutar para mantê-los vivos...
(Survivor / www.youtube.com/watch?v=btPJPFnesV4&ob=av2e)
*Photos taken in Tenerife (Spain).
© Copyright Wesley Martinez 2011 | All rights reserved.
Do not use, copy or edit any of my materials without my written permission.
No utilizar, copiar o modificar cualquiera de mis materiales sin mi permiso escrito.
Não usar, copiar ou editar qualquer um dos meus materiais sem a minha permissão por escrito.
Astronaut Patrick G. Forrester works with the Materials International Space Station Experiment (MISSE) during extravehicular activity.The first MISSE experiment exposed 750 material samples to space from 2001 to 2005 to collect information on how different materials weather the space environment. The objective of MISSE is to develop affordable opportunities to conduct critical space exposure tests of space materials and components planned for future spacecraft. The experiment was the first externally mounted experiment on the International Space Station. On May 18, 2014, the SpaceX Dragon returned the latest MISSE experiments, MISSE-8, to Earth. Materials scientists from NASA’s Marshall Space Flight Center in Huntsville, Alabama, helped prepare samples for flight and will analyze the samples post-flight. Marshall worked with commercial companies and other government agencies to fly 96 experiment samples on MISSE-8, including thermal control coatings, heat shield materials, solar array materials and environmentally friendly spacecraft components, such as multi-layer insulation, paint markings, and innovative polymers.
Image credit: NASA
More Marshall history images:
www.nasa.gov/centers/marshall/history/misse_140520.html
________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
Another point that moderns do not grasp, is that there is no reason for necessarily seeking the cause of a phenomenon on the plane where it is produced, and that on the contrary one has to consider the possibility of a non-material cause, above all when it is a question of a phenomenon whose beginning is unknown a priori, and unknowable materially, as is the origin of living beings.
Transformist evolutionism is the classical example of the bias that invents "horizontal" causes because one does not wish to admit a "vertical" dimension: one seeks to extort from the physical plane a cause that it cannot furnish and that is necessarily situated above matter.
Even within the order of physical causes, one has to take into account the simultaneous presence of the immanent metaphysical Cause: if a seed is the immediate cause of a plant, it is because the divine archetype intervenes in the physical causality. Geometrically speaking, causes can be situated on the "concentric circles" that constitute the Universe, but other causes - and with all the more reason the First Cause - are situated at the Center and act through the radii emanating from it.
The divine Intellect contains the archetypes of creation, and it is starting from this Cause - or from this causal system - at a given cyclic "moment" of the cosmogonic process, that the "ideas" are "incarnated" which will be manifested in the form of contingent creatures.
We do not ask physicists to be content with an anthropomorphic and naive creationism; but at least it would be logical on their part - since they aim at a total and
flawless science - to try to understand the traditional ontocosmological doctrines, especially the Hindu doctrine of the envelopes (kosha) of the Self (Atma): a doctrine that, precisely, presents the Universe as a system of circles proceeding from the Center-Principle to that extreme limit which for us is matter.
For human science does not derive solely from the need to know and to register; more profoundly its origin is the thirst for the essential; now the sense of essentiality attracts us toward shores other than those of the limited plane of physical phenomena alone.
---
Frithjof Schuon: Roots of the Human Condition
Material Circulante: CP E214 + CEyf 4169 + CEyf 4178 + CEyf 466 + Napoli
Hora: 09:37
Data: 23-02-2020
Local: Eixo (PK 26 - Linha do Vouga)
Serviço: Comboio Especial n.º 20801 (Aveiro - Vouga --» Macinhata) [Comboios Históricos na Linha do Vouga]
Material Circulante: Takargo 6003 + 8 Sgnss
Hora: 16:00
Data: 09-03-2017
Local: Triagem da Siderurgia Nacional (PK 3 - Ramal da Siderurgia Nacional)
Serviço: Em Manobras
Technical information
The weight of the car 2186 kg
Engine capacity : 6600 CC
Amount of cilinders : 8
Power : 117 kw 159 HP
Historie
Date of commencement of registration in the Netherlands 2020
Date of first issue of registration in the Nederlands: 2003
Date of first admission : 1979
Photos and information made by JR de Vreeze.
All this material has been borrowed with permission from J R de Vreeze
The Cathedral of the Most Holy Trinity (often referred to as the Bermuda Cathedral) is an Anglican (the state church, the Church of England, which in Bermuda was renamed the Anglican Church of Bermuda in 1978, an extra-provincial diocese under the Archbishop of Canterbury) cathedral located on Church Street in the City of Hamilton, in Pembroke Parish, in the British Overseas Territory of Bermuda.
