www.alphadrones.es

For Koenigsegg

www.mingthein.com

Matrix ~ Dreams for sale ~ Paris ~ MjYj

In linear algebra, an orthogonal matrix is a square matrix with real entries whose columns and rows are orthogonal unit vectors

Please don't use this image on websites,

blogs or other media without my explicit permission.

MjYj© All rights reserved

www.alphadrones.es

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

click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on Flickr Hive Mind

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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

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

the slideshow

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on FlickeFlu

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

This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.

In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.

Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.

The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.

…………………………………………………………………..

Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.

In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.

Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.

La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.

60 pt. Abbey Condensed cast & printed at Pygment Press. Foundry matrices from Kelsey & Co.

Oct. 22, 2020 -- We have managed to re-cast this type face and just fit it on a 48 point body!

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

click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on Flickr Hive Mind

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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

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

the slideshow

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on FlickeFlu

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

This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.

In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.

Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.

The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.

…………………………………………………………………..

Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.

In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.

Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.

La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.

For Koenigsegg

www.mingthein.com

The Blacksburg Salamander is the southern clade of the Plethodon wehrlei complex. It was originally described by Walter B. Newman in 1954 as a unique species due to morphological differences. It was later synonymized with P. wehrlei until science caught up. Through mitochondrial and nuclear DNA sequencing, this species was proven to be a unique species and Newman's original name was resurrected in 2019 by Felix et al.

Like the other members of this complex, this salamander inhabits rocky hillsides, crevices in rock outcroppings and even occupy holes in muddy slopes that likely lead to subterranean rock matrices. Their heads are dorsoventrally flattened, an adaptation for life in the aforementioned habitats.

www.alphadrones.es

Industrialny motyw na ścianie kamienicy w Łodzi, nad wejściem do pubu "Iron Horse". Autorem jest M-City, Mariusz Waras, gdański artysta tworzący swoje dzieła za pomocą specjalnych tekturowych matryc, które następnie pokrywa farbą.

An industrial motif on the wall of a tenement house in Łódź, above the entrance to the "Iron Horse" pub. The author is M-City, Mariusz Waras, an artist from Gdańsk who creates his works using special cardboard matrices, which are then covered with paint. Łódź, Poland

The square in front of the church Santa Maria del Monte, Caltagirone.

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

click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on Flickr Hive Mind

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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

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

the slideshow

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on FlickeFlu

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

This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.

In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.

Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.

The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.

…………………………………………………………………..

Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.

In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.

Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.

La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.

For Koenigsegg

www.mingthein.com

matrices para taco perdido, xilografía/Wood engraving

paso1

Polignano a Mare, Bari, Puglia, Italia © 2015 All rights reserved by Michele Masiero

FotoSketcher: Oil painting effect and lively

Nikon coolpix p7100

Chiesa Matrice Santissima Assunta Vergine.

La Piazza Vittorio Emanuele ospita la chiesa matrice di Polignano, dedicata alla Vergine Santissima Assunta. Questa facciata in stile romanico pugliese è impreziosito da decorazioni sul portale risalenti al 1628. Nelle due nicchie laterali ci sono le statue di S. Antonio da Padova e S. Marco. Sull'architrave, un'edicola contiene un bassorilievo che rappresenta la mandonna assunta Vergine in cielo, sopra il pennacchio con l'Eterno Padre benedicente. Il campanile è stato costruito in diverse fasi, 1503-1664, su tre ordini, ognuno con diverse aperture, dalle feritoie, alle singole aperture a sesto acuto , alle le finestre della cella campanaria. L'interno è longitudinalmente sviluppato e tre navate, con arredi religiosi in stile barocco.

Polignano a Mare

Polignano a Mare è un comune italiano di 17.986 abitanti della città metropolitana di Bari, in Puglia. Il nucleo più antico della cittadina sorge su uno sperone roccioso a strapiombo sul mare Adriatico a 33 chilometri a sud del capoluogo.L'economia del paese è essenzialmente basata sul turismo, l'agricoltura e la pesca. Di notevole interesse naturalistico sono le sue grotte marine e storicamente importanti sono il centro storico e i resti della dominazione romana. Tra questi ultimi il ponte della via Traiana, tuttora percorribile, che attraversa Lama Monachile.

from wikipedia

The Matrix Churc to the Vergine Santissima Assunta.

