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Two vessels.
One river.
A moment held in distance.
The muted tones of the water and sky dissolve the horizon, leaving only motion, balance, and silence. This moment feels suspended, as if the river is less a destination and more a pausewhere journeys coexist without intersecting.
Taken on a early morning, when the river speaks softly and everything moves at its own pace.
You better be good at parallel parking in La Grange, Kentucky, if there is a train in the street! Here, southbound CSX train No. Q573 with HLCX locomotive on the point puts the pressure on the driver of a black Kia Rio on the afternoon of August 10, 2012. As can be seen, there is not much of a driving lane on the south side of Main Street.
Les Backwaters sont une série de lagunes et de lacs d'eau saumâtre parallèle à la mer d'Oman, paysage typique de l'État du Kerala au sud de l'Inde.
Le réseau, constitué de quelque 1 500 kilomètres de canaux, tant naturels qu'artificiels, inclut plusieurs grands lacs dont l'Ashtamudi et le Vembanad. S'étendant sur pratiquement toute la longueur de la côte du Kerala, il est alimenté par une quarantaine de fleuves côtiers descendant des Ghâts occidentaux. Les lagunes ont été constituées par l'action des vagues et des courants côtiers créant une barrière d'îles basses aux embouchures des fleuves côtiers.
Le lac Vembanad, le plus grand intégré dans le réseau et couvrant une superficie de 200 kilomètres carrés, est encadré par les districts d'Alappuzha, de Kottayam et d'Ernakulam. Le port de Kochi - l'ancienne Cochin - est situé au débouché du Vembanad avec la mer d'Oman. Le lac Ashtamudi appartient au district de Kollam et la ville de Kollam - l'ancienne Quilon - se trouve à son débouché.
Reliées par les canaux creusés par la main de l'homme, les lagunes forment un réseau de transport de marchandises largement utilisé par l'économie locale. Les Backwaters sont aussi une importante attraction touristique du Kerala.
The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.
The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.
The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.
Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.
Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.
Processing some stuff from a couple of years ago...another version of the Sunset on Turtle Lake. The cloud cover moved fast which created scenes that looked dramatically different from one another. I was lucky to experience such beautiful colors, not something I get the chance to see often.
inspired by the right model in this picture.
the primary pleats are parallel.
secondary are two sets of radial pleats. they are centered in the middle of the long sides and opposite to each other as in this model. the center line which connects the centers of the radial pleats is not used in the collapse.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/2grKgG7
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✦ Now featuring: #puzzle #cinema #4d #c4d #cinema4d #octane #render #octanerender #photoshop…
By Natalie
It is interesting to observe our world today and our loss of communitarianism. The connected/disconnected paradox is omnipresent.
Earth 1 Wonder Woman: The New God of War
Earth 2 Wonder Woman: Good. Slightly Dead
Earth 3 Superwoman: EVIL
Tonight’s sunset. Some well-positioned aircraft vapor trails and diagonal cloud patterns helped produce this fascinating abstract. I shot this one fully intending to post-process it this way. :-)
I used ArcSoft's PhotoStudio to assemble this abstract.
Lake Erie, Ashtabula Ohio – February 14, 2008
Here I am standing on the 45th parallel, halfway between the Equator and the North Pole.
I bet you're surprised that we took a long weekend to celebrate our 21st wedding anniversary, and (here's the surprising part), we decided to head north! I mean it's not like we ever find an excuse to do this as often as possible or anything like that ;)
For some reason that I have never been able to explain, I have always wanted my picture taken here. What usually happens, or has at least the first 41 years of my life, is we forget it's coming up until we're already past it. Then I make some kind of comment like, 'bummer, we forgot about the sign again...maybe we'll remember on the way home this time'. Unfortunately we have a tendency to push our play time to the last possible minute and any stops outside a life threatening physical emergency on the way home are a pipe dream at best.
This time should have been no different. I followed the same script as always and was engrossed in something (cleaning my camera lens) and forgot it was coming up. All of a sudden the car slowed and pulled off, and immediately I thought oh shit... are we breaking down or being pulled over... Why else would you stop on the shoulder of an interstate highway? Hmmm maybe because your husband remembered and was thrilled that you didn't, just so he could surprise you? :)
We had a great trip taking in Lake superior, Grand Marias, and a small piece of the Pictured Rocks National Lake shore. It was an awesome day, looong and draining, but awesome.
The Steinhof Church (also: Church of St. Leopold) was built in 1904-1907, designed by Otto Wagner, and is considered one of the most important buildings of the Vienna Art Nouveau. The Roman Catholic church building is located on the grounds of "Social Medical Center Baumgartnerhöhe" in the 14th district of Vienna Penzing.
History
The Church of "St. Leopold", better known as Steinhof church (or Otto Wagner church Steinhof ) arose from the construction of the Lower Austrian State Hospital and Nursing Home for nervous and mental patients at the stone courtyard (Steinhof) 1904 until 1907. The for the planning responsible architect Otto Wagner had to take into account that there is an asylum church for mentally ill patients, and elicited in discussions with doctors and nurses the specific requirements of such a structure. A doctor's room, toilets and emergency exits were planned, the pews have due to injury no sharp corners. Wagner, in which projects the hygienic aspects have always been a big concern, designed instead of an ordinary holy water basin, a variant with dripping holy water to reduce the risk of infections. He designed the ground sloping down to the altar, so that patients could see better in the back rows to the front. There were also separate inputs not only for nurses but also for male and female patients, since at that time in mental hospitals segregation was prescribed. Lack of money, however, both the Cross as well as the Unterkirchen (Lower Churches) for Protestants and Jews were not realized. Also a heater was not installed.
