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Jeder wollte mit ihr musizieren. Jacques Brel besuchte sie mit seiner Gitarre in der Rue de Berri, als er fünfundzwanzig Jahre alt und noch völlig unbekannt war. Welches seiner Lieder dem Publikum am schwersten nahezubringen sei, wollte sie von ihm wissen und machte „Ça va, le diable“, einen satirischen Lobgesang auf die Zerstörungskraft des Teufels, der 1954 noch zu früh kam, über die Jahre zu einem Klassiker. Auch Georges Brassens war ein nahezu unbeschriebenes Blatt, als er ihr das „Chanson pour l’Auvergnat“ überließ, eine Ode an die Résistance. „Padam, padam“ wurde ihr angeboten, aber sie lehnte ab. Dafür nahm sie „Je hais les dimanches“ von Charles Aznavour, das Edith Piaf zuvor verschmäht hatte. Mit Serge Gainsbourg entstand 1958 „L’Accordéon“. Und noch im neuen Jahrtausend suchte Juliette Gréco unter den Stimmen einer jungen Generation nach Weggefährten. Neben Benjamin Biolay fand sie auch den Rapper Abd al Malik, dessen Art von Musik im Anprangern der Verhältnisse, das wusste sie, das französische Chanson längst abgelöst hatte.
Zufällig war keine dieser Begegnungen. Juliette Gréco hat ihre Arbeit stets als Engagement begriffen, das mit der sorgsamen Auswahl ihrer Lieder begann. Oft war diese Wahl vom Mut, Neues zu wagen, nicht zu trennen. Mit Miles Davis trat sie im New Yorker Waldorf Astoria in den fünfziger Jahren auf, als eine weiße Frau neben einem schwarzen Mann auf der Bühne den Hoteldienern noch die Gesichtszüge entgleiten ließen. Im Jahr 1967 hauchte sie dem Publikum „Déshabillez-moi“ entgegen, glitt mit den Händen an ihrem Körper entlang und löste einen Skandal aus. Schon bald nach dem Krieg besuchte sie auch wieder Deutschland, weinte auf der Bühne, aber fand ein Publikum, dessen treue Begeisterung sie mit regelmäßigen Konzerten belohnte. Sie machte nie einen Hehl daraus, dass ihr Verhältnis zu den Franzosen gespaltener war als das zu anderen. Die Franzosen seien treuloser und sprunghafter, sagte sie, die Deutschen aber kundige Zuhörer und Zuschauer, die nicht zufällig vorbeikämen. Es stimmte. Ihre stets schwarze Silhouette, ihre dunkel umrandeten Augen, das Besingen der verrinnenden Zeit, der sie doch mit jeder Modulation ein Schnippchen schlug, auch das ewige Akkordeon wirkten auf das Publikum in Deutschland viel seltener antiquiert als in Frankreich, wo man keine Sehnsucht nach sich selbst hatte.
Doch es galt auch umgekehrt: Dass diese Sehnsucht hierzulande über Jahrzehnte lebendig geblieben ist, daran hatte Juliette Gréco einen großen Anteil. Es waren ihre Stimme und ihr Spiel, die den Assoziationsraum öffneten, in dem, für einen Abend lang, eine Zeit aufschien, die ein Versprechen barg und alles möglich machte.
Dass sich nicht jedes Versprechen erfüllt, wusste Gréco wohl am besten. Sie war dreimal verheiratet, zuletzt mit Gérard Jouannest, der für Jacques Brel mehr als vierzig Chansons komponierte, bevor er Gréco mehr als zwanzig Jahre lang am Klavier begleitete. Sie hat ein Kind geboren und eines abgetrieben. Eine Krebserkrankung überstanden. Ein Selbstmordversuch scheiterte. Bis vor wenigen Jahren stand sie auf der Bühne, aber sie wusste, wann die Zeit vorbei war. „Man darf nicht als Besiegter gehen, sondern als Sieger“, sagte sie, kurz bevor sie zum letzten Mal in Deutschland auftrat. Das ist ihr gelungen. Am Mittwoch ist Juliette Gréco im Alter von 93 Jahren gestorben.