The Piazza Vittorio Emanuele houses the matrix church of Polignano, dedicated to the Vergine Santissima Assunta. The s Romanic façade is embellished by decorations on the portal dating back to 1628. In the two lateral niches there are the statues of S. Antonio da Padova and S. Marco. On the lintel, an aedicule contains a bas-relief which represents the Vergine taken up to heaven, over the spandrel with the Eternal Father Blessing. The bell tower was built in different stages, from 1503 to 1664, on three orders, each one with different openings, from the loopholes to the single lancet openings and the windows of the belfry. The interior is longitudinally developed and three-naved, with religious furnishings in baroque style.

Polignano a Mare

Polignano a Mare is a town and comune in the province of Bari, Apulia, southern Italy, located on the Adriatic Sea. The local economy mostly depends on tourism, agriculture and fishing. The area has been settled since prehistoric times, evidenced by archaeological excavations in the locality of Santa Barbara. It is believed to be the site of the ancient Greek city of Neapolis of Apulia, not mentioned by any extant records but attested by many coins. Remains of the Roman domination include the bridge on the Via Traiana. The former cathedral includes works by the sculptor Stefano of Putignano. In the frazione of San Vito is a massive Benedictine abbey.

from wikipedia

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

click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on Flickr Hive Mind

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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

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

the slideshow

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

Qi Bo's photos on FlickeFlu

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

This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.

In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.

Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.

The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.

…………………………………………………………………..

Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.

In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.

Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.

La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.

Duomo di Erice (TP) - Sicilia

diapositiva 6x6 del 1982.

Emulsione danneggiata dal passare degli anni

Kodak Ektachrome 64

Yashica Mat 124-G

First outing with the Matrice 300 RTK and the Zenmuse H20T camera

Pie de foto: 23/9/2015. Monte Maíz, Provincia de Córdoba, Argentina. Alfredo Cerán trabajó durante nueve años como fumigador, tratando con productos químicos las plantaciones de soja. Se le quemaron las uñas. Los resultados de sus análisis de sangre muestran residuos de sustancias como el glifosato, el clorpirifós, la azatrina, el 2.4-D y la cipermetrina.

Caption: 23/9/2015. Monte Maiz, Province of Córdoba, Argentina. Alfredo Cerán worked for nine years as a ground crop-duster applying agrochemicals in soybean fields. His fingernail matrices burned. His blood tests for agrochemicals showed residues of glyphosate, Chlorpyrifos, Azatrine, 2.4-D and Cypermethrin.

© Pablo Piovano (Segundo finalista XX edición/ Second finalist 20th edition)

Serie/Series: "El coste humano de los agrotóxicos"/"The human cost of agrotoxins"

La serie denuncia las devastadoras consecuencias de veinte años de fumigación indiscriminada con productos como el glifosato en Argentina.

The series denounces the devastating consequences of twenty years of indiscriminate spraying with products such as glyphosate in Argentina.

Anatomie externe de la matrice

Matrice

A set of adverts from the 1958 Penrose Annual showing the various post-war type faces of the Società Nebiolo Turin with many of the named typefaces having been designed in-house by Alessandro Butti (1893 - 1959) and Aldo Novarese (1920 - 1995). The company's origin's date back to 1852 when Giovanni Nebiolo purchased an existing type foundery in Turin. The company expanded to produce not only type matrices but also printing presses and paper machinery.

It became the Società Nebiolo in 1916 and was purchased by the industrial conglomerate Fiat in 1978. The machinery part of concern is still in business and I think the type matrices are now owned by Stempel.

www.alphadrones.es

A double sided supplement, printed on card and inserted into the July 1934 issue of the British Printer, a trade journal. Monotype were frequent advertisers in such journals and magazines.

This one deals with the economics of upgrading to Monotype machines following the Chancellor's, Neville Chamberlain, lowering of income tax. The reverse side looks at the versatility, such as in large size composition, available on the Monotype machine and the display matrices 'lending library' of typefaces the company maintained.