8 October 1907 the church was opened by Archduke Franz Ferdinand. Between the Archduke, who was not very fond of the Art Nouveau style, and Otto Wagner, however, there was already the beginning of creative disagreements, why Wagner was not mentioned in the opening statement, and subsequently by the Imperial Household got no more orders. These resulting from very different views on architecture and aesthetics gap misled the Neue Freie Presse in its issue of opening day to the question: "And it's not a pretty ironic history that pretty much the first sensible large-scale secession building in Vienna has been built for the insanes?".
After about six years of extensive renovation, the church was established and on October 1st 2006 reopened. Among other things, the dome was re-gilded using 2 kg of gold, replaced the drum base with artificially patinated copper sheets and the marble facade completely replaced. Windows, mosaics and figures have been carefully cleaned and restored. The now radiant with the new look and highly visible in the western part of Vienna golden dome, reminiscent of half a lemon, incidentally, owes the Baumgartnerhöhe on which the church stands, it's nickname" Lemoniberg" . The church, in 2007, got three new bells that were made by the Grassmayr bell foundry. The church is only open for worship, as well as on Saturdays and Sundays for a fee. On these days, also guided tours take place.
Architecture
The church of Steinhof is next to the Secession building one of the masterpieces of Art Nouveau in Vienna and has parallels with the design, designed by Otto Wagner student of Max Hegele and 1910 finished of Charles Borromeo Church in Vienna's central cemetery. One of the distinctive features of the church is based on a Byzantine motif golden dome, supported inside by a clad structure. On the bell towers on the west front are enthroned Saint Leopold as the patron of Lower Austria and Vienna and to the east the preacher Severin. The figures were created by Richard Luksch. As well as the orientation of the church to the south rather than east introduced the representation of saints sitting rather than standing a breakthrough
Under the cornice is a decorative strip with crosses and Loorbeerkränzen (laurel wreaths) that are often incorporated in Otto Wagner buildings, such as, for example, in the Postal Savings Bank or the cast iron railings of the metropolitain railway. Above the at that time only for larger celebrations used main entrance stand four angel figurines created by Othmar Schimkowitz with heads bowed to the church square. In a storm the second angel seen from the right the head was torn away and been re-soldered by the janitor, but with its head held high. This situation was remedied during the renovation.
Stained glass window
The physical virtues
The arrangement of the stained glass windows were designed by Otto Wagner, so that the church interior is flooded with natural light as possible. The glass mosaic window in Tiffany Style created by Koloman Moser. The west window with the motto "Verily I say unto you. Inasmuch as ye have done it unto one of these my brethren ye have done it unto me " shows the physical virtues. The angels above the figures of Saints hold humbly the grave cloth of Jesus. The ministrants viewing from bottom to top lower the head.
St. Elizabeth with Roses: Feed the hungry
Saint Rebecca in offering the potion: The Thirsty soak
St. Bernard: The strangers house
St. Martin with the sword to divide the mantle: The naked clothe
Visit the sick: John of God, the founder of the Order of the Brothers of Charity
John of Matha, founder of the Order of the Trinity: The released prisoners
Tobias with a shovel: the dead bury
The intellectual virtues
The east window with the motto " Blessed are the merciful for they shall obtain mercy " shows the intellectual virtues. The angel looking up at a dove. The ministrants lift up the head.
John the Baptist: rebuke the sinner
Francis de Sales: instruct the ignorant
Clement Mary Hofbauer advise the doubters right
St. Therese: The afflicted comfort
Suffering injustice with patience: Joseph of Egypt
Stephan: To those who have offended us a pardon
Abraham ask for the living and the dead with God
The four windows in the dome, the four evangelists.
Altarpiece
The altarpiece the promise of heaven should be originally designed by Koloman Moser. Even with the side windows there had been criticism and objections of prelate Heinrich Swoboda, who had been entrusted with the supervision of the Church. However, as Moser married Ditha Mautner Markhof and he converted to Protestantism, he was removed from the job despite intercessions of Otto Wagner. The already operating in parallel at this time of the order Carl Ederer submitted a design that was similar to that of Moser and originated in this form at the urging of Swoboda. Moser Ederer consequently accused of plagiierens (plagiating), whereupon he had left at the urging of the other members of the Secession, of which Moser in 1905 had left, filed suit. The trial ended with a settlement and the apology of Moser expressing liveliest regret" about the " ignorance of the circumstances". At the opening of the church in 1907, thus, only the design of Ederer could be issued on cardboard. In agreement with Moser and Wagner 1910 was a renewed design of Remigius Geyling, but because of "lack of suitability" in 1911 he took off the job. The execution of 84.8 m2 and four-ton mosaic was ultimately performed by Leopold Forstner.
The altarpiece depicts in the middle the blessing Christ and two angels.
Stand at his right
The Virgin Mary
St. Dymphna, patron saint of the mentally ill
St. Aloysius, who took care of plague victims and the dignified burial
St. Margaret, patron saint of women in labor and in all wounds, one of the Fourteen Holy Helpers
St. Vitus, helpers in mental illness and the patron saint of epilepsy, one of the Fourteen Holy Helpers
Severin of Noricum, the patron saint of Bavaria, the prisoners, winegrowers and weavers as well as for fertility of the vines
Standing to his left
St. Joseph
St. Elizabeth of Thuringia, a symbol of active charity
Hermann the German, the first prior of a Dominican convent in the German speaking Friesach
St. Christopher, helpers against unsuspecting death, patron saint of travelers, one of the Fourteen Holy Helpers
St. Francis of Assisi, patron saint of the poor and social work. Helper for headaches and the plague
St. Pantaleon, Patron of doctors and midwives, one of the Fourteen Holy Helpers
On the steps of the Church kneels St. Leopold and he is handing over the Steinhof church. The figures at the side of the altarpiece are representing Paul with sword and Peter with keys. The altar was made according to designs by Otto Wagner. The mosaics of the side altars have been made by Rudolf Jettmar. The right shows the Annunciation left the Archangel Gabriel. The confessionals were manufactured by the Wiener Werkstätte.
