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Full Wave 1 Gallery at the Toyark: news.toyark.com/2014/03/21/dc-collectibles-arkham-origins... - DC Collectibles Arkham Origins Wave 1
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Don't forget to add me on Facebook if you like my Assassin's Creed Origins screenshots ;) Thanks a lot for watching !!!
The dangerous pyromaniac Firefly, based off of his appearance in Arkham Origins.
When building my Firefly, I focused in on the fact that in the game, he appears with a large jetpack and armor, but with thin legs dangling around as he flies. I loved that part of his character, so I constructed my Firefly to have a large upper body and jetpack, to give the appearance of thin legs. I also constructed him a large oversized flamethrower, which uses a great (newer) CM printed cylinder piece.
Pictures taken during a storm on the wonderful black sand beach famous for towering glistening fragments of drifting icebergs.
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Foto scattate durante una tempesta nella meravigliosa spiaggia di sabbia nera famosa per gli imponenti frammenti scintillanti di iceberg alla deriva.
For those that know this album, it is instantly recognisable. Otherwise there are no clues in the cover!
The second album by a Super Massive (that is a clue) band. I had the first album which I was stunned by. This was released in 2001 and that was it - hooked again. My son was born the same year and nearly 17 years later he is a bigger fan than I. We have every album by them. They are quite possibly the best band I have ever seen live, although it took me a while, with 2 attempts foiled by life events! With the first album release in 1999 whilst pregnant with number 2, this band have formed the backdrop to having the 4 kids and our child rearing years. Its hard not to relate any track by this band to some holiday / birthday or another event.
the boy and I both agree that this is stunning album, even though it is not their most commercial success.
Udine ([ˈuːdine] About this sound listen (help·info); Friulian: Udin, German: Weiden, Latin: Utinum, Slovene: Videm) is a city and comune in northeastern Italy, in the middle of the Friuli-Venezia Giulia region, between the Adriatic Sea and the Alps (Alpi Carniche), less than 40 kilometers (25 miles) from the Slovenian border. Its population was 99,244 in 2016.
Origin of Castelmonte
The Shrine of Castelmonte is very ancient ‑ it is the most ancient of ali the Shrines in the Venetian Region and ranks as one of the oldest pilgrimage‑centres of Christianity.
The origin of this most celebrated Shrine is lost in antiquity and the earliest evidence of its existence can be traced back to the 5th Century. The accidental discovery of two floors of «cocciopesto» of the 6th Century, brought about during the excavations for the enlargement of the Crypt, leaves no doubt that Castelmonte was inhabited since those remote times.
After the Council of Ephesus (431) solemnly proclaimed Mary as being the true «Mother of God» a fresh wave of fervent and heartfelt devotion to Our Lady swept the whole of Christianity. Castelmonte, being then within the boundaries of the vast and important Patriarchate of Aquileia, must have attracted a large crowd of pilgrims from that area which was already renowed for its devotion to Our Blessed Mother.
The Tughlaqs (AD 1321-1414) were a dynasty of Turkish origin who ruled over much of India and built at a fast and furious pace various fortifications and cities. Tughlaqabad was the first fort and city built in a short span of 4 years. It runs for almost 6.5 kms and was built with heavy walls to prevent the onslaught of the Mongol invaders who laid siege ever so often to the wealthy kingdoms of the river plains of India.
If you travel on the Mehrauli Badarpur Road which was incidentally built by Ghiasuddin Tughlaq himself, you can not miss the massive structure that runs alongside. The thick stone walls standing atop the raised hillside stand impregnable and imposing and almost awe inspiring as they were 800 years ago albeit with a few crumbling portions. The circular bastions punctuate the walls ever so often and there is only 1 main gate that is now visible from the almost 27 that existed earlier.
Ghiasuddin Tughlaq who founded this dynasty had a long standing feud with a Sufi saint Nizamuddin Auliya. While the Tughlaqabad fort was being made, all laborers, masons, carpenters and others were by a royal mandate forced to work on the fort alone and nowhere else. Some of the workers devoted to the Sufi saint would work the nights to build a step well for the sufi congregation. This irked the Sultan of Delhi no end and he decreed that no oil would be sold to light the lamps to work on the well. This did not stop the work at the saint's well.