Quelle: F.A.Z.
The Palatine Chapel is the royal chapel of the Norman Palace in Palermo, Sicily. This building is a mixture of Byzantine, Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island.
Also referred to as a Palace church or Palace chapel, it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei. Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas. The three central figures, St. Gregory, St. Basil, and St. John Chrysostom, are the Three Great Orthodox Church Fathers referred to as the Three Hierarchs, which originated fifty years earlier. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
Carefully negotiating the double "S" curves located at Sellarsville, four SFG RS18-3 have 37 cars tucked on their drawbars, rolling by the Restigouche river, only four miles out of Matapedia.
Nobody knows for sure how long that kind of show will last, but despite an eventual motive power change on the SFG, the scenery will fortunately remain the same.
SFG was to me, my second railroad family. I made really good friends there over the years, endured winter, summer and fall conditions, watching these special breed of railroaders operating 65 years old engine over a difficult piece of track for a railroad who was basically dead on paper only 10 years ago.
I made eight 20-hours drive round-trip to photograph almost every possible accessible locations over the Cascapedia subdivision, asked by SFG's officials for pictures used in company publications, Christmas cards for employees and customers, magazine articles for railroad promotion, website and more.
Going there still give me the thrills, the shortline thrills.
The railroad thrills. Something sadly I can now barely feel in my 17 years railroading for Canadian National.
Waiting deep in the forest, at the far end of a four miles long backroad, coffee in hand, frost on the ties, hearing ALCo prime movers miles before actually the train itself, anticipating the picture or simply soaking in that mood while hearing locomotive engineer made throttle modulation and purely Canadian K3 horn echoing all over the place, like if three or four trains are coming my way.
That's truly a therapy. A railroading one but still a therapy to me.
Mr. Benson had his Sierra Railroad. I got mine too.
And I'm really glad to be part of it at least one time a year since 2016.
SFG 565-05
1868 1819 1821 1865
Milepost 4.3 Cascapedia subdivision
Sellarsville,QC
October 5th 2023
The Palatine Chapel is the royal chapel of the Norman Palace in Palermo, Sicily. This building is a mixture of Byzantine, Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island.
Also referred to as a Palace church or Palace chapel, it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei. Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas. The three central figures, St. Gregory, St. Basil, and St. John Chrysostom, are the Three Great Orthodox Church Fathers referred to as the Three Hierarchs, which originated fifty years earlier. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
Lands Beyond the Stone Wall - The Druids Passage by Daniel Arrhakis (2023)
"Lands Beyond the Stone Wall" A new series created by Daniel Arrhakis for 2023
With music: Ireland 4K - Scenic Relaxation Film With Calming Music
youtu.be/ycDLfQ1Cv_Y?list=TLPQMjExMDIwMjOQ6DU4wSOdSQ
In the past i study Geology in University, i decided to create, through the help of Artificial Intelligence, some breathtaking landscapes resulting from the erosive action of water throughout geological cycles.
By changing certain parameters such as lithology, the type of karstic modulation as well as local environmental conditions, these series of landscapes are the result of these attempts...
I hope you like them and can one day visit them somewhere on our beautiful Earth!
Wish to all my friends a wonderful Weekend !
Peace for Palestine and Israel, prayers for the end of this senseless war...
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
c/o Wikipedia
Number 3 and the final of a series of Guitar Midi ad manipulations done in 2000 on an original "bubble" iMac in Photoshop 6.
I took these images ( 3 of them used for this composition ) and further manipulated some and collaged them into this present form. Blowing old files up to current size grains them out but I love the look of that.
The repeated modulations of the same images across the frame is a kind of visual "synaesthesia" of musical notes spanning either the aural picture of a piece of music or acting as visual stand-ins for notation. Playing with the visual in the service of music.