Show me On Black

The medieval cathedral in Erice in Sicily

St Mary, Hickling, Norfolk

This great big church sits above its Broadland village, a mighty tower to taunt the lesser churches to the north and east. Here, a lot of money was spent in the 14th and 15th centuries. The aisles came first, and then the tower, the English church triumphant in the years after the Black Death. The breaking up of the old estates had brought to power a new, fabulously wealthy land-owning class, and they poured their money into churches like this one, creating a Brave New England in their own image. There is no clerestory, and the box-like chancel seems quite out of sorts with the magnificence of the nave and tower. It is the first suggestion that there was an overwhelming restoration here in the 1870s.

You step into a building which is vast and urban, quite anonymous and retaining nothing of the rural, rustic feel of its neighbours. We could as easily be in west London, or Buenos Aires, or Calcutta. It is a Victorian Gothic temple interior, and although some architectural details survive there is perhaps little of ecclesiological interest. However, Hickling does retain one absolutely fascinating testament to the mindset of the 17th century. An otherwise anonymous tombchest at the east end of the north aisle is covered with graffiti, almost all of it from the years of the Civil War and Commonwealth. There are a couple of carved matrices for Nine Mens Morris, a popular board game of the time, and a multitude of hands drawn around, initialled, and dated. It seems that 17th century East Anglians had smaller hands than those of today, or at least than mine.

Perhaps most striking of all is the bold scrawl ROUNDHEADE 1645. This was the very year of John Wilson's 'pious call for a new purity and single-heartedness', A New Anatomie or Character of a Christian, or a Roundheade. Could it be that the scrawler had read this pamphlet and wanted to declare his support for it here? It was the year of the great Parliamentarian triumph, victory over the forces of the Crown at the Battle of Naseby. From this moment, Charles I was doomed, and the world began to turn upside down.

You could spend a lot of time examining this graffiti, probably longer than you'll need for the rest of this church. For example, what is that curious tangle of lines? Is it a game? A map? A sketch? Intriguing, and, if you have a sense of history and a feel for the English Civil War, this corner of Hickling church will send shivers up your spine. And then, down into the village, which has two fine pubs, and the beautiful Broad beyond.

www.alphadrones.es

Tutto il fascino delle foto analogiche.

All the timeless charm of analogue photos.

⫘⫘⫘⫘⫘⫘

Luogo: Matrice CB)

Fotocamera reflex analogica: Zenit 122

Pellicola: Kodak Color Plus 200

Obiettivo: Zenit Helios 77M-4 50mm f/1.8

Scanner: Epson Perfection 1670

Software: Adobe Photoshop CS6

⫘⫘⫘⫘⫘⫘

« Après nous le déluge ? » pointe l’urgence des menaces qui pèsent sur la biodiversité à l’ère de l’anthropocène. Cette gravure sur bois fait partie d’une fresque monumentale représentant une multitude d’espèces en voie de disparition. Pour ses dessins et ses gravures, Camille Dufour utilise comme matrice de lourdes planches en chêne de deux mètres de long.. Lors de performances, elles sont encrées une seule fois pour être imprimées à la main à l’aide d’un savon jusqu’à épuisement de l’encre. Alors que les dessins d’espèces en voie d’extinction disparaissent lentement de feuille en feuille, les traces de savon laissées lors du travail d’impression redessinent une cicatrisation impossible. Comme devant la tapisserie de Bayeux, nos déplacements dans l’installation, inscrivent l’œuvre dans la temporalité de nos corps et nous lient à l’histoire de cet écosystème. Cette fresque déployée devant nous, construit une mémoire du vivant et en appelle à notre responsabilité individuelle et collective.

La fresque est également fragmentée afin d’être distribuée de manière aléatoire dans des milliers de boîtes aux lettres. En renouant avec une matérialité des échanges et une forme de connaissance collective du sensible, « Après nous le déluge ? » est un appel à repenser notre rapport au vivant. Le dispositif du projet, résolument participatif, invite les destinataires à contribuer à une réflexion et une création collective. À la manière d’une grande consultation, les réponses seront retranscrites pour former une deuxième fresque, enrichissant le projet avec l’agrégat de milliers d’imaginaires, de pensées et de propositions.