To compound the feud, the Sultan while returning to Delhi from his conquests decreed that the Sufi saint should pack up and leave Delhi before he came back to Tughlaqabad.
The Sufis were mostly mystic who believed in attaining goodness in this life rather than the Moslem next. Nizammuddin Auliya had a great following and was supposed to have legendary gift of uttering pithy tracts of Truth that would generally come to pass and thus become miracles.
It is in this backdrop that the Sufi saint uttered two famous sayings.
1) "ya rahe usar, ya base gujar’ "
Nizammuddin condemned the whole city and fort of Tughlaqabad to be a "hissar or " ussar" or "Ujjar" meaning that the place would be abandoned or else it would be the resting places for "Gujars" or "Gujjars" who were herdsmen tending to sheep and cattle.
2) "Hunooz, Dilli dur Ast"
This was the prophetic saying that for Ghiasuddin Tughlaq Delhi would always be too far away.
It transpired exactly the way the Sufi saint said it. The Tughlaq monarch never did reach Delhi. He was disposed off in a convenient accident cum murder by his son much before he entered Delhi. The city and fort of Tughlaqabad was abandoned by the new Sultan and till date you only see Gujjars with their buffaloes amongst the ruins of the city.
This red monument is the mausoleum of Ghiasuddin Tughlaq, a great visionary with a flawed indulgence and belief of omnipotence.
Dates
Taken on March 1, 2013 at 6.13PM IST (edit)
Posted to Flickr May 3, 2013 at 4.26PM IST (edit)
Exif data
Camera Nikon D300
Exposure 0.01 sec (1/100)
Aperture f/4.0
Focal Length 12 mm
ISO Speed 400
Exposure Bias -2/3 EV
Flash No Flash
_DSC2758 nef 2exp
While some ideas or photo concepts reach my mind quite naturally, I must confess that this one was hard to come up with. Speaking about the origins of life in a metaphorical way is definitely a challenge, since people can obviously have very different interpretations of the subject. This is why I choose to combine several concepts together: Eve and the forbidden fruit, a broken egg, plants, life, death. While I am not myself a religious man, so many incredible pieces of art have religion as an inspiration: I would be a fool to ignore that fact. So I decided to follow the steps of many famous artists in History, modestly and respectfully, since my goal was not to be provocative in any way. I must say I am very proud of the result, and I hope some will like this combination of classicism and modernism.
Regarding the making of the image, my dear wife was once again wonderful. Not only did she accept to pose, but she also had great ideas to help with the composition (particularly the plant shape) and colors: I would never had reached this result without her. Besides the main photo, I also took shots of a broken egg shell (I used it combined with her body), plants, leaves. The hair is also my wife’s, although it has been shot separately, and recolored.
With this image, I believe I am getting closer to what I truly want to express through my work, style-wise and meaning-wise. I am of course aware that some could hate it for several reasons, but I feel the need to keep trying new things and walking forward on the creation path.
Origin is an interactive sound and light installation that functions through the use of the electricity naturally produced from the bodies of the participants. Through this we are given the opportunity to experience a world of light and sound created by our own physicality. Photo by Kelvin Trundle : Facebook - www.facebook.com/KelvinTrundlephotography/
The build used in my Deadpool vs the Fourth Wall creation.
The build here was heavily inspired by X-Men Origins: Wolverine; and while it’s small and cute, I think it depicts the scene fairly well, considering that depicting the scene was not really the point of the build anyways. Originally, for my Deadpool vs the Fourth Wallbuild, I wanted to have Deadpool blasting out a wall on the back of a build, landing into the film production (Somewhat seen in the final build), but hah, well it’s not the “Fourth Wall” unless he’s jumping out of the invisible viewable wall in the front—required to do that made the overall build less “action-ey” but still nice in the end.
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In other J-No news, I’ve got a few things on the list to be made as well as released. Tuesday, October 1st, arrives Batman: Arkham Origins, Deathstroke. There are currently no Batman Animated Series builds scheduled to be released soon; I’m currently searching for episodes to create next, and then any pieces I may need to acquire for them as well. Potential Wonder Woman build coming, along with a possible Superman build as well as another Marvel build I’ve wanted to do for a while.