Created for The "Award Tree" Group's challenge "Music Works".
www.flickr.com/groups/awardtree/discuss/72157707063052805/
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Music Link 1. ) "Four Sticks" - Led Zeppelin, from their fourth album, sometimes known as "Zoso" or "Zofo". While "Four Sticks" is one of Zeppelin's more obscure, lesser known pieces it is nevertheless one of their very best. A phenomenal arrangement of multiple layers of electric and acoustic 6 and 12-string guitars with a killer riff that defines guitarist Jimmy Page's extraordinary, almost visionary approach to the instrument. Idolized and worshipped as a player, what really make Page a phenomenon was his impeccable musicality. He could write powerful, unforgettable music with brilliantly new ideas and a strength and power that was wild but beautifullly crafted and tastefully arranged.
Page had an enormous, prodigious talent for creating guitar lines that have pretty much defined what rock guitar phrasing is all about. His ability to write a 'hook' that held you fast and really took you somewhere both darkly Dionysian and brilliantly Apollonian was what made the band the legend that it was. Robert Plant's vocals here are so obscure and muddied that the lyrics he's singing are purely incidental. What he's really doing is turning the vocal line into another instrument to solo over top of Page's chugging, meaty guitar parts. It works brilliantly. "Four Sticks" ...
www.youtube.com/watch?v=iJp27QMR2KU
Music Link 2.) "Third Stone from the Sun" - Jimi Hendrix, originally from his album, "Are You Experienced ?" ( 1967 ). What can one say about Jimi Hendrix that hasn't been said ad infinitum ? He played a Fender Stratocaster ( depicted in my image ) and made it's distinctive sound almost synonymous with himself. "Third Stone" was never one of Hendrix's more famous songs like "Purple Haze", "Foxy Lady" or "Voodoo Child". It's almost entirely instrumental with only spoken voice parts to add to its monumental psychedelic sound. Pay attention, as well, to Mitch Mitchell's incredibly deft and very musical drumming !! After "Wind Cries Mary", it's my favourite Hendrix piece.
Unfortunately the Hendrix family estate is extraordinarily strict on allowing YouTube releases of his work. Instead I got this link to the original piece through its posting as an item on the soundtrack of a movie of questionable value. Who cares though ? I got it !!! "Third Stone from the Sun" in all it's original glory ...
www.youtube.com/watch?v=h-Rg5FGs-9w
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© Richard S Warner ( Visionheart ) - 2000, 2019. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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It was surprising how quickly the tide came in at Berrow while out photographing the SS Nornen.
I gave up on the 10-stop images and reverted to a 3 stop filter to capture some movement in the water.
Thanks to Modulation Mike for the invite.
After many attempts of unsuccessful choreographed wand waving, I decided to go for a random attempt which worked out quite well. The combination of the slow PWM in the Color Shine Flashlight and the different sides of the Denis Smith made Lightflute CH120m results in some pretty cool effects when viewed large. Post processed from RAW in Adobe Lightroom 6.
...with the celebrated modulation one whole step higher from what ever the hell you started it in...
Testing out a perspex rod below Tyneside.
More of this kind of stuff on the dreaded facebook: www.facebook.com/pages/Lightpaintingorguk/517424921642831
Just playing around with light source effects in both still and video, testing a new array that uses pulse-width modulation to produce color variants.
Noble M400
Price
est $95,000
Engine
3.0-liter turbocharged V-6
Horsepower
425 bhp @ 6500 rpm
Transmission
6-speed manual
Weight
2320 lb.
The Noble M400 has 425 bhp yet only weighs 2320 lb. Sounds like the definitive lightweight sports car, doesn't it? But it's classified as a "kit car" in the U.S., which carries all kinds of negative connotations. So is the Noble for real? Turns out it's not only real, it's real good.