Otto Wagner, Kirche Am Steinhof, 1904-07, Church Am Steinhof - Projekt Museum Am Steinhof, Otto-Wagner-Spital (Hospital)
Blondie is an American rock band, founded by singer Debbie Harry and guitarist Chris Stein. The band was a pioneer in the early American new wave and punk scenes of the mid-1970s. Their first two albums contained strong elements of these genres, and although successful in the United Kingdom and Australia, Blondie was regarded as an underground band in the United States until the release of Parallel Lines in 1978. Over the next three years, the band achieved several hit singles and became noted for its eclectic mix of musical styles incorporating elements of disco, pop, rap, and reggae, while retaining a basic style as a new wave band.
Blondie broke up after the release of their sixth studio album The Hunter in 1982. Debbie Harry continued to pursue a solo career with varied results after taking a few years off to care for partner Chris Stein, who was diagnosed with pemphigus, a rare autoimmune disease of the skin.
The band reformed in 1997, achieving renewed success and a number one single in the United Kingdom with "Maria" in 1999. The group toured and performed throughout the world[5] during the following years, and was inducted into the Rock and Roll Hall of Fame in 2006.[6] Blondie has sold 40 million records worldwide[7] and is still active today, with a new album, Panic of Girls, planned for release in 2010.
Early career (1975–1978) In the early 1970s, Chris Stein moved from Brooklyn to Manhattan.Inspired by the burgeoning new music scene at the Mercer Arts Center, he sought to join a similar band. He joined The Stilettos in 1973 as their guitarist and formed a romantic relationship with one of the band's vocalists, Debbie Harry, a former waitress and Playboy Bunny, Harry had been a member of the folk-rock band, The Wind in the Willows, in the late 1960s. In 1974, Stein parted ways with The Stilettos and Elda Gentile, the band's originator. Stein and Harry formed a new band with drummer Billy O'Connor and bassist Fred Smith. By 1975, after some personnel turnover (including sisters Tish and Snooky Bellomo on backing vocals), Stein and Harry were joined by drummer Clem Burke, keyboard player Jimmy Destri and bass player Gary Valentine. Originally billed as Angel and the Snakes,they renamed themselves Blondie in late 1975. The name derived from comments made by truck drivers who catcalled "Hey, Blondie" to Harry as they drove by.Later, band members were amused to learn that the name was shared by Adolf Hitler's dog Blondie, a fact acknowledged in parody when, in 1997, they semi-anonymously contributed a cover of "Ordinary Bummer" to the Iggy Pop tribute album We Will Fall under the pseudonym 'Adolph's Dog'. Blondie became regulars at Max's Kansas City and CBGB.They got their first record deal with Private Stock Records in early 1976 and released their debut single "X-Offender" on June 17, 1976.Their debut album Blondie (AUS #14, UK #75) was issued in December 1976. In September 1977, Blondie bought back its contract with Private Stock and then signed with Chrysalis Records.The first album was re-released on the new label in October 1977. Rolling Stone's review of the debut album observed the eclectic nature of the group's music, comparing it to Phil Spector and The Who, and commented that the album's two strengths were Richard Gottehrer's production and the persona of Deborah Harry, saying she performed with "utter aplomb and involvement throughout: even when she's portraying a character consummately obnoxious and spaced-out, there is a wink of awareness that is comforting and amusing yet never condescending." It also noted that Harry was the "possessor of a bombshell zombie's voice that can sound dreamily seductive and woodenly Mansonite within the same song".
The band's first commercial success occurred in Australia in 1977, when the music television program Countdown mistakenly played their video "In the Flesh", which was the B-side of their current single "X-Offender".[6] Jimmy Destri later credited the show's Molly Meldrum for their initial success, commenting that "we still thank him to this day" for playing the wrong song.[16] In a 1998 interview, drummer Clem Burke recalled seeing the episode in which the wrong song was played, but he and Chris Stein suggested that it may have been a deliberate subterfuge on the part of Meldrum. Stein asserted that "X-Offender" was "too crazy and aggressive [to become a hit]", while "In the Flesh" was "not representative of any punk sensibility. Over the years, I've thought they probably played both things but liked one better. That's all." In retrospect, Burke described "In the Flesh" as "a forerunner to the power ballad".
Both the single and album reached the Australian top five in October 1977, and a subsequent double-A release of "X-Offender" and "Rip Her to Shreds" was also popular. A successful Australian tour followed in December, though it was marred by an incident in Brisbane when disappointed fans almost rioted after Harry canceled a performance, due to illness.
In February 1978, Blondie released their second album, Plastic Letters (UK #10, US #78). The album was recorded as a four-piece band because Gary Valentine left the band.Plastic Letters was promoted extensively throughout Europe and Asia by Chrysalis Records.[6] The album's first single, "Denis", was a cover version of Randy and the Rainbows' 1963 hit. It reached number two on the British singles charts, while both the album and its second single, "(I'm Always Touched by Your) Presence, Dear", reached the British top ten. Chart success, along with a successful 1978 UK tour, including a gig at London's Roundhouse, made Blondie one of the first American new wave bands to achieve mainstream success in the United Kingdom.[6] By this time, Gary Valentine had been replaced by Frank Infante (guitar, bass guitar), and shortly after that Nigel Harrison (bass guitar) joined, expanding the band to a six-piece for the first time.