Les origines du carnaval dunkerquois remontent au début du XVII e siècle. Les armateurs offraient aux marins-pêcheurs, avant de partir pour 6 mois de pêche à la Hareng en Islande, un repas et une fête (la « Foye »), ainsi que la moitié de leur solde
Le origini del Teatro risalgono all’inizio del XVIII secolo quando Vittorio Amedeo II decise di commissionare all’architetto Filippo Juvarra la progettazione e la costruzione di un nuovo grande teatro nell’ambito del più generale riassetto urbano della Piazza Castello.
L’intento venne però perfezionato solo qualche anno più tardi da Carlo Emanuele III (incoronato re nel 1730) il quale, in seguito alla morte di Juvarra, scelse di affidare il progetto all’architetto Benedetto Alfieri con la richiesta di progettare un teatro di grande prestigio. Il «Regio Teatro» di Torino, edificato nel tempo record di due anni, venne inaugurato il 26 dicembre del 1740 con l’Arsace di Francesco Feo, diventando subito un punto di riferimento internazionale per la capienza – circa 2.500 posti tra platea e cinque ordini di palchetti –, le magnifiche decorazioni della sala fra le quali spiccava la volta dipinta da Sebastiano Galeotti, gli imponenti scenari e le attrezzature tecniche, nonché la qualità delle rappresentazioni.
Ogni stagione aveva inizio il 26 dicembre, si concludeva con la fine del Carnevale e comprendeva due nuove opere serie composte appositamente per il Teatro: nel corso del XVIII secolo scrissero per il Regio celebri compositori italiani come Galuppi, Jommelli, Cimarosa, Paisiello e autori stranieri come Gluck, Johann Christian Bach e Hasse; vi cantarono inoltre i più celebri castrati e prime donne dell’epoca, contribuendo in modo determinante al successo degli spettacoli. Non minore interesse suscitavano i danzatori, che si esibivano nei due balli entr’acte e nell’azione coreografica finale che corredavano ogni opera.
1790-1814
Manfiesto della Fête de la St. Napoleon, 1813 Par ordre de S.A.I. le Prince Camilleur, Dimanche 15 Août Théâtre Imperial Entrée gratis TurinIn seguito a cinque anni di chiusura (1792/1797) il Regio cambia nome più volte, rispecchiando gli eventi storici: nel 1798 diviene Teatro Nazionale, nel 1801 Grand Théâtre des Arts e nel 1804 Théâtre Impérial.
Nel clima moralizzatore degli anni repubblicani è abolito il gioco d’azzardo e viene proibito l’ingaggio dei castrati (che torneranno in epoca imperiale). In repertorio continuano a esserci opere italiane, con libretti rimaneggiati più o meno superficialmente in senso giacobino. Napoleone presenzia agli spettacoli in tre occasioni e giungono a Torino interpreti di prima grandezza, come il soprano Isabella Colbran, il tenore Nicola Tacchinardi e il coreografo Salvatore Viganò.
1815-1870
Architettura neoclassicaCon la Restaurazione, il teatro rientra in possesso dei Savoia. All’epoca di Carlo Felice, grande appassionato di musica, calcano le scene del Regio virtuosi come Giuditta Pasta e Domenico Donzelli, ma nell’Ottocento Torino perde importanza rispetto a Milano, Napoli e Venezia.
Sotto Carlo Alberto la sala riceve un’impronta neoclassica (sottolineata dai lavori di rifacimento affidati a Ernesto Melano e Pelagio Palagi). Alla metà del secolo vengono introdotte alcune novità nella programmazione: si passa alla stagione di Carnevale-Quaresima, articolata in cinque o più opere, ora prevalentemente di repertorio (e non più scritte appositamente per il Teatro). Inoltre a partire dal Barbiere di Siviglia rossiniano (1855), il Regio si apre all’opera buffa.