First, a bit of background on what a Noble is, and the process of acquiring one in the U.S. The M400 is the creation of Brit Lee Noble. After that, it gets confusing: The body and chassis are built in South Africa by Hi-Tech, imported to the U.S. by 1g Racing, in Hamilton, Ohio. After a prospective buyer purchases a rolling chassis (sans engine/drivetrain), it gets shipped to an installation shop of his choosing where a Roush-engineered (with Roush-mapped ECU) twin-turbo Ford V-6 and 6-speed Getrag transmission are installed. Whew!
While on the surface this might seem like a mess of gigantic proportions, the end result is impressive. The smooth-running 3.0-liter V-6 fires up with a couple of revolutions, settling into a quiet idle that belies the power (425 bhp at 6500 rpm and 390 lb.-ft. of torque at 5000) behind your head. Step on the long-travel throttle pedal (designed to give the driver better control) above 4000 rpm, though, and the M400 goes positively ballistic up to its 7200-rpm redline. Its blend of a medium-pitched snarl at full song and the whoosh! from the wastegates with every upshift makes you want to row up and down the positive-shifting 6-speed again and again (a far reach to 5th the only gripe here). Every time I did this, photographer Marc Urbano and I cracked up laughing, because we couldn't believe how crazy fast the car was. Testing proved 0-60 mph in 3.6 seconds and the quarter mile in 12.2, despite scorching hot temperatures.
Because of its incredible power-to-weight ratio, the Noble demands respect from its driver. It's not that it's hard to drive, but the rear tires can only do so much to control wheelspin exiting corners. Thankfully, the M400's quick-reacting chassis (a steel space frame with double-wishbone suspension front and rear) talks back to you, enabling you to catch oversteer with a quick flick of the steering wheel.
Like a Porsche 911 or a Lotus Elise, the Noble is all about weight transfer, requiring more driver attention than a typical car above 7/10ths. The front end feels light (with quick, communicative steering), producing a trace of understeer in low-speed corners, especially with power on. Trail braking works best through corners, thankfully without the snap oversteer tendencies of some mid-engine cars. And unlike most cars, which constantly remind you how heavy they are, the Noble is the opposite, at all times impressing with how light and nimble it is. This was proven by the 1.01g it pulled on the skidpad and 72.4 mph through the slalom, both near records at R&T.
Often classified as a track car, the M400 is actually a highly competent road machine. Suspension travel is quite good and the Bilstein coil-over shocks soak up bumps far better than a Lotus Elise. Although the M400 does without ABS, the firm brake pedal offers great modulation of the 13.0-in. AP Racing vented and cross-drilled rotors clamped by 4-piston calipers front and rear.
The interior is simple (crank windows, yet there's a/c), but because it's bathed in Alcantara (including the rollcage) it gives off a production-car feel, despite the unfinished plastic dash and Ford Mondeo switchgear. The super-tight pedal box is offset to the right, with possibly the smallest dead pedal ever.
1g Racing gets an allotment of six rolling chassis a month, at a price of $66,900; the engine/transaxle configuration adds another $19,000 or so. Installation brings the total to around $95,000, which may seem like a lot for a car that doesn't come complete from the manufacturer. But drive it and you'll believe: The Noble is one of the best sports cars in the world.
This commercial transistor receiver Navigator 555 was sold by Bendix (USA)) around 1970 and was manufactured by the Japanese company Koden Electronics in Tokyo, which is still active today as an electronic equipment supplier for the maritime industry. This device was built for boats and ships, and could receive not only radio broadcasts but also maritime radio transmissions from 1.6 to 4.6 MHz, which was still common practice at the time with amplitude modulation. In addition, radio beacons could be located on long wave with the help of the rotating antenna installed at the top as a direction finder, thus determining the direction and, within the limits of the circumstances, also the location. Of course, it was intended more for simple navigation, but GPS and other modern aids had not yet been invented or were simply unaffordable! This device is very robustly built and, as it seems, was used frequently, but it still works, and since NDB radio beacons still exist, one can still hear their classic Morse code signals! There are probably not many examples of these devices left...
