php photos on Flickr

Oak Alley Plantation, along River Road in Louisiana. Probably one of the most famous of the southern plantations. It has been in movies www.oakalleyplantation.com/about/movies+filmed+here/

and has quite a history www.oakalleyplantation.com/about/history/

We had driven from Natchez to New Orleans and were on hour 7 of the road trip along the River Road when we came upon Oak Alley. It was raining and they wanted to charge an unreal amount of money for the tour so we skipped the tour. I told my husband to drive around the back of it along a public road, just in case there was a photo opportunity there. We hit the mother lode because this IS THE CLASSIC photo that can be seen on the Internet--and we got it for FREE! There was a little hill by the bank of the river (how convenient) and I took this shot at 55 mm end of my 55-200mm lens from there. The lighting was more conducive to B&W, thus another mono shot this week.

This is how I picture Tara or Twelve Oaks in Gone With the Wind so it's a fav of mine.

On dirait le Sud by Jean-Marc

4 11

" C'est un endroit qui ressemble à la Louisiane

A l'Italie

Il y a du linge étendu sur la terrasse

Et c'est joli

On dirait le Sud

Le temps dure longtemps

Et la vie sûrement

Plus d'un million d'années

Et toujours en été.

Il y a plein d'enfants qui se roulent sur la pelouse

Il y a plein de chiens

Il y a même un chat, une tortue, des poissons rouges

Il ne manque rien

On dirait le Sud

Le temps dure longtemps

Et la vie sûrement

Plus d'un million d'années

Et toujours en été.

Un jour ou l'autre il faudra qu'il y ait la guerre

On le sait bien

On n'aime pas ça, mais on ne sait pas quoi faire

On dit c'est le destin

Tant pis pour le Sud

C'était pourtant bien

On aurait pu vivre

Plus d'un million d'années

Et toujours en été."

[Nino Ferrer - Le Sud]

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France, Aisne (02) Guise : Familistère : cour intérieure, pavillon gauche by (vincent desjardins)

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www.familistere.com/site/index.php

fr.wikipedia.org/wiki/Familistère_de_Guise

de.wikipedia.org/wiki/Familistère_(Guise)

en.wikipedia.org/wiki/Jean-Baptiste_André_Godin

« Ne pouvant faire un palais de la chaumière ou du galetas de chaque famille ouvrière, nous avons voulu mettre la demeure de l’ouvrier dans un palais ; le Familistère, en effet, n’est pas autre chose, c’est le palais du travail, c’est le PALAIS SOCIAL de l’avenir.

Ce qu’il n’est pas possible de faire au profit de familles éparpillées et sans lien, les améliorations qu’on ne peut introduire dans le tohu-bohu des habitations ouvrières, ni à la ville, ni à la campagne, ni dans les caves, ni dans les mansardes habitées ; ce que ne permettent pas même les habitations ouvrières isolées les mieux construites, quel qu’en soit le système : le Familistère le permet, le palais social le rend possible, bien plus, il le rend nécessaire. »

Jean-Baptiste-André Godin La Richesse au service du peuple, le Familistère de Guise. 1875.

Les chiffres du Familistère : ( source Wikipédia )

10 millions de briques sont nécessaires à la construction des trois pavillons du Palais Social.

30 000 m² de surfaces sont offerts par l’ensemble des trois pavillons.

1 kilomètre de coursives parcourt les trois pavillons du Palais.

500 fenêtres percent les façades des trois unités d’habitation.

495 appartements sont aménagés dans l’ensemble des cinq pavillons du Familistère avant 1918.

1 748 personnes habitent au Familistère en 1889.

50 berceaux peuvent être installés dans la nourricerie du Familistère.

796 invités participent au banquet de la cinquième fête du Travail dans la cour du pavillon central en 1872.

1 000 spectateurs prennent place au théâtre en 1914.

1 526 employés travaillent dans les usines de la Société du Familistère en 1887.

2 500 est le nombre de record d’employés de l’Association du Familistère de Guise et à Bruxelles en 1930.

4 000 modèles d’appareils et d’accessoires sont fabriqués par la Société du Familistère en 1914.

210 000 appareils sont expédiés par les usines de Guise et Bruxelles en 1913-1914.