Un nuovo restauro, realizzato da Angelo Moja nel 1861, cancella le modifiche palagiane conferendo alla sala una veste “neobarocca”.
1870-1936
Programma illustrato del decimottavo Concerto Popolare sotto la direzione del Maestro Cavalier Carlo Pedrotti, Teatro Vittorio Emanuele, 1876Nel 1870 la proprietà del Regio passa al Comune di Torino; in questi anni la storia del Teatro si intreccia con quella dell’Orchestra Civica e dei Concerti Popolari ideati da Carlo Pedrotti, il quale apporta forti innovazioni nel repertorio introducendo nella programmazione la musica di Wagner e Massenet. Nel nome di Wagner è pure l’esordio in Teatro di Arturo Toscanini, che collabora con l’Orchestra dal 1895 al 1898 e che il 26 dicembre 1905, dopo i lavori di ristrutturazione guidati da Ferdinando Cocito, inaugura la nuova sala con il Sigfrido.
Altri autori significativi nella storia del Regio sono Giacomo Puccini, che tiene a battesimo a Torino Manon Lescaut (1893) e La bohéme (1896), e Richard Strauss, che nel 1906 dirige Salome in “prima” italiana. L’ultima grande “prima” ospitata dal Regio antico è Francesca da Rimini di Riccardo Zandonai, su libretto di Gabriele D’Annunzio (1914). Dopo la chiusura nel periodo bellico, il Teatro si dedica a opere di repertorio.
Nella notte tra l’8 e il 9 febbraio 1936 il Teatro viene distrutto da un violento incendio: saranno necessari quasi quarant’anni per la sua ricostruzione.
1936-1973
ConcorsoDopo l’incendio del 1936, si pone il problema di stabilire a chi affidare il progetto di ricostruzione del Teatro. Il bando di concorso, pubblicato nel 1937, viene vinto dagli architetti Aldo Morbelli e Robaldo Morozzo della Rocca.
Il loro progetto, tuttavia, non si sarebbe mai concretizzato: nel 1965, infatti, l’amministrazione civica promuove una nuova soluzione con l’affidamento dell’incarico all’architetto Carlo Mollino e all’ingegner Marcello Zavelani Rossi. I lavori hanno inizio nel settembre 1967 per concludersi nei primissimi mesi del 1973.
Dal 1973 a oggi
Cancello Teatro Regio, OdisseaIl nuovo Teatro Regio viene inaugurato il 10 aprile 1973 con l’opera di Giuseppe Verdi I vespri siciliani, per la regia di Maria Callas e Giuseppe Di Stefano. Da quella data l’attività produttiva si è progressivamente incrementata, fino alle ricorrenze che hanno segnato la storia degli ultimi anni del Regio: nel 1990 il 250° anniversario dalla sua fondazione, nel 1996 il centenario dalla “prima” assoluta della Bohème in diretta tv, nel 1998 i 25 anni del nuovo teatro (con un importante restauro acustico), nel 2006 la straordinaria avventura dei XX Giochi Olimpici Invernali e delle Olimpiadi della Cultura.
Alla Stagione d’Opera e Balletto, che prevede almeno dieci titoli da ottobre a giugno, si affiancano molte altre attività: concerti sinfonico-corali e cameristici che vedono impegnati l’Orchestra e il Coro del Teatro Regio; una serie di spettacoli allestiti al Piccolo Regio e destinati al nuovo pubblico e alle famiglie; manifestazioni organizzate in collaborazione con le istituzioni locali come Torino Settembre Musica, Torinodanza, RegioneInTour, Punto Verde Giardini Reali e altre; La Scuola all’Opera, fitto calendario di attività e spettacoli destinati a bambini e ragazzi; e poi conferenze, visite guidate e mostre. Tutte manifestazioni che pongono il Teatro Regio al centro della vita culturale e artistica di Torino e del Piemonte ma non solo.
