View on black or at 850 x 1250 pixels.

First session with my D700 and my new(ish) Sigma 12-24mm DG HSM, the ultra widest wide angle (122 degrees << yes!) out there!

Tonight I set up for a shot, looked through the viewer and thought: *woah!* Then I found out it was on 24mm! Can you imagine what I saw twice as wide?? It's not easy to get to grips with I have to admit. Everything is *SO* far away at 12mm. I have to keep trying, and stop wanting to 'get it all in'. I'd like to use it more to get really close... to a puddle for example. Have a great weekend!

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Date: Taken on January 6, 2012 at 17:32 h / 5.32pm CET

Exif data

Camera Nikon D700

Exposure 30 s

Aperture f/16.0

Focal Length 15 mm (Sigma 12-24mm FX)

ISO Speed 100

Exposure Bias 0 EV

Crossing Font 10.25 x 22.75 Salt Fired

Paul McCoy Professor in Ceramics at Baylor University

www.baylor.edu/art/index.php?id=5308

Raised in Chicago’s south side, Paul McCoy began working in clay in 1964 under the direction of Daniel Edler at Scattergood Friends School, a boarding school in rural West Branch, Iowa. He received his undergraduate degree at Northern Illinois University in 1975 and taught ceramics in Chicago-area high schools for several years before moving to Texas to work in the oilfields. During this period, McCoy enrolled in evening ceramics courses at the University of Houston/Clear Lake, where he spent two years working under the supervision of Professor Nick de Vries, who McCoy credits as one of his most significant influences and mentors. McCoy received his M.F.A. in ceramics at the University of Iowa in 1985, moving to Waco, Texas in 1986 to direct the ceramics program at Baylor University, where he currently holds the position of Professor & University Ceramist-in-Residence.

McCoy’s creative endeavors embrace both functional and sculptural ceramics. His work has been exhibited, published, and collected at national and international levels for the past 21 years.

Paul A. McCoy

2605 Westbury Circle Department of Art, One Bear Place #97263

Waco, Texas 76710 Baylor University

Home Phone: (254)751-0507 Waco, Texas 76798-7263

Office Phone: (254)710-4415

Fax: (254)710-1566

E-Mail: Paul_McCoy@baylor.edu

EDUCATION:

University of Iowa MFA/Ceramics 1983 – 1985

University of Houston/Clear Lake 1981 - 1983

Northern Illinois University BA/Studio; K-12 Art Cert. 1974 – 1975

CURRENT TEACHING POSITION:

Professor & Ceramist-in-Residence: Baylor University, Waco TX 1986 – Present

SELECTED RECENT EXHIBITIONS:

2007: Ritual Vessels (solo exhibition): University of Houston/Clear Lake, Houston, TX

Clay: Applied Art vs. Fine Art (intl. juried): Gloria Kennedy Gallery, Brooklyn, NY

By The Ounce (intl. juried): Louisville Stoneware, Louisville, KY

Vessels 2007 (ntl. juried): Claymakers Gallery, Durham, NC

2nd Annual National Juried Cup Show: University of Arkansas Gallery, Monticello, AR

Line to Volume (ntl. invitational): Indiana University SE, New Albany, IN

2006: Marker (solo exhibition): Olympic College Gallery, Bremerton, WA

FREE-form: Sculpture (intl. invitational): Maude Kerns Art Center, Eugene, OR

Pots & Vessels (intl. invitational): University of Iowa Museum of Art, Iowa City, IA

3rd International Ashes to Art Exhibition: Crane Arts, Philadelphia, PA

* Best of Show Award

Vantagepoint (2-person invitational): Louisiana College, Pineville, LA

History in the Making (ntl. juried): Genesee Pottery Gallery, Rochester, NY

Affinity for the Cup II (ntl. juried): Exploding Head Gallery, Sacramento, CA

16th National Ceramic Competition: San Angelo Museum of Fine Arts, San Angelo, TX

6th Annual National Juried Cup Show: Downtown Gallery, Kent State Univ., Kent, OH

Strictly Functional Pottery National (juried): Market House Craft Center, E. Petersburg, PA

Cup: The Intimate Object V (ntl. juried): C. Cummings Gallery, Ft. Wayne, IN

Teaching Clay in Texas (reg. invitational): University of Texas, Tyler, TX

2005: 2nd International Mosaic Biennial (invitational): Argentine Center for Ceramic, Art,