"Heart of Glass" was their first U.S. hit. The disco-infused track topped the U.S. charts in April 1979. It was a reworking of a rock and reggae-infused song that the group had performed since its formation, updated with strong elements of disco music. Clem Burke later said the revamped version was inspired partly by Kraftwerk and partly by the Bee Gees' "Stayin' Alive", whose drum beat Burke tried to emulate. He and Stein gave Jimmy Destri much of the credit for the final result, noting that Destri's appreciation of technology had led him to introduce synthesizers and to rework the keyboard sections.[21] Although some members of the British music press condemned Blondie for "selling out", the song became a success, worldwide. Selling more than a million copies and garnering major airplay, the single reached number one in many countries including the U.S., where Blondie had previously been considered an "underground" band. The song was accompanied by a music video that showcased Debbie Harry's hard-edged and playfully sexual persona, and she began to attain a celebrity status that set her apart from the other band members, who were largely ignored by the media.
Blondie's next single in the U.S. was a more aggressive rock song, "One Way or Another" (US #24), which became their second hit single in the United States. Meanwhile, in the UK, an alternate single choice, "Sunday Girl", became a #1 hit. Parallel Lines is ranked #140 on Rolling Stone's list of 500 greatest albums of all time.[22] In June 1979, Blondie, photographed by Annie Leibovitz, was featured on the cover of Rolling Stone magazine.
Their fourth album, Eat to the Beat (UK #1, US #17), released in October 1979, was well-received by critics as a suitable follow-up to Parallel Lines, but in the U.S., its singles failed to achieve the same level of success as in the UK, where "Atomic" (UK #1, US #39) reached number one, "Dreaming" (UK #2, US #27) reached number two, and "Union City Blue" (UK #13) charted in the top 20.
Blondie's next single, the Grammy-nominated "Call Me" was the result of Debbie Harry's collaboration with the Italian songwriter and producer Giorgio Moroder, who had been responsible for Donna Summer's biggest hits. This track was not included on any Blondie studio album; rather, it was the title theme of the soundtrack for the film American Gigolo. Released in February 1980, "Call Me" spent six weeks at #1 in the U.S. and Canada, reached #1 in the U.K. and became a hit throughout the world. The song is the band's biggest selling single in the U.S. (over a million copies sold - gold status) and was Billboard magazine's #1 single of 1980.
In November 1980, Blondie's fifth studio album, Autoamerican (UK #3, US #7) was released and contained two more #1 US hits: the reggae-styled "The Tide Is High", a cover version of a 1967 song by The Paragons, and the rap-flavored "Rapture", which was one of the earliest songs containing elements of rap vocals to reach number one in the U.S.,sweeping the world by storm. "Rapture" would be the band's only single to achieve a higher chart position on the U.S. charts than in the UK, where it peaked at #5. Autoamerican was a departure from previous Blondie records, featuring less new wave and rock in favor of stylistic experiments, including acoustic jazz: "Faces", and from an early Broadway show, "Camelot", came "Follow Me".
Hiatus, The Hunter, and breakup (1981–1982)
Following their success of 1978-80, Blondie took a brief break in 1981. That year, Debbie Harry and Jimmy Destri both released solo albums; Stein helped out with Harry's album Koo Koo (UK #6, US #28) and Burke with Destri's Heart on a Wall. Frank Infante sued the band regarding a lack of involvement during the Autoamerican sessions; it was settled out of court, and Infante remained in the band (though Harry has subsequently said Infante was not on the next LP).
The band reconvened in 1981 to record and release (in 1982) The Hunter (UK #9, US #33). In contrast to their earlier commercial and critical successes, The Hunter was poorly received and failed to hit the top 20 in the U.S. The album did have two moderate hit singles: "Island of Lost Souls" (#11 UK, #37 US) and "War Child" (#39 UK).
The Hunter also included a song entitled "For Your Eyes Only" which shares its title with a 1981 James Bond film. This song was originally written on spec to be the film's opening-title theme. However, the producers chose another song by the same name, composed by Bill Conti and Michael Leeson. Blondie was offered the chance to perform Conti and Leeson's song, but they turned the offer down. Sheena Easton's rendition of Conti and Leeson's theme song became a top-ten single worldwide.
With tensions within the band on the rise due to the commercial decline and the constant press focus on Harry to the exclusion of the other band members, events reached a breaking point when Stein was diagnosed with the life-threatening illness pemphigus.Blondie band members received a letter to tell them not to rely on any more money from the bank, as there was only $25,000 left in their account. Their managers had completely wiped them out, and as a result of this and of drug use, mismanagement, tension in the band, slow ticket sales, and Chris Stein's worsening illness, Blondie canceled their tour plans early in August 1982. Shortly thereafter, the band splintered, with at least one (unspecified) member quitting and instigating lawsuits against the other group members; the group formally announced their break up in November, 1982.
Stein and Harry, still a couple at the time, stayed together and retreated from the public spotlight for a few years, with the exception of the minor single releases "Rush Rush" (1983, from the film Scarface) and 1985's dance track "Feel the Spin". Harry was forced to sell the couple's five-story mansion to pay off debts that the band had run up, Stein owed in excess of $1 million, and drug use was becoming an increasing concern for them. Harry decided to call off her intimate relationship to Stein and moved downtown. She stated in a 2006 interview that she felt she was having a sort of breakdown due to all the stress. After Stein recovered from his illness, Harry resumed her solo career with a new album (Rockbird) in 1986, with active participation from Stein. Meanwhile, Burke became a much-in-demand session drummer, playing for a time with the Eurythmics, and Destri maintained an active career as a producer and session musician.
This was a bit of an experiment. Wanted to make parallel paper mache babies at the same time. Let me know what you think.