Name: Alex Williams
Powers: Super Speed, Explosiveness
Origin: Alex Williams was a troubled child. Her mother left her and her father when she was 5 years old and she was left to live with her older brother and their drunken, derelict father. Sometime during the events of The Long Night, Alex was convinced by her brother, Drake Williams, (who had become a member of The Skull's gang) to try a dose of clone. However, unbeknownst to both Drake and Alex, the dose Alex injected was "tainted" with an ATP producing chemical created by Dr. Toxin. Alex soon discovered she could use the excess ATP to run at super speeds. However, if Alex ever stops moving, the buildup of energy will be too great, causing her to explode. Dispite her sketchy connections, she has joined the League of Heroes to try to bring her brother home, though wether her teammates can fully trust her remains in doubt.
Credit for the ATP-producing drug, along with the characters Skull and Dr. Toxin, goes to Jeremy Green. Go check his stuff out here if you haven't already: www.flickr.com/photos/10211834@N07/
The Origins and Purpose of Street Art and Graffiti — A Historical Essay.
Prehistoric and Ancient Beginnings (40,000 BCE – 500 CE)
Graffiti’s origins stretch back to humanity’s earliest visual culture. Prehistoric cave paintings — including hand stencils created by blowing pigment through tubes — functioned as some of the earliest “tags,” marking presence and identity. These date from 40,000–10,000 years ago.
By the classical era, graffiti was widespread across Ancient Greece and Rome, where people scratched messages, jokes, political commentary, and personal boasts into walls. The oldest known written graffito dates to around 500 BCE.
In Pompeii, graffiti served as advertising, satire, political slogans, and everyday communication, revealing the lives of ordinary people rather than elites.
Purpose in this era:
1. Marking presence (“I was here”)
2. Social commentary
3. Recording daily life
4. Religious or political expression
5. Communication by non‑elites otherwise absent from written history
Medieval to Early Modern Graffiti (500–1800 CE)
Graffiti continued through the medieval period, especially in religious and rural landscapes. In the Middle East, the Safaitic inscriptions — scratched onto rocks across Syria, Jordan, and Arabia — are the only surviving record of an ancient Arabic dialect.
In Europe, travellers, workers, and even antiquarians carved names and messages into castles, churches, and monuments. At Stonehenge, 18th‑century visitors left carved signatures, showing graffiti as a record of presence and identity.
Purpose in this era:
1. Recording travel or pilgrimage
2. Personal memorialisation
3. Folk expression by ordinary people
4. Documentation of labourers and craftsmen
The Birth of Modern Graffiti (1950s–1970s)
Modern graffiti culture emerged in Philadelphia in the 1950s, led by figures like Cornbread, who pioneered tagging as a form of self‑promotion and identity.
By the late 1960s and early 1970s, graffiti exploded in New York City, especially on subway trains. Writers such as TAKI 183 and others transformed tagging into a competitive, stylised art form.
This era marks the shift from simple inscriptions to complex lettering, murals, and large-scale public visibility.
Purpose in this era:
1. Personal identity and fame (“getting up”)
2. Reclaiming public space
3. Youth expression in marginalised communities
4. Resistance to social and economic exclusion
The Rise of Street Art (1980s–2000s)
Street art evolved from graffiti but expanded into stencils, wheat‑paste posters, stickers, installations, and murals. Artists like Keith Haring, Jean‑Michel Basquiat, and later Banksy brought street art into global consciousness.
Street art differed from graffiti by focusing less on lettering and more on imagery, political messages, and public commentary.
According to The Art Story, street art grew from the belief that art should be:
1. Accessible to everyone
2. Outside traditional institutions
3. Democratic and empowering
4. A counter‑attack against advertising and corporate messaging
5. Purpose in this era:
6. Political protest
7. Social commentary
8. Challenging authority and capitalism
9. Beautification and community identity
Artistic experimentation outside galleries
Contemporary Street Art and Graffiti (2000s–Present)
Today, graffiti and street art occupy a complex space between vandalism, public art, activism, and cultural heritage.
Graffiti remains illegal in many contexts, yet it is also recognised as a vital form of urban storytelling, especially for marginalised voices.
Street art, meanwhile, is often commissioned by cities, festivals, and cultural institutions, blurring the line between rebellion and acceptance.