The original Trinity Church was designed in the Early English style by James Cranston of Oxford in 1844 and was completed in 1869. Named Trinity Church, it was designated a chapel of ease for the then-Bishop of Newfoundland and Bermuda, whose Cathedral (the Cathedral of St. John the Baptist), was at St. John's, Newfoundland). In Bermuda, St. John's Church was already the parish church for Pembroke Parish and remained so after Trinity Church was constructed. Trinity Church was destroyed by arson in 1884. Scottish architect William Hay, who had been consulted on the construction of the first building in 1848–1849 and again in 1862, was hired by Canon Mark James to design the current structure in 1885 in the Gothic Revival style. While Hay designed most of the structure, his partner George Henderson designed the eastern portion of the cathedral.
The building committee was chaired by Llewellyn Jones, the Bishop of Newfoundland and Bermuda; the vice-chairman was Canon Mark James, although he died in office and was succeeded by the Hon. William H. Gosling. The bishop was generally elsewhere engaged, so the majority of the work fell upon the vice-chairman.
The cathedral was constructed between 1886 and 1905, originally to serve, like its predecessor, as a chapel of ease for the Bishop of Newfoundland and Bermuda. It became a cathedral when the Bishop of Bermuda was established as separate from the Bishop of Newfoundland in 1919. The structure is primarily Bermuda limestone, with the exception of several decorative features made from carved Caen stone that were brought in from France.
In an unhappy co-incidence, in 1892 the Cathedral of St. John the Baptist in Newfoundland was destroyed, with much of the city of St. John's, in the Great Fire of 1892. It was reconstructed and also completed in 1905.
It is one of two cathedrals in Bermuda, the other being the Roman Catholic St. Theresa's, also in Hamilton. Composer S. Drummond Wolff was organist at the cathedral from 1959 to 1962. For a small fee, visitors to the cathedral can climb the tower for a view of Hamilton and its harbor.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Cathedral_of_the_Most_Holy_Trinity,...
en.wikipedia.org/wiki/Harold_Tarbolton
© All Rights Reserved - you may not use this image in any form without my prior permission.
Lawrence Harrower Smart
Material Circulante: Medway 5627 + 13 Vagões Siderúrgicos (Renfe)
Hora: 18:48
Data: 09-09-2022
Local: Tramagal (PK 127 - Linha da Beira Baixa)
Serviço: Comboio Siderúrgico n.º 47840/1 (Vilar Formoso --» Alfarelos)
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Centro Habana
January 2017
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Oi meninas, vou tentar passar, ok!
MATERIAL:
-caixa MDF
-tecidos ( 2 a 3 estampas fazendo um composê)
-cola branca para artesanato
-pincel
-papel cartão
MODO DE FAZER:
Meça o tecido deixando uns 3 cm de sobra de cada lado. Corte um quadrado para forrar a caixa e outro para forrar a tampa. Passe uma pequena quantidade de cola embaixo da caixa e coloque o tecido, sem espichar, forçar, etc... apenas o deixe cair sobre a caixa fazendo uma leve pressão para a adesão. Faça o mesmo com a parte de cima da tampa. colocando a caixa de pé, cole duas laterais opostas... deixe secar. Feito isto, sobram duas laterais a serem coladas... faça um vinco, como se fosse uma prega bem na lateral da caixa, bem no cantinho, e cole o tecido. Já vá colando ele para dentro da caixa tb, eu fiz um corte nas quinas do tecido para retirar o exesso de pano na virada para dentro da caixa, deu muito certo.
Feito isso, meça a parte interna da tampa, do fundo da caixa e das laterais da caixa. Corte o papel cartão de acordo com a medida feita, tirando em torno de 0,5cm de cada lado. Cole o papel cartão nos retalhos de tecido... 2 laterais totalmente coladas, 2 laterais coladas somente no comprimento, o fundo da tampa colada totalmente e o fundo da caixa sem colar as laterais.
Veja o passo 2.
Dr Martens Convertible football, originally released for the 2006 football world cup, the top part of the boot is material and can be detached from the leather shoe via the studs. . .
Planté sur la frontière italo-suisse dans le valais ,le CERVIN est, avec ces 4478m mètres, le sommet le plus connu de Suisse. Sa face est, en forme de pyramide, que l'on peut apercevoir depuis la station de Zermatt ,est d'ailleurs utilisée comme logo par plusieurs marques helvètes, dont le chocolat Toblerone. Quant à sa face nord c'est avec l'EIGER et les Grandes Jorasses , le Graal des alpinistes alpins. Unique au monde par sa forme , c'est le sommet le plus photographié.