" After us the deluge ? » highlights the urgency of the threats weighing on biodiversity in the Anthropocene era. This woodcut is part of a monumental fresco representing a multitude of endangered species. For her drawings and engravings, Camille Dufour uses heavy oak boards measuring two meters long as a matrix. During performances, they are inked once to be printed by hand using soap until when the ink runs out. While the drawings of endangered species slowly disappear from sheet to sheet, the traces of soap left during the printing process redraw an impossible healing. As in front of the Bayeux tapestry, our movements in the installation inscribe the work in the temporality of our bodies and link us to the history of this ecosystem. This fresco displayed before us, builds a memory of the living and calls for our individual and collective responsibility.

The fresco is also fragmented in order to be distributed randomly to thousands of mailboxes. By reconnecting with a materiality of exchanges and a form of collective knowledge of the sensitive, “After us the flood? » is a call to rethink our relationship with life. The project's system, resolutely participatory, invites recipients to contribute to collective reflection and creation. Like a major consultation, the responses will be transcribed to form a second fresco, enriching the project with the aggregate of thousands of imaginations, thoughts and proposals.

Magnificent "Lane Chapel" on the south side of the church begun two years before his death by rich clothier John Lane 1529 and continued by his wife and completed in 1552 . The fan vaulted ceiling www.flickr.com/gp/52219527@N00/Uf9z9f162i is said to have been inspired by the Dorset aisle at Ottery St Mary and some of the carvings are similar to John Greenway's Chapel at Tiverton. It is profusely embellished in the interior on the ceiling corbels and bosses with relief sculptures of angels holding Lane's merchant's mark.

John Lane & his wife Thomasine are buried at the east end of his chapel, where survives his ledger-stone in the middle of the aisle and now sadly mostly covered by box-pews and missing the brasses of which only the matrices remain in the shapes of a man and a woman, wearing a headdress, facing each other, with 4 lozenge-shaped heraldic shields above & below , also missing their brasses. The heads of the figures facing the west-end . www.flickr.com/gp/52219527@N00/LaX80v352m

The latin inscription says :

"Hic jacet Joh(anne)s Lane, M(er)cator, huiusq(ue) capellae fundator cum Thomasi(n)a uxore sua, qui dict(us) Johan(nes) obi(i)t XV Feb(ruarii) annoque Dom(ini) mill(ensim)o CCCCCXXVIII"

(Here lies John Lane, merchant, and founder of this chapel with Thomasine his wife. The said John died the 15th February Anno Domini 1529)

John Lane was a wealthy merchant specialising in the production and exporting of woollen cloth. His merchants mark is much in evidence. especially on the external walls. This would have been placed on the bales of his goods to show his ownership.

Carvings of ships on the exterior wall of the chapel, underline his trading activities. www.flickr.com/gp/52219527@N00/v74v6z54fB

Around it is an inscription stating that the aisle was erected in honour of God and the Blessed Virgin, and asking for prayers for the souls of John the founder, his wife and children... www.flickr.com/gp/52219527@N00/8B08X92J7f

"With a Pater Noster & Ave Maria , Remember the saulis of John Lane Wapentake Custos Lanarius, (Constable ?, Wool merchant) And the saul of Thomasyn his wife, to have in memory, with all other ther Chyldren and Frendis of yowre owne Cherity, which were Fownders of this Chapell, and here lyeth in Sepulture. In the year of owre Lorde God a Thousant Fyve Hundredth Syx and Twynti. God of His Grace, on their boyith saulis have Mercy, and finally bring them to the eternal Glory. Amen for Charity with a Pater Noster & Ave Maria."

Detailed annual accounts sent by the Exeter customs collectors to the royal exchequer in the first 30 years of the 16c include Lane’s shipments of cloth from October 1506 until the last on Christmas Eve 1528.

He also traded in imports. These consisted mainly of a type of linen cloth called ‘crescloth’ which was made in Brittany and shipped here in Breton vessels.

He made his will 12 days before his death stating

" I desire to be liuried in the new Chapel of Our Lady in Culloinpton ;

I bequeath to the High Cross light of the parish church six shillings and eightpence, also that sum to the light of Our Lady ; to the store of the name of Jesu ; to the Brotherhood of S* John the Evangelist, and to the Cathedral church of Exeter three shillings and fourpence ; and six shillings and eightpence that they may pray for me.

(Also to 100 parish churches "next about Cullompton" so that they should put his name on their "bederolls" and pray for him "in their pulpits" )

To my servants Emma, John Pewe, and Alexander Trott each ten dozen woollen cloths, or ten shillings in money.