San Nicholas, ARGENTINA

The Visceral Vessel (intl. invitational): Russell Hill Rogers Gallery, San Antonio, TX

Earth, Wheel, Fire (intl. juried): International Museum of Art & Science, McAllen, TX

Cup: The Intimate Object IV (intl. juried): C. Cummings Gallery, Ft. Wayne, IN

Made By Hand; Meant For Use (ntl. juried): Andrews University, Berrien Springs, MI

Pots: Objects of Virtue (ntl. juried): Bedford Gallery, Walnut Creek, CA

Ceramics 2005 (ntl. juried): Guildford Handcraft Center, Guilford, CT

On The Edge (ntl. juried): Fish House Gallery, Stuart, FL

In Our Cups (ntl. juried): Lockhart Gallery, SUNY, Geneseo, NY

Clay Cup X (ntl. juried): Southern Illinois University Museum, Carbondale, IL

State of Texas – Clay (reg. invitational): University of Texas, San Antonio, TX

2004: Ceramics Biennial 2004 (ntl. juried): New Hampshire Institute of Art, Manchester, NH

George E. Ohr National Arts Challenge (juried): Ohr-O’Keefe Museum of Art, Biloxi, MS

Ceramic Sculpture (ntl. juried): Celadon Clay Art Gallery, Water Mill, NY

North American Sculpture Exhibition (ntl. juried): Foothills Art Center, Golden, CO

Out of the Fire (ntl. juried): Community Arts Center, Wallingford, PA

Vitrified Clay National: Form & Content (ntl. juried): Center for the Arts, Rockport, TX

2003: 8th International Shoebox Sculpture Exhibition (invitational – 2 yr. tour/U.S. & Taiwan):

University of Hawaii Art Gallery, Honolulu, HI *Purchase Award

1st International Mosaic Biennial (invitational): Argentine Center for Ceramic Art,

San Nicholas, ARGENTINA

Origins In Clay III (ntl. juried): Hill County Arts Foundation, Ingram, TX

Craftforms 2003 (ntl. juried): Wayne Art Center, Wayne, PA

Ceramics USA 2003 (ntl. juried): University of North Texas Gallery, Denton, TX

National Ceramics Invitational: Meadows Gallery, University of Texas, Tyler, TX

2003 National Clay Art Invitational: Collin County College Gallery, Plano, TX

One Medium, Four Men…(reg. invitational): Art Center Waco, Waco, TX

2002: Solo Exhibition: Center for Spirituality & the Arts, San Antonio, TX

Solo Exhibition: Tarrant County College SE, Arlington, TX

Pushing Clay (intl. juried): Southern Maine University, Gorham, ME

*Best of Show Award

I-45 Combined (reg. invitational): Lowell Collins Gallery, Houston, TX

Texas Mud (reg. invitational): Dallas Center for Contemporary Art, Dallas, TX

2001: Greater Midwest International XVI: Central Missouri State University, Warrensburg, MO

Ceramics 2001 (ntl. juried): Guilford Handcraft Center, Guilford, CT

Viewpoint: Ceramics 2001 (ntl. juried): Hyde Gallery, Grossmont College, El Cajon, CA

Below 2002 (ntl. juried): Contemporary Crafts Gallery, Portland, OR

Origins In Clay II (ntl. juried): University of Texas at San Antonio, San Antonio, TX

Vessels of the Soul (reg. invitational): Lowell Collins Gallery, Houston, TX

2000: Journey (solo exhibition): Sarofin Gallery, Southwestern University, Georgetown, TX

6th Great Plains National (juried): Moss-Thorn Gallery, Hays, KS

National Prize Show (juried): Lowell Street Gallery, Cambridge, MA

Solo Exhibition: Midwestern State University Art Gallery, Wichita Falls, TX

SELECTED COLLECTIONS:

Agency of Czech Ceramic Design, Cesky Krumlov, Czech Republic

Anvil Office Center, Lombard, IL

Argentine Center of Ceramic Art, San Nicholas, Argentina

Bermuda National Gallery, Hamilton, Bermuda

Hong Kong Baptist University, Hong Kong, China

Martin Museum of Art, Baylor University, Waco, TX

Midwestern State University, Wichita Falls, TX

National Endowment for the Humanities, Washington, D.C.