---- The float is just out of the church of St. Nicholas of Bari of Melia, the procession is about to begin ----
---- La vara è uscita dalla chiesa si S.Nicolò di Bari, la processione sta per incominciare ----
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June 10, 1940, from the balcony of Palazzo Venezia in Rome, seat of the Grand Council of Fascism, the Duce Benito Mussolini announces the Italian entry into the war on the side of Nazi Germany; Mussolini already now stands as a military goal to have an enemy to be defeated in order to start the so-called "parallel war" on Germany (Italy would fight so with the German allies, but pursuing autonomous and independent objectives); In fact, the Duce, he wanted to prove to Hitler (who took the decisions on the course of the war without first consult Him) that Italy had to be considered military, political and economic of equal importance to the German one, so in order to achieve that, he need an opponent militarily within his reach, this opponent seemed to be Greece as it was geographically close, seemed to have weak military, a political class unwilling to fight, but the reckless attack proved be a serious military mistake with heavy consequences. This is the scenary as a backdrop to a group of military Sicilians catapulted on the Greek front, young soldiers who immediately realize of the prevailing military disorganization, their life appears hanging by a thread ... but there is a Saint who can help them... they finance the construction of the float of St. Sebastian, patron saint of the town of Melia in the municipality of Mongiuffi Melia (Messina), maybe (the figure is not certain) the idea of the float is from corporal Cingari of Melia, so asking S.Sebastian for help and protection (S.Sebastian is the principal patron saint invoked against the plague .... . isn't the War a plague...?!); participants enter their names in a silver casket bearing cantilevered effigy of the Royal Army, if they will die will remain at least a trace of their earthly life. This particular float has the Saint Sebastian who seems to have the military salute, on the basis of float is written: "The Infantries of the first company and officials of the 3rd Regiment.Infantry. Piedmont Fighters in the year 1940 during the battle of Greek devotees offered" .
This is a short and long reports on the traditional festival that the village of Melia (Mongiuffi Melia - Messina) celebrates in honor of its Patron Saint San Sebastian, with thet float that was so ardently desired by those Sicilians soldiers in those bleak darkest hours in our history.
A curiosity, every year on the occasion of the procession are distributed to the population of the loaves in the shape of arrows (they remember the 1st martyrdom) , this year the priest Father Di Bella has expressed the wish about the bread don't have the form with the shape of arrows because this form carriers in itself a sign of violence, this year the loaves had the shape of a "cuddura" (donut-shaped), as is the case for the San Leonardo holiday, celebrated in the other fraction of Mongiuffi, opposite of Melia.
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il 10 giugno 1940, dal balcone di Palazzo Venezia in Roma, sede del Gran Consiglio del fascismo, il Duce Benito Mussolini annuncia agli Italiani l'ingresso in guerra dell'Italia a fianco della Germania nazista; già da subito Mussolini si pone come obiettivo militare quello di avere un nemico da sconfiggere per poter avviare la cosiddetta "guerra parallela" alla Germania (l'Italia avrebbe combattuto sì con gli alleati tedeschi, ma perseguendo obiettivi autonomi ed indipendenti); il Duce infatti, voleva dimostrare a Hitler (che prendeva le decisioni sull’andamento della guerra senza preventivamente consultarlo) che l'Italia doveva essere considerata potenza militare, politica ed economica di uguale importanza a quella tedesca, quindi per poter raggiungere tale scopo, aveva bisogno di un avversario militarmente alla sua portata, questo avversario sembrava essere la Grecia in quanto era geograficamente vicina, sembrava avere forze armate deboli, una classe politica poco disposta a battersi ed una popolazione poco interessata agli eventi nazionali, ma l'avventato attacco si rivelò essere un grave errore militare con pesanti conseguenze. Questo lo scenario che fa da sfondo ad un gruppo di militari Siciliani catapultati sul fronte Greco, giovani soldati i quali subito si rendono conto dell'imperante disorganizzazione militare, la loro vita appare appesa ad un filo...un Santo a cui votarsi forse c'è...si autotassano per finanziare la costruzione della vara di San Sebastiano, Santo Protettore della frazione di Melia del comune di Mongiuffi Melia (Messina), forse (il dato non è certo) l'idea della vara è del caporale Cingari originario di Melia, chiedendo così protezione ed aiuto a S.Sebastiano, Santo Protettore invocato contro la peste (esiste una peste meno grave della Guerra ?!); i partecipanti alla colletta inseriscono i loro nomi all'interno di una teca in argento recante a sbalzo l'effigie del Regio Esercito, se moriranno resterà almeno una traccia della loro vita terrena, in più collegata al Santo. Viene realizzata questa particolare vara col Santo che sembra eseguire il saluto militare, sulla base della vara è scritto " I FANTI DELLA 1a COMP. E UFFICIALI DEL 3° REGG.FANT. "PIEMONTE" COMBATTENTI NELL'ANNO 1940 AL FRONTE GRECO DEVOTI OFFRIRONO".
Questo è un breve e lungo report sulla festa tradizionale che il borgo di Melia compie in onore del suo Santo Patrono San Sebastiano, portando in processione quella vara che fu così ardentemente voluta da quei militari Siciliani in quelle ore tetre e buie della nostra recente storia.
Una curiosità, ogni anno in occasione della processione vengono distribuite alla popolazione delle pagnotte a forma di frecce (a ricordare il 1° martirio del Santo Bimartire), quest'anno il sacerdote Padre Di Bella ha espresso il desiderio di non dare quelle fattezze al pane poichè portatrici in sè di un segno di violenza, quindi i pani hanno avuto la forma a "cuddura" (a ciambella), analogamente a quanto avviene per la festa di San Leonardo, festeggiato nell'altra frazione di Mongiuffi, dirimpettaia di Melia (entrambi i borghi formano il comune siculo di Mongiuffi Melia).
Maybach has historic roots through the involvement of Wilhelm Maybach, who was the technical director of the Daimler-Motoren-Gesellschaft (DMG) until he left in 1907. On 23 March 1909 he founded the new company, Luftfahrzeug-Motorenbau GmbH (literally "Aircraft Engine Building Company"), with his son Karl Maybach as director. In 1912 they renamed it to Maybach-Motorenbau GmbH ("Maybach Engine Construction Company"). The company originally developed and manufactured diesel and petrol engines for Zeppelins, and then rail cars. The Maybach Mb.IVa was used in aircraft and airships of World War I.