The MATTERHORN ( alt.4478m ), Promised Land of the climbers
Planted on the Italian-Swiss border in was worth him(it), the MATTERHORN is, with these 4478m meters, the summit the most known for Switzerland(Swiss). His face is, in the shape of pyramid, that we can perceive since the station of Zermatt, is moreover used as logo by several Helvetian marks, of which the chocolate Toblerone. As for his north face it is with the EIGER and the Grandes Jorasses, the Graal of the alpine climbers. Only to the world by its shape, it is the most photographed summit.
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MTPO is a very soft material that LEGO uses for parts that need to bend sharply without being damaged. I wasn’t able to find much information on this material, but it seems it’s a variant of TPO, a category of thermoplastics blended with elastomers.
Materials: oil on canvas. Dimensions: 90.3 x 150.3 cm. Source: scontent.fotp7-2.fna.fbcdn.net/v/t1.6435-9/208491944_2683....
Material Circulante: Takargo 6001 + Captrain 5002 + 2 Lfgss (Transfesa) + 3 Laagrss (Captrain) + 5 Lgnss (Captrain) + 9 Sggmrss (VTG)
Hora: 08:41
Data: 20-08-2019
Local: Trajinha (PK 192 - Linha da Beira Alta)
Serviço: Comboio Internacional n.º 41808 (Fuentes de Onõro --» Entroncamento)
Can face masks help slow the spread of the coronavirus (SARS-CoV-2) that causes COVID-19? Yes. Face masks combined with other preventive measures, such as getting vaccinated, frequent hand-washing and physical distancing, can help slow the spread of the virus. The U.S. Centers for Disease Control and Prevention (CDC) recommends fabric masks for the general public. People who haven’t been fully vaccinated should continue to wear face masks in indoor public places and outdoors where there is a high risk of COVID-19 transmission, such as crowded events or large gatherings. The CDC says that N95 masks should be reserved for health care providers. How do the different types of masks work? Medical masks Also called surgical masks, these are loosefitting disposable masks. They're meant to protect the wearer from contact with droplets and sprays that may contain germs. A medical mask also filters out large particles in the air when the wearer breathes in. To make medical masks more form-fitting, knot the ear loops where they attach to the mask. Then fold and tuck the unneeded material under the edges.
An N95 mask is a type of respirator. It offers more protection than a medical mask does because it filters out both large and small particles when the wearer inhales. Because N95 masks have been in short supply, the CDC has said they should be reserved for health care providers. Health care providers must be trained and pass a fit test before using an N95 mask. Like surgical masks, N95 masks are intended to be disposable. However, researchers are testing ways to disinfect and reuse them. Some N95 masks, and even some cloth masks, have valves that make them easier to breathe through. Unfortunately, these masks don't filter the air the wearer breathes out. For this reason, they've been banned in some places. A cloth mask is intended to trap respiratory droplets that are released when the wearer talks, coughs or sneezes. It also acts as a barrier to protect the wearer from inhaling droplets released by others.
The most effective cloths masks are made of multiple layers of tightly woven fabric like cotton. A mask with layers will stop more droplets from getting through your mask or escaping from it. How to get the most from your mask; The effectiveness of cloth and medical masks can be improved by ensuring that the masks are well fitted to the contours of your face to prevent leakage of air around the masks' edges. Masks should be snug over the nose, mouth and chin, with no gaps. You should feel warm air coming through the front of the mask when you breathe out. You shouldn't feel air coming out under the edges of the mask. Masks that have a bendable nose strip help prevent air from leaking out of the top of the mask. Some people choose to wear a disposable mask under their cloth mask. In that case, the cloth mask should press the edges of the disposable mask against the face. Don't add layers if they make it hard to breathe or obstruct your vision. Proper use, storage and cleaning of masks also affects how well they protect you. Follow these steps for putting on and taking off your mask: Wash or sanitize your hands before and after putting on your mask. Place your mask over your mouth and nose and chin. Tie it behind your head or use ear loops. Make sure it's snug.,Don't touch your mask while wearing it. If you accidentally touch your mask, wash or sanitize your hands. If your mask becomes wet or dirty, switch to a clean one. Put the used mask in a sealable bag until you can get rid of it or wash it. Remove the mask by untying it or lifting off the ear loops without touching the front of the mask or your face.
Wash your hands immediately after removing your mask.