Okinawa International University, Naha, Okinawa

Scattergood Friends School, West Branch, IA

Seinan Gakuin University, Fukuoka, Japan

The Very Reverend Michael & Alison Mayne, Salisbury, England

The Very Reverend Wesley Carr, London, England

Tsinghua University, Beijing, China

University of Houston/Clear Lake, Houston, TX

University of Iowa Museum of Art, Iowa City, IA

University of Maastricht, Maastricht, The Netherlands

University of Tasmania Museum of Art, Tasmania, Australia

Wright State University Galleries, Dayton, OH

Yonok College, Lampang, Thailand

Yonsei University, Seoul, South Korea

Yunnan Institute of the Nationalities, Kumming, China

REPRESENTATION:

Eureka Craft Gallery, Syracuse, NY

Funeria, Graton, CA

Red Lodge Clay Center Gallery, Red Lodge, MT

Museum of Decorative Arts, Prague, Czech Republic

- Contemporary American Ceramics Archive

SELECTED PUBLICATIONS & REVIEWS:

2007 Ashes to Art (exhibition review w/ portfolio entry), Clay Times, January, pp. 8, 18-20

Ceramics Monthly, Annual Poster (portfolio entry)

2006 Turek, “Paul McCoy”, Ceramics Monthly, October, cover & pp. 37 – 39

“3rd International Ashes to Art Exhibition” (exhibition catalogue portfolio entry, p. 12)

2005 Roberts, “The Visceral Vessel” (exhibition review), Ceramics Monthly,

November, pp. 17 – 18

2004 McCoy, “Lincoln Arts: Breathing Life Into Dreams”, Ceramics Monthly,

May, pp. 55 – 59

Watkins, Wandless, Alternative Kilns & Firing Techniques, Lark Books

(portfolio entry, p. 100)

“North American Sculpture Exhibition”, Foothills Art Center, Golden, CO

(exhibition catalogue portfolio entry, cover & p. 16)

2003 “8th International Shoebox Sculpture Exhibition” (portfolio entries/exhibition catalogues)

- University of Hawaii Art Galleries, Honolulu

- Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

“1st International Biennial of Contemporary Mosaics”, Argentine Center for Ceramic Arts,

San Nicholas, Argentina (exhibition catalogue portfolio entry, p. 51)

2002 Defore, “Asking Unanswerable Questions” (exhibition review), San Antonio Current,

2/14/02, p. 15

2001 Feats of Clay XIV (exhibition catalogue/juror’s statement), Lincoln Arts, Lincoln, CA

2000 McCoy, “Aesthetic Tension: The Art of James Tisdale”, Ceramics Monthly,

January, pp. 56 – 59

1999 “Up Front” (exhibition review), Ceramics Monthly, February, p. 14

“Kennedy-Douglass National Ceramic Competition” (portfolio entry/exhibition catalogue)

Kennedy-Douglass Center for the Arts, Florence, AL

“39th Annual Invitational Exhibition” (exhibition catalogue portfolio entry),

Longview Museum of Art, Longview, TX

“Greater Expectations: Hands of the Maker” (profile article); Baylor Line;

Baylor University, Waco, TX, Spring, ’99 issue; pp. 20 – 35

1998 McCoy, “Texas Studio Ceramics: 1930 – 1960”, NCECA Journal

“Functional Ceramics” (exhibition catalogue portfolio entry), Wayne Center for

the Arts, Wooster, OH

“Raised, Assembled, Constructed: Texas Artists & Ceramic Sculpture” (exhibition

catalogue portfolio entry); University of Texas at Arlington, Arlington, TX

McCoy, “Harding Black” (exhibition catalogue); Baylor University, Waco, TX

1997 McCoy, “Field of Vision”; Ceramics Monthly, November, pp 63 – 66

“The Human Nature Series” (sabbatical exhibition catalogue), Martin Museum of Art,

Baylor University, Waco, TX

1994 Ceramics Monthly Annual Poster

“Feats of Clay” (exhibition review & portfolio entry), Ceramics Monthly, March, p. 91

1993 “29th Ceramic National” (exhibition review & portfolio entry, Ceramics Monthly,

November, p. 50

“29th Ceramic National” (exhibition catalogue portfolio entry), Everson Museum

of Art, Syracuse, NY

“Texas Clay II” (exibition catalogue portfolio entry), Southwest Texas State University,

San Marcos, TX

1992 “Great Enigmas/Personal Myths” (exhibition catalogue portfolio entry), Cultural Arts

Center, Temple, TX

1991 “Harding Black: Sixty Years of Discovery”(article essay), Ceramics Monthly, December,

pp. 36 – 41

McCoy, “Harding Black: In Celebration” (exhibition catalogue), Martin Museum of Art,

Baylor University, Waco, TX

“Feats of Clay III” (exhibition review & portfolio entry), Ceramics Monthly, May, p. 36

- end -

Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (2 of 5): The movie /

CITA EN EL CINE (2 de 5): La Peli

(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.