You can also follow my work on Instagram ;D
www.instagram.com/yasha_jakovsky/
Hill of Sv. Mihovil / St. Michael (263 meters) is the second hill at the height of the island Ugljan. One year after the destruction of Zadar from the Crusader in the year 1203 Venetians build the fortress of Sv. Mihovil to control Zadar and to prevent reconstruction of city and to protect their ships and merchants. Citizens of city Zadar win the battle and took fortress from Venetians, the fortress was damaged and a Venetian crew were trapped. The fortress was first mentioned as castrum S. Michaelis de Monte at year 1345 during the Venetian siege of Zadar.
P.s. There is a plan to renew this fortress, I hope it will happen soon.
For more information please read here
www.nasiskolji.hr/sv-mihovil-projektna-dokumentacija
This song is inspiration for my title :o)
Auguste Rodin, 1840 - 1917
The Age of Bronze
L'Age d'Airain model 1875-1876, cast 1903-1904
This cast was purchased by the original owners in 1905 from the artist. I have questions about how involved Rodin was in the creation of the reductions. In the normal course of events the artist would produce a maquette for a sculpture. It would be enlarged or reduced by artisans working under his supervision. The subtlety of surface modulation is mostly lost in the reduced version. flic.kr/p/y3BKJt
"i Light Marina Bay is Asia’s only sustainable light art festival that showcases innovative content, the intelligent use of lighting as well as an international line-up of creative talents.
iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns."
Visit the official website - www.ilightmarinabay.sg/
Lands Beyond the Stone Wall - The Waterfall Of The Blue Giant by Daniel Arrhakis (2023)
With the music : Magical Scotland - 4K Scenic Relaxation Film with Calming Music
"Lands Beyond the Stone Wall" A new series created by Daniel Arrhakis for 2023
In the past i study Geology in University, i decided to create, through the help of Artificial Intelligence, some breathtaking landscapes resulting from the erosive action of water throughout geological cycles.
By changing certain parameters such as lithology, the type of karstic modulation as well as local environmental conditions, these series of landscapes are the result of these attempts...
I hope you like them and can one day visit them somewhere on our beautiful Earth!
Wish to all my friends a wonderful Weekend !
Peace for Palestine and Israel, prayers for the end of this senseless war...
Du Grand Volcan sort à sa base une sculpture-fontaine, qui est un moulage de la main d'Oscar Niemeyer3. Sa citation révèle son engagement politique : « Un jour, comme cette eau, la terre, les plages et les montagnes, à tous appartiendront ».
« Quand je dessine, seul le béton me permettra de maîtriser une courbe d'une portée aussi ample. Le béton suggère des formes souples, des contrastes de formes, par une modulation continue de l'espace qui s'oppose à l'uniformisation des systèmes répétitifs du fonctionnalisme international. »
— Oscar Niemeyer, Les courbes du temps (mémoires), 1997
From the Grand Volcano emerges at its base a sculpture-fountain, which is a cast by the hand of Oscar Niemeyer3. His quote reveals his political commitment: “One day, like this water, the land, the beaches and the mountains, to all will belong”.
“When I draw, only concrete will allow me to master a curve of such wide range. The concrete suggests flexible forms, contrasts of forms, by a continuous modulation of space which opposes the standardization of the repetitive systems of international functionalism. »
— Oscar Niemeyer, The curves of time (memoirs), 1997
Fotografia capturada en Salamanca, durante una mañana de niebla, frio y humedad en los últimos dias del otoño que acaba de terminar.
Muchísimas gracias en avanzado para todos, por vuestras visitas, comentarios y favoritos. Muy apreciado el apoyo recibido :):) Feliz Navidad para todos mis amigos de Flickr
Thanks so much to all in advanced, for the visits comments and faves. Very appreciated for the received support :):) Merry Christmas to all my flickr friend !!