5 woollen cloths apiece to all such "household servants" as were in my service at the time of my death, and to each child of Thomas Waryn my son in law, one woollen cloth or 10s in money.

My tenement in Cullompton which I lately bought of John Eye, now occupied by John Pytt, wherein Humphrey More, Esq., John Smyth, Thomas Waryn, and George Cockeram stand enfeoffed, shall go to the holding of the priest in the New Chapel of Our Lady aforesaid, as also such leases and estates as I have of the Prior of S' Nicholas (Exeter) for tilling which I have for a period of twenty six years in reversion after John Kalcway, gentleman, sixteen years of which have yet to come.

Residuary legatee and executrix, my wife, Thomasine. Overseers, John Smyth, constable of Cullompton. Thomas Waren, Gecrge Cockeram, and my servant Harry Harton, each to have ten pounds for their pains.

General Supervisor, Master Humphrey More, Esq., to whom I bequeath thirteen shillings and fourpence for his pains".

Witnesses, Thomas Preston, clerk, William Adams. Jolm Eard. John Pewe, and others.

Proved P.C.C. 5 April 1529, by Thomasine, relict and executrix of deceased.

(a bederoll was a list of benefactors to be prayed for and was read out from the pulpit each Sunday as well as Christmas & Michaelmas)

Tim britishlistedbuildings.co.uk/101306902-parish-church-of-s...

Moteur 4 cylindres 84 x 105 = 2.300 cm3

Soupapes en tête commandées par deux arbres à cames asservis par arbre vertical et pignons

Embiellage sur coussinets minces

Bielles en métal léger matricées

Carter, bloc et culasse en métal léger

Taux de compression : 7.5:1

Puissance : 110 ch à 5.200 tr/min

Carburateur double corps à branchement court

Embrayage bi-disque sec

Boîte électromagnétique Cotal à 4 rapports

Marche arrière par inverseur mécanique

Arbre de transmission prenant appui sur rotule en sortie arrière de boîte

Suspension avant sur barre de torsion et amortisseurs téléscopiques

Suspension arrière par ressorts longitudinaux à lames inversés en porte-à-faux, complétés par des flexivar et amortisseurs hydrauliques Houdaille

Le modèle exposé, châssis numéro 85122, mis en service en octobre 1954, présente toutes les options proposées par Salmson, à savoir : pompe à essence électrique doublant la pompe mécanique, roues Rudge chromées, ouïes ouvrantes, baguettes de ceinture et de bas de caisse, clés chromées de pare-brise et lunette arrière, chauffage, double klaxon...

La voiture présente a été modifiée en vue de la compétition :

-avec des segments spéciaux, le taux de compression a été augmenté

-les soupapes ont été dotées d'une ouverture un peu supérieure et le croisement des arbres à cames légèrement modifié

-les suspensions arrière ont été surbaissées de 65 mm et les amortisseurs Houdaille ont été remplacés par des Koni plus secs.

Au total, la puissance a été portée à 127 ch et la vitesse maxi tangente les 200 km/h sans toutefois les atteindre.

OLYMPUS DIGITAL CAMERA

Musterblatt, Haas

Reworking of Breite Halbfette Grotesk by Schelter & Giesecke, Leipzig (1890); matrices aquired by Haas ca. 1900 and initially named Breite Fette Grotesk. They changed the g to the single storey form, supposedly more popular in German speaking countries by that time.

Französische Grotesk functioned as a direct model for Neue Haas-Grotesk (later Helvetica) together with Berthold’s Akzidenz-Grotesk and Normal Grotesk by Haas.

Revived by Christian Schwartz and issued as FF Bau in 2002.

The matrix is talking to us.

Sending messages through its structural and geometric repetitions.

And through the holes and errors in the grid.

A strange and cold code we cannot understand.

Preferring to this artificial poetry the heat and the physical presence of the human conversation.

La Matrice nous parle.

Envoyant des messages à travers ses implacables répétitions géométriques et structurelles.

Et à travers les failles et les erreurs dans les mailles de la grille.

Un code énigmatique et froid qui passe au-dessus de nos têtes.

Puisque nous lui préférons la chaleur et la proximité physique de la conversation humaine.

Saint-Gilles Metro station, Brussels.