Captured Maybach T3 Assault Gun (Sturmgeschütz III), made on the basis of medium tank Maybach T3 (Panzer III). National Museum of Military History (Bulgaria)
The company first built an experimental car in 1919, with the first production model introduced two years later at the Berlin Motor Show. Between 1921 and 1940, the company produced various classic opulent vehicles. The company also continued to build heavy duty diesel engines for marine and rail purposes. During the second world war, Maybach produced the engines for Nazi Germany's medium and heavy tanks.
After WW II the factory performed some repair work, but automotive production was never restarted, and some 20 years later, the company was renamed MTU Friedrichshafen. Daimler-Benz purchased the company in 1960.
Pre-war Models
1919 Maybach W1: Test car based on a BMW chassis
1921 Maybach W3: First Maybach, shown at Berlin Motor Show. Featured a 70 hp (52 kW) 5.7L inline six.
1926 Maybach W5: 7L inline six, 120 hp (89 kW)
1929 Maybach 12: V12 precursor to DS7/8
1930 Maybach DSH: Doppel-Sechs-Halbe ("half a twelve cylinder") 1930-37
1930 Maybach DS7 Zeppelin: 7L V12, 150 hp (112 kW)
1931 Maybach W6: Same engine as W5, longer wheelbase. 1931-33
1931 Maybach DS8 Zeppelin: 8L V12, 200 hp (150 kW)
1934 Maybach W6 DSG: Featuring a twin overdrive transmission system.
1935 Maybach SW35: 3.5L 140 hp (104 kW) I6
1936 Maybach SW38: 3.8L 140 hp (104 kW) I6
1939 Maybach SW42: 4.2L 140 hp (104 kW) I6
1945 Maybach JW61: 3.8L 145 hp (108 kW) I6
(Wikipedia)
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Der erste Maybach von 1919 war ein Prototyp, der „Wagen“ W 1, aufgebaut auf ein angekauftes Daimler-Chassis. Er trug schon die charakteristische Kühlermaske. W 2 war ein Motor. Der W 3 war 1921 der erste Serienwagen, mit Sechszylinder-Reihenmotor und angeblocktem Planetengetriebe, im Angebot als Typ 22/70 PS. Die erste Zahl bezeichnet die früheren „Steuer-PS“, eine vom Fiskus seit 1909 aus Leistung und Hubraum errechnete Kennzahl; die zweite die Motorenleistung.
1926 folgte W 5 als Typ 27/120 PS, der 1928 ein Schnellgang-Getriebe erhielt und daher W 5 SG hieß. 1930 kam, parallel zum „Zeppelin“, der W 6, den es ab 1934 auch mit Doppel-Schnellgang-Getriebe gab und so als W 6 DSG in den Annalen steht. Die Weiterentwicklung von 1934 war ein DSH, ein „Doppel-Sechs-Halbe“, was auf den 130 PS starken 5,2-Liter-Reihensechszylinder hinwies, eine vom „DS“-Zwölfzylinder abgeleitete, einfachere Konstruktion.
Die Zeppelin-DS-Modelle, von Karl Maybach 1930 erstmals offeriert und ab 1931 geliefert, gab es als Typen DS 7 und DS 8. Es waren die ersten Modelle von Maybach mit einem V-12-Motor. DS 7 bedeutet Doppel-Sechs-7-Liter. DS 8 bedeutet Doppel-Sechs-8-Liter. Der DS 7 leistete 150 PS. Der DS 8 leistete 200 PS. Er war mit einem 7922 Kubikzentimeter großen Motor ausgerüstet. Die Aufbauten lieferten Spohn und Erdmann & Rossi. Im Vergleich zum 1931 gebauten Bugatti Royale Typ 41 mit einem Preis von 100.300 Reichsmark war die Karosserie vom Zeppelin DS 8 geradezu günstig: 33.200 Reichsmark.
Maybach W 1, Versuchswagen, um 1919
Maybach W 3, 5,7 l Hubraum, 70 PS, ab 1921
Maybach W 5, 7 l Hubraum, 120 PS, 1926–1929
Maybach W 6, ab 1929
Maybach SW 35 (SW = Schwingachsenwagen), 3,5 l Hubraum, ab 1935 nur 50 Exemplare gebaut
Maybach SW 38, 3,8 l Hubraum, um 1936–1939
Maybach SW 42, 4,2 l Hubraum, um 1939–1941
Maybach „Zeppelin“ Sport, um 1938
Maybach „Zeppelin“ DS 8 Cabriolet, 1930–1937, sechs- bis siebensitzig
(Wikipedia)
Du 14 mars au 30 août 2015, Namur vivra à l’heure de Félicien Rops et de Jan Fabre pour une rencontre entre deux artistes innovateurs au-delà du temps. "Si je devais voler une œuvre dans un musée, ce serait la Pornocratès de Félicien Rops", déclarait Jan Fabre, dans une interview en 2011. Il faut dire que les univers des deux artistes belges se répondent : pulsion de vie et de mort, sexualité, corporalité.
« Facing time » vous convie à un face-à-face entre deux artistes, séparés par deux siècles d’histoire et de développement de l’art. C’est à travers le temps et le regard que les parallèles et similitudes entre Fabre et Rops viennent chercher le dialogue.
From March 14 to August 30, 2015, Namur will live at the hour of Félicien Rops and Jan Fabre for a meeting between two innovative artists beyond time. "If I had to steal a work in a museum, it would be the Pornocratès of Félicien Rops," said Jan Fabre in an interview in 2011. It must be said that the world of two Belgian artists meet: life instinct and death, sexuality, physicality.
"Facing time" invites you to a face-to-face between two artists, separated by two centuries of history and development of art. It is through time and look as parallel and similarities between Fabre and Rops come looking dialogue.