664, c’est le nombre de pages qui composent le livre Solutions Sociales publié par Godin en 1871.

JEAN-BAPTISTE GODIN ( ENGLISH )

Jean-Baptiste André Godin (26 January 1817 -29 January 1888) was a French industrialist and social experimentor born on the 26th of January 1817 at Esquéhéries (Aisne).

The son of an artisan, he entered an iron-works at an early age, and at seventeen made a tour of France as journeyman. Returning to Esquéhéries in 1837, he started a small factory for the manufacture of castings for heating-stoves. The business increased rapidly, and for the purpose of railway facilities was transferred to Guise in 1846. At the time of Godin's death in 1888 the annual output was over four millions of francs (4,160,000), and in 1908 the employees numbered over 2000 and the output was over 280,000.

An ardent disciple of Charles Fourier, he advanced a considerable sum of money towards the disastrous Fourierist experiment of V. P. Considerant (q.v.) in Texas (known as La Reunion. He profited, however, by its failure, and in 1859 started the Familistère, or community settlement, of Guise on more carefully laid plans.

The Familistère forms a town within the town of Guise. It comprises, in addition to a large factory, three large buildings, each four stories high, capable of housing all the work-people, each family having two or three rooms. The main building consists of three rectangular blocks joined at the corners. Each of these blocks has a central court covered with a glass roof under which children can play in all weather. There is no church of any sort. (There are, of course, churches within the rest of Guise). At the back of the main block there was a nursery. There is a separate block, known as the "economat", containing various shops, refreshment rooms and recreation rooms of various kinds(?), stores for the purchase of groceries, drapery and every necessity. This has recently (2008) been restored and is now a cafe, a shop selling books, postcards etc and an exhibition area. There were also allotments for the workers.

Opposite the main block there was a building containing a theater for concerts and dramatic entertainments and a primary school. There was also a communal laundry and swimming pool. This was a few years ago derelict but has now been restored. The swimming pool is still a swimming poll but the laundry is a meeting room and the drying room is now (2008) an exhibition room. In 1880 the whole was turned into a co-operative society, with provision by which it eventually became the property of the workers.

Godin manufactured cookers and heating stoves of many kinds mainly made from cast iron castings. Sometimes these were enameled. These are still to be found in use all over France. They can be found for sale on eBay.

This business was still owned by the workers in the 1950s but soon after was taken over by Le Creuset. It is not obvious that the factory is still functioning. It is seems the domestic building were privatised. The state of the domestic buildings was deteriorating but has recently been awarded EU money for it to be restored.

In 1871 Godin was elected deputy for Aisne, but retired in 1876 to devote himself to the management of the Familistère. In 1882 he was created a Knight of the Legion of Honor.

Godin was the author of Solutions sociales (1871); Les Socialistes et les Droits du travail (1874); Mutualité sociale et association du capital et du travail (1880); La Republique du travail et la reforme parlementaire (1889). See Bernardot, Le Familistère de Guise et son fondateur (Paris, 1887); Fischer, Die Familistère Godins (Berlin, 1890); Lestelle, Etude sur le Familistère de Guise (Paris, 1904); D. F. P., Le Familistère illustr, résultals de vingt ans d'association, 1880-1900 (Eng. trans., Twenty-eight years of co-partnership at Guise, by A. Williams, 1908).

GIEYSZTORIA, LA HERMANA PEQUEÑA DE DALYELLIA, by Proyecto Agua

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aumentar

Ahora en Biodiversidad virtual y el fin de semana en El País -en pdf- gracias a Elisabet Sans

*

Gieysztoria es un poco más grande que muchos protozoos y algo más pequeña que algunos de ellos, sus movimientos, sus contorsiones, sus continuos cambios de forma y su cuerpo aplastado podrían hacernos confundirla, a veces, con cualquier ciliado plano, por ejemplo, con Frontonia, pero si miramos fijamante a Dalyellia ella devolverá la mirada: dos puntitos arriñonados y oscuros son sus ojos y detrás de ellos una potente y gruesa faringe da paso a un intestino en forma de saco sin salida, en cuyo interior se maceran y digieren restos vegetales y otros desechos que este organismo consume…pero ¿Quién es?