Regularly wash cloth masks in the washing machine or by hand. (They can be washed along with other laundry.)
And don't forget these precautions: Don't put masks on anyone who has trouble breathing or is unconscious or otherwise unable to remove the mask without help. Don't put masks on children under 2 years of age. Don't use face masks as a substitute for physical distancing. What about face shields? The CDC doesn't recommend using face shields instead of masks because it's unclear how much protection shields provide. However, wearing a face mask may not be possible in every situation. If you must use a face shield instead of a mask, choose one that wraps around the sides of your face and extends below your chin.
Do you still need to wear a facemask after you’re fully vaccinated? After you're fully vaccinated, the CDC recommends that it's ok not to wear a mask except where required by a rule or law. However, if you are in an area with a high number of new COVID-19 cases in the last week, the CDC recommends wearing a mask indoors in public and outdoors in crowded areas or when you are in close contact with unvaccinated people. If you are fully vaccinated and have a condition or are taking medications that weaken your immune system, you may need to keep wearing a mask. You're considered fully vaccinated 2 weeks after you get a second dose of an mRNA COVID-19 vaccine or 2 weeks after you get a single dose of the Janssen/Johnson & Johnson COVID-19 vaccine. In the U.S., everyone also needs to wear a mask while on planes, buses, trains and other forms of public transportation. The World Health Organization (WHO) recommends medical masks for health care workers as well as for anyone who has or may have COVID-19 or who is caring for someone who has or may have COVID-19.``
www.mayoclinic.org/diseases-conditions/coronavirus/in-dep...
The Covid-19 pandemic seems to have sorted us into three types based on our attitudes toward masking: Call them nervous maskers, never-maskers and uncertain maskers. The first feel guilty or nervous about unmasking, so they tend to default to wearing masks; the second feel angry and resentful about being told to mask, so they often refuse entirely. And the third group is just trying to do the right thing without a lot of certainty one way or another. Winter is coming, with its continued battles against delta or mu or another variant. We have better protections now (vaccinations, natural antibodies) but also are returning to higher-risk environments (nightclubs, offices, schools). To complicate matters, there are additional factors to consider such as waning immunity from vaccines and the potential of a bad flu season.
Fortunately, there have been a number of important studies on the efficacy of masking over the past 18 months. The good news is that the research suggests most of us can actually de-mask without guilt or worry in many instances — and not just outdoors. It tells us, for example, that plexiglass dividers are in most cases useless or worse. But relaxed refuseniks need a rethink, too — we shouldn’t be ditching masks entirely. On the contrary, the more people adopt a policy of tactical masking, taking situational factors into account, the lower the infection risk and the more freedoms we can enjoy again. As the probability of infection increases, mask wearers lower the risk of catching the virus compared with no masking. For N95 or FFP2 masks, the protection is far greater. Note: Relative reduction in risk-of-infection figures are for an infection probability of 4%.
It’s no wonder we’re either nervous, angry or confused about masks when you consider how masking guidance and conventions have been all over the map. It seems amazing now that the Centers for Disease Control and Prevention, the World Health Organization and various governments had warned against using masks in the early days of the pandemic. When Thomas Nitzsche, mayor of Jena, Germany, made the decision to require masks in public in early April 2020, his city became one of the first to do so. Infections dropped by up to 75% over the next few weeks. In May, the CDC said fully vaccinated people no longer needed to wear masks in most public settings. Two months later, as delta variant cases rose, the CDC revised that guidance. Now seven U.S. states — Hawaii, Illinois, Louisiana, Nevada, New Mexico, Oregon and Washington — require most people to wear masks indoors in public places. Some states, including Texas and Florida, bar local authorities from imposing Covid-19 restrictions, including mask-wearing. In places that view masking as an affront to liberty, university professors can’t even ask students to wear masks during office hours without putting their jobs at risk. In England, there was a general lifting of restrictions in July, though U.K. Health Secretary Sajid Javid said last week that masking may become mandatory again in some indoor settings this winter, depending mainly on whether hospitalizations from Covid spike. While masks are required on public transport, I’d say about half or fewer comply during my journeys. Many offices require workers to mask while walking around, but few Tory lawmakers are wearing them in the House of Commons. Scotland still requires masks to be worn in shops and restaurants while not seated, as well as on public transport. Berlin requires the medical-grade FFP2 masks on public transport. Certain regions of France also have masking requirements in place. But if you care about what the evidence says (and some people don’t), the jury is in: Masks help a lot. Take, for example, the study that shows most U.S. states that had high mask usage in one month avoided high Covid rates in the subsequent month, even after adjusting for masking policy, social-distancing policy and demographic factors. The majority of states with low mask usage ended up with high Covid case rates. Note: Low mask adherence means states that fall below the 25th percentile; high adherence are those states above the 75th percentile. Study analyzed data from April to October 2020.