Speculative view of how our three spatial dimensions, which appear to us as being at right angles to each other, are in fact one dimensional and parallel. Each spatial dimension interacts with time (shown in red), forcing it to spread out. In our flat universe these appear as being at right angles to each other, but these angles can change due to speed and gravity so that space can curve. Given enough distortion each spatial dimensions could appear to be at 120 degrees to each other and at right angles to time. I have also included other dimensions suggested by String Theory which are very small and only affect particles at a sub-atomic level.
J-P Metsavainio has kindly given permission to use his photo of the California Nebula www.flickr.com/photos/astroanarchy/5280150588.
This image is in parallel view but you can view in cross-eye and Anaglyph by posting the image source file name into 3dthis.com/buildana.htm
Wireframe for dimensions based on applet from Pete Gray’s page in HouseOf3D which has other fun stuff and is worth visiting houseof3d.com/pete/applets/wireframe/fractal/index.html
I have provided a translation of some of the tags I use on Flickr which you may find interesting www.flickr.com/photos/flights_of_fancy/6973610225/
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Dassault-Breguet Super Étendard (trans. "battle flag") is a French carrier-borne strike fighter aircraft designed by Dassault-Breguet for service with the French Navy. The aircraft was an advanced development of the Étendard IVM, the first of three prototypes, an IVM modified with the new engine and some of the new avionics, made its maiden flight on 28 October 1974. Original intentions were for 100 Super Étendard aircraft to be ordered for the French Navy, however the order placed was for 60 of the new model with options for a further 20; further budget cuts lead to only 71 Super Étendards being purchased in the end for the Aéronavele, with deliveries starting in June 1978.
In the first year of production, 15 Super Étendards were produced for the French Navy, allowing the formation of the first operational squadron in 1979. Dassault produced the aircraft at a rough rate of two per month, which was kept up until 1983.
Foreign customers were few: The Argentinian Navy would place an order for 14 aircraft to meet their requirements for a capable new fighter that could operate from their sole aircraft carrier. Furthermore a total of five Super Étendards were loaned to Iraq in 1983 while the country was waiting for deliveries of Agave-equipped Dassault Mirage F1s, capable of launching Exocet missiles that had been ordered. A third user of the Super Étendard with a similar background to the Iraq solution was the German Navy, with its land-based air arm, called the Marineflieger.
In the late 70ies, the German air force was about to replace its Starfighters, which had never been the Marinefliegers' first choice. Actually, in 1958 Germany chose the Starfighter to replace the already outdated F-84 and F-86 versions in use by then. For political reasons the Marineflieger had to join this decision, though their demands were quite different. The German Navy was looking for a two-seat, twin-engined aircraft to replace the old Seahawks, with the Hawker Siddeley Buccaneer being their favourized aircraft.
Neverthless, a rather political decision to buy the Starfighter for both German air arms was made, and consequently total of 132 Starfighters were acquired for naval service, including F-104G as maritime attack aircraft (equipped with Kormoran anti-ship missiles), RF-104G for maritime reconaissance and TF-104G as trainers. In addition to this, a small number of two-seat F-104F saw operational use with the Navy's Jet Air Wings. Introduction of the F-104 into naval air arm service began in september 1963, with MFG 1 being the first unit to be equipped with Germany's new standard weapon system. Sister Wing MFG 2 joined the Starfighter club in march of the following year.
Anyway, almost 20 years later and with the advent of the Panavia Tornado, the Marineflieger would finally receive the aircraft they had originally been calling, and the F-104Gs were starting to be phased out from 1980 on. Production of the Tornado and its delivery to both Luftwaffe (which had priority) and Marineflieger wings was lagging behind schedule, though, and in order to bridge that gap Germany decided in Febraury 1981 to lease the relatively new French Super Étendard. The Douglas A-4 Skyhawk and LTV A-7 Corsair II had been considered, too, but the French type eventually turned out to be the most economical and modern solution.
A total of 16 aircraft were ordered, and these were diverted from the running production lines. Delivery started in early 1982, when the scheduled Starfighter retirement and replacement was about to begin. All machines are allocated to MFG 2. In parallel, MFG 1 had the honours to be the first Bundeswehr unit to be equipped with the Tornado IDS multirole aircraft, as they started conversion in 1982. Before that, the multi-national conversion units in the UK had already received the initial Tornado trainer aircraft since 1980.
The German Super Étendards were given the tactical codes of 42+01 to 42+16 and were originally delivered in the standard Marineflieger camouflage of uniform grey upper surfaces (RAL 7012, Basaltgrau) and light grey lower sides (RAL 7035, Lichtgrau), in a pattern that was identical to the French aircraft.
Outwardly the German Super Étendards did not differ from its French cousins, since the aircraft were to be given back after only a few years of use - it was planned to keep the French fighters until 1986, when all Starfighters would have been replaced by Tornados. The Marineflieger "Sue" (nicknamed "Susi" or "Suse" by German crews, an abbreviation of the German female first name "Susanne") had no special features, as these were more or less French stock aircraft, but some components and avionics were changed.
For instance, the German aircraft were modfied to carry and launch up to two AS.34 Kormoran missiles, and they were already prepared to carry the updated Kormoran 2 with a digital data bus, a bigger warhead and longer range. They were also able to carry indigenous equipment like the 'Cerberus' ECM pod or the Swedish BOZ-101 chaff/flare pod - both of these as well as the Kromoran 2 were also to carried by the Tornados, and the Super Étendards would already be used fotr practice and evaluation.
The new AGM-88 HARM missile was reserved for the Tornado, though, so that the Super Étendard was primarily tasked with anti-ship and CAS tasks. For self-defense, the German Super Étendards were able to carry the AIM-9 Sidewinder instead of the French Matra Magic AAM. An Orpheus IV reconnaissance pod could be carried on thone of the inner wing pylons, with a drop tank for balance on the other side.