Current purposes:
1. Urban regeneration
2. Tourism and cultural branding
3. Community identity
4. Political resistance
5. Artistic innovation
Street art and graffiti are not modern inventions — they are part of a 40,000‑year human tradition of marking presence, expressing identity, and challenging power. From Roman jokes to New York subway tags to global street murals, they remain one of the most democratic and immediate forms of public expression.
1953 Porsche 550 #550-001
This car is the first 550 and the first pure race car ever built by Porsche.
It won Nurburgring 1000 km 1953 (Helm Glöckler), finished 2nd in class at Le Mans 1953 (Hans Herrmann / Helm Glöckler), DNF at the Carrera Panamericana 1953 (Jaroslav Juhan) and won 1000 km Buenos Aires 1953 (Jaroslav Juhan)
Porsche Rennsport Reunion V
Mazda Raceway Laguna Seca
Hopefully my last Origins photo. These figures have been a joy to make, and I really appreciate all of the support and feedback I have received on these figures. Which is your favorite and why? I will tag those who have inspired me or have given me and idea for a figure :)
“Origins” (2021) Inspired by the stunning Iceland aerial photographs by Haraldur Diego (aka @volcanopilot ) this black sand abstract focuses on form, texture and flow. When I learned of his passing last month, I decided to process an abstract as my own personal tribute to him. I never got to meet Haraldur in person, but I appreciate how he showed the world the beauty of Iceland’s glacial rivers and streams. Thank you!
C'est un Hôtel en pan de bois du XVIIe s. situé à l'origine près du Gros Horloge dont les façades ont été déplacées en 1965 dans la rue d'Amiens pour faire place à un Monoprix.
Nikon FE - Film Kodak TriX 400 @800 iso
Développement Kodak D76 1+1
Un merle blanc est un merle commun (Turdus merula, le Merle noir) dont tout ou partie du plumage est blanc au lieu de noir (pour le mâle) ou brun sombre (pour la femelle).
Cette anomalie de pigmentation étant peu fréquente, le merle blanc est devenu un symbole de rareté. On la connaît cependant chez plus de 160 autres espèces d'oiseaux (il y a notamment des hirondelles blanches et des corneilles blanches), mais chez qui la dépigmentation est encore plus rare que chez le Merle noir.
Il arrive qu'un merle, normalement noir ou brun sombre avec un bec jaune, manifeste une dépigmentation totale ou partielle, qui peut ou non évoluer au cours de la vie de l'animal. Elle est toujours d'origine génétique et implique une anomalie dans la production ou la distribution de la mélanine, mais il en existe trois sortes:
• le cas le plus fréquent (environ 90 %) est celui des merles qui blanchissent avec l'âge. Ces merles naissent de couleur normale mais à l'âge adulte il apparaît une ou quelques plumes blanches, puis de mue en mue les plumes blanches sont de plus en plus nombreuses, jusqu'à ce que le merle devienne entièrement blanc après quelques années. Les yeux des merles blanchis restent noirs ;
• les merles albinos naissent entièrement blancs et le restent toute leur vie, en raison d'une mutation génétique qui les prive de toute mélanine. Leurs yeux sont rouges et leurs pattes rose pâle (ces couleurs sont celles du sang, vu par translucidité), mais leur bec est de couleur normale (jaune) car elle est due à d'autres pigments (des caroténoïdes)2 ;
• les merles leuciques (ou leucistiques), plus rares encore que les albinos, ont dès leur naissance des zones blanches, limitées (souvent aux extrémités des ailes, aux pattes ou au cou et à la tête et généralement symétriques gauche-droite) ou prédominantes, voire sont entièrement blancs. En revanche les yeux sont noirs. Cette configuration, due à des problèmes de différenciation, de migration ou de dégénérescence des chromatophores et des mélanocytes lors de l'embryogenèse, n'évolue pas au cours de la vie de l'animal.
L'incidence de ces anomalies est mal connue à la naissance, car on connaît surtout les populations de merles adultes et les merles blancs sont plus exposés à l'attaque des prédateurs. De plus, les merles albinos ont une déficience visuelle : beaucoup plus sensibles à la lumière, ils atteignent rarement l'âge adulte, contrairement aux merles leuciques ou bien sûr blanchis.