The largest study yet on the effectiveness of masking, posted online in pre-print earlier this month, was a randomize trial conducted in 600 villages across Bangladesh covering a population of more than 340,000 adults. It offered strong evidence that masks, and surgical masks in particular, reduce virus transmission. Researchers found that a 29 percentage-point increase in mask adoption led to an 11% reduction in symptomatic SARS-CoV-2 prevalence, where surgical masks were distributed; and a 35% reduction in people over 60. Symptom reductions using surgical masks were not statistically significant in younger age groups. While vaccines have largely broken the link between infections and hospitalizations (and death), they haven’t eliminated the need for mask-wearing. Data released last week showed that two doses of the Oxford/AstraZeneca vaccine were 67% effective against delta-variant infections (compared with 80% for two doses of Pfizer/BioNTech’s). Infections can still be nasty; long Covid remains another reason for vigilance. Not only can fully vaccinated people catch and transmit the virus, but it is unvaccinated adults who are more mask-resistant. Since it’s estimated that around half of all transmissions come from asymptomatic persons, masks are still key to preventing infections. But masking shouldn’t be performative, as it often is with those uncertain maskers who just want to show they are being thoughtful. Which masks we wear, and especially how they fit, is important. Mind the Gap . While N95s offer a higher level of protection, a well-fitted surgical mask blocks most particles.
More particles get through mask; Of course, not all masks are created equal, as a recent study published in the journal Nature highlighted. The authors measured the thermal behavior of face masks in real time during inhalation and exhalation to determine the relationship between the fabric structure of the masks and their performance. Their experiment helped shed light on how aerosol-containing bacteria and coronaviruses penetrate three different kinds of masks — reusable face masks, disposable surgical masks and the N95 — and how we can evaluate air filtration performance.Reusable masks have longer, thicker fibers with a larger average pore diameter. Unsurprisingly, they have
higher levels of permeability, with the surgical mask coming second, followed by the F95 (similar to the FFP2 in Europe). Those findings should even help manufacturers create a new generation of masks that offer more breathability while also improving filtration. The CDC doesn’t recommend scarves and other headwear because they tend to be made from loosely woven fabrics. Loosely Denser fabrics such as cotton with a 600 thread count compared with cotton that is woven with 80 threads per inch, are much more effective. Mixed fabrics also tend to have better results. A study on masks with and without gaps shows that leaks can significantly reduce their effectiveness. In addition to materials, layering them can also improve efficacy. New lab evidence on different kinds of masks showed that a three-ply surgical mask blocked 42% of particles from a simulated cough; a three-ply cloth mask was pretty similar. But the protection jumped to 92% when a cloth mask was worn over a surgical mask. Comfort is important to being able to wear a mask for long periods of time. In addition to metal nose-bridge strips that can help a mask stay on better, straps that tie behind the head and mask extenders can help reduce soreness around the ears. Insertable filters can be replaced when masks get wet.
Masks will also help prevent more vaccine-resistant variants from emerging as well as higher rates of flu infections, which can also cause serious illness and even death. Even so, the research strips away some of the mask myths and can help all categories of maskers — nervous, nevers and uncertains — be more tactical and aware. To know whether a mask is a must-have, a good idea or entirely superfluous, check the risk factors the way you might a weather report in the mountains: How densely packed and how well-ventilated is the space you are entering? Will you be moving around or stationary? It’s certainly good to mask up in an elevator or on public transport where people are pretty close together. It’s probably not necessary in an open-planned, well-ventilated office, provided people observe a measure of social distancing. Then be mindful of the infection and vaccination rates where you are. If you are in Broward County, Florida, where 70% of over-18s are vaccinated, you’d be justified in having a more relaxed approach; drive next door to Glades County, where only 31% are vaccinated and infection rates are high, and you’ll want to be more vigilant. Similarly only 16% of over-65s in King County, Texas, are vaccinated compared with 70% next door in Knox County, where the CDC recommends even vaccinated people mask. By moving beyond the “hygiene theater” of practices that don’t offer much benefit while also accepting that there are many different levels of risk tolerance and factors that increase or lower situational risk, we can treat masking a little like checking the weather forecast. Some days require a little more covering up than others.
www.bloomberg.com/graphics/2021-opinion-how-to-wear-face-...