In the course of their short German service (which actually lasted until 1987, when the last Starfighter was retired from Marineflieger service), the Super Étendards were also used to test experimental camouflage schemes. 42+10, 42+12 and 42+15 started to carry very different liveries from 1983, and the results eventually lead to the Marineflieger Tornados' 'Norm 87' wrap-around paint scheme, consisting of RAL 7009 (Grüngrau), 7012 (Basaltgrau) and 5008 (Graublau).
No aircraft was lost during the leasing service. All aircraft were, after a major overhaul, integrated into the Aéronavale from 1988 on.
General characteristics
Crew: 1
Length: 14.31 m (45 ft 11½ in)
Wingspan: 9.60 m (31 ft 6 in)
Height: 3.86 m (12 ft 8 in)
Wing area: 28.4 m² (306.7 ft²)
Empty weight: 6,500 kg (14,330 lb)
Max. takeoff weight: 12,000 kg (26,455 lb)
Powerplant: 1 × SNECMA Atar 8K-50 turbojet, 49.0 kN (11,025 lbf)
Performance
Maximum speed: 1,000 km/h (637 knots, 733 mph) at low level
Range: 1,820 km (983 nmi, 1,130 mi)
Service ceiling: 13,700 m (44,900 ft)
Rate of climb: 100 m/s[62] (19,700 ft/min)
Wing loading: 423 kg/m² (86.3 lb/ft²)
Thrust/weight: 0.42
Armament
2× 30 mm (1.18 in) DEFA 552 cannons with 125 RPG
4× underwing and 2× under-fuselage hardpoints with a capacity of 2,100 kg (4,600 lb) maximum
The kit and its assembly:
The idea for this model was inspired by a profile designed by fellow user PantherG at whatifmodelers.com, showing a German Super Étendard in a fictional Marineflieger style paint scheme. I've been fascinated by the Tornado's Norm '87 scheme - but rather not by the Tornado itself. So I was happy to have an "excuse" to build a respective what-if model, taking a virtual idea to hardware.
The model is the standard Academy Super Étendard in 1:72, which is well-detailed - only the cockpit can take some attention, esp. the ejection seat, which I replaced completely, and I also added a Matchbox pilot which had to have its legs cut off, since the cockpit seems to be designed for Asian body measures... pretty tight in there!
Basically the kit was kept OOB. Only changes were made to the ordnance, which was taken from a German Tornado (Italeri). I also drilled open the air brakes' holes under the fuselage, and lowered the flaps for a more lively look. Overall, the Sue is rather clean and not really interesting - so any additional detail helps, I guess.
Painting and markings:
This took some legwork, since I wanted to stay true to reality, despite creating a whif.
The tactical code 42+XX has so far never been allocated to a German aircraft type, but it would perfectly fit in time before the Tornado (which has 43+XX and higher numbers).
The paint scheme is supposed to be experimental - and actually both Luftwaffe and Marineflieger had been testing tactical camouflage schemes for air superiority as well as ground attack purposes on a wide range of aircraft in the 70ies and 80ies, including F-4F, RF-4E, Alpha Jets and later also Tornados. Anyway, I decided to stay close to the "real" Norm 87 scheme, which is a bit different from what PantherG suggested in his drawings.
The colors I used are authentic: RAL 7009 "Grüngrau" is Revell 67, RAL 7012 "Basaltgrau" is Revell 77 and RAL 5008 "Graublau" is available as Xtracolor X264. Consulting real RAL color samples as benchmarks, I muist say that the Revell tones are very good, but the Xtracolor paint is pretty far off. X264 is rather a dark petrol blue, reminiscent of FS35042. Graublau is much more dull and grey-ish, rather a bluish FS36081 - and on real aircraft it almost looks like tar, no blue hue at all to detect.
Anyway, I still used X264, since my 42+15 would sport an experimental paint scheme, so it would not matter much - and X264 would still be the darkest tone of the paint scheme, with good contrast to RAL 7009 and 7012, which are very similar and have almost no contrast. Interesting scheme, though, esp. due to its large color bandages all around the hull instead of smaller patches or stripes.
Best alternative I could find is Humbrol 77, which is still too greenish, though - mixing it 1:1 with Humbrol 32 might yield something that comes close to RAL 5008.
With a little shading with lighter tones (including RLM 71 from Testors, Humbrol 79 and 77, as well as some acryllic dark grey as an overall filter), a black ink wash and some dry-brushing the contrast was enhanced and the surface slightly weathered. German aircraft were kept in good shape, but at times the weather and sunlight would take their toll and bleach the colors, esp. on the upper sides - RAL 7012 would quickly deteriorate into a relatively light grey with a slight, purple hue!
Both Cerberus and BOZ-101 pods were painted in different shades of grey, though, as if they'd belong to a differently camouflaged Marineflieger aircraft. The Kormoran missiles were painted according to pics of the real thing, in a dark olive drab color.
National markings and some German stencils were taken from an Xtradecal sheet for German Tornados, as well as from a sheet of an Italeri Tornado with Luftwaffe markings. The tactical codes were created from single digits from a respective TL Modellbau decal sheet.
Cockpit interior was painted in a very dark grey, according to pictures from the real Sue. The air intake interior and the landing gear wells were kept in aluminum (Humbrol 56), while the landing gear struts received a mix of aluminum and white.
In the end, a simple project: only a fantasy paint scheme and some minor changed details to the OOB kit. But the German wraparound scheme suits the Sue well, and its service introduction in France as well as the retirement of the German Starfighters in the early 80ies makes this a potentially convincing and plausible whif. And, honestly, it was actually a relief from some recent major kit conversions and kitbashings - and a tribute to the creative spirit of PantherG at whatifmodelers.com. ^^