Aunque rodeado de cilios y en movimiento gracias a ellos, Gieysztoria no es un ciliado, es un organismo pluricelular, un gusano plano turbelario, emparentado con las prodigiosas planarias inmortales que se multiplican cada vez que se rompen en mil fragmentos. Muchos turbelarios se caracterizan por tener sobre la piel unos cuerpos alargados, los rabdites, de función defensiva, que expulsan hacia el exterior agua y mucus formando una maraña protectora alrededor de estos animales. En ocasiones esa secreción mucosa es tóxica y puede tener función paralizante y aunque, Gieysztoria no es depredadora, sí lo son otros géneros hermanos que se alimentan con gran voracidad de pequeños crustáceos, otros gusanos y larvas de insectos.

Llama la atención en nuestro protagonista de hoy el remate de su cola, como una mano con dedos cortos con la que se sujeta al fondo y se impulsa para rebuscar entre los sedimentos algo que llevarse a la boca.

Los turbelarios son organismos cosmopolitas pero muchos de ellos habitan específicamente en lugares en los que las condiciones del agua son muy concretas, a Gieysztoria le gustan las aguas ácidas y limpias procedentes de la fusión de las nieves.

Gieysztoria también ha venido con las muestras recogidas en unas praderas inundadas de las inmediaciones de la Laguna de Peñalara y como todos los seres encontrados en ellas va dedicada a todos estos amigos con quienes tuve la suerte de compartir este maravilloso proyecto de Biodiversidad virtual. La fotografía se ha tomado a 200 aumentos empleando la técnica de contraste de interferencia.

=======================================================================

☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen otros vientos limpios. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.

José Saramago: Ni leyes ni Justicia

Martín Pallín

Firmas de apoyo en Facebook

Radio Nacional Holandesa

Van Den Bogaert - Quatre Captifs by John Weiss

3 2

View On Black

The Captives surrounded the pedestal of the statue of Louis XIV on foot in the Place des Victoires. They are by Martin Desjardins, the gallicized name of an eminent Dutch sculptor active during the reign of Louis XIV, who had already made his name with the decoration of the Hôtel Salé (now the Musée Picasso). The monument was commissioned in 1679 by François d'Aubusson, duke of La Feuillade and marshal of France, who had distinguished himself in the campaigns in Franche-Comté and Sicily. He was an astute courtier, and thought it opportune to raise a grandiose monument to the glory of his king. As a setting for the statue, he persuaded the city to open up an immense square and he had the architect Jules Hardouin-Mansart design it. The square was named Place des Victoires in homage to France's victories in the Dutch War, which ended in 1679 with the Treaty of Nijmegen. The monument was inaugurated in 1686.

The captives, four larger-than-life bronze figures, symbolize the four nations defeated at the time of the Treaty of Nijmegen. Each represents one of the ages of man and a different attitude to captivity. Spain is a smooth-faced young man with streaming hair. His naked, upright body and heavenward gaze all indicate hope. The Holy Roman Empire is a bearded old man dressed in an ancient tunic. His head is bowed and his body sags in dejected resignation. Holland is young man with virile features and a short beard. His naked body poised to leap, his shoulder thrust forward in a defiant gesture and his wild expression speak of rebellion. Brandenburg is a mature man dressed like an ancient barbarian (like the Farnese Prisoners, classical marbles highly appreciated by many artists). The hand clutching his cloak, the drooping right shoulder and contorted face express grief. The Captives are all turned to the right, which encourages viewers to walk around the monument in a clockwise direction. Desjardins brilliantly varied his figures, alternating old and young, nude and clothed, upright and stooping figures, and arranging their arms and legs in different positions.

i need models by Cameron

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know any?

View On Black

we had an amazing sunset tonight, but i had to resort to selfie's because no one else i know is serious about taking their pictures. sigh. either way, given the fact that i kinda ruined the scenery, you can't deny that it was an incredible sunset. the best part was getting their 45 minutes before john showed up, with not one person on the beach but me, i grabbed my guitar, found a ledge out on the cliff overlooking the waves crashing below reaching up at me, and for the first time this month just relaxed and had some time away from everything else this world has to offer. it felt great. and now im back home getting ready for bed so i can wake up and start another 57 hour week. hope everyone is having a good time this month. :)

France, Aisne (02) Guise : Familistère : cour intérieure, pavillon droit by (vincent desjardins)