FOTOSTORY: In English / En Español

Chris: Look, they are here. HEY!

Matt: - body language – Here, here! -

/

Chris: Mira, ya están aquí. EY!

Matt: - lenguage gestual - Aquí, Aquí! -

COLLABORATION:

- Minao's Akari Collaboration

- Dom y Akari en el Foro de Pullips: Pullip .es

- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.

- Little interpretation of Mad_Pullip's Emily as a MUSE fan.

SHERYL LINKS:

- Pullip .es: Las Fotohistorias de Sheryl

- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012

Matthiessen Surprise on black.

On the main trail at Matthiessen State Park in Illinois, there is a place called Cedar Point. From there, you can see up a small tributary that quickly turns a corner. I had always wondered what was up there and since I was completely prepared to walk through all kinds of water yesterday in my awesome Merrill water shoes, I ventured across the river and up the little stream.

It's interesting because just a few feet later, you round a small corner and you see the falls on the right. Had things been ever so slightly different at Cedar Point, you'd see the falls from there, but they are not. To see this you have to be curious enough to cross the river.

That was exciting enough but then I turned a 90 degree corner just behind where I was standing to see the table-top cascade to the left. It literally made me gasp. I love little table-top falls more then any other I think and I had no idea this was even in the park. I was actually headed over to Starved Rock later in the day to find a cascade like this, but this changed everything. I had the entire place to myself and just drank it in.

If you continue to follow the river up to the left, there are another five cascades above this one - all within about 300 yards. It may be my new favorite spot in the park.

Free 8th Annual College Park Blues Festival (CPBF)

Follow on Facebook | #FreeCPBF

Memphis or Bust! IBC Fundraiser to send The DC Blues Society Battle of the Bands winner to Memphis, TN.

Live Bands ~ Vendors ~ Dancing ~ Craft Beer

WHEN: Saturday, November 14, 2015 - 6pm to 11:30pm

FREE: Free entry and free Parking

WHERE: 7675 Baltimore Avenue, College Park, MD 20742

WHO: Patty Reese Band, Jesi Terrell & The Love Mechanic Band, Ron Hicks Project, DCBS Battle of the Bands winner announced after October 10 competition

SPONSORS: City of College Park, University of Maryland, Maryland National Capital Park and Planning Commission, UMD Dining Services, DC Blues Society, Atomic Music, Audio Event Services Inc., Original Ledo Restaurant, College Park Arts Exchange, Phillips-Kleiner VFW, Shop College Park, UMD WMUC 88.1fm, WPFW 89.3fm

Featuring

• DCBS Battle of the Band Winner – attend the competition on October 10

• Ron Hicks Project

• Jesi Terrell & The Love Mechanic Band

• Patty Reese Band

CPBF 2015 brought to you by the College Park Recreation Board and the DC Blues Society.

Festival on the Web: www.dcblues.org/ or shopcollegepark.org/events/cpbf/

Follow on Twitter: #FreeCPBF

Sponsors / Vendors - contact cp@dcblues.org

Artists and schedule subject to change.

View On Black View My Recent

Luciti

In Onexposure

La consagració de Santa Maria de Lluçà, fou duta a terme pel bisbe de Vic, Idelguer, el 22 de maig de l’any 905. Aquesta església es trobava ad radices castri de Luzano, al peu del castell de Lluçà- és a dir, al lloc actual-. Fou erigida pel prevere Vininza i dotada pels parroquians. Estava formada per una nau amb un petit creuer, en el qual hi havia un absis central i una absidiola a cada extrem. Diu l’acta de consagració que el bisbe va subjectar a aquesta església els vilars o centres d’explotació rural que es repartiren el terme del castell de Lluçà, i moltes esglesioles que ja funcionaven. Santa Maria va ser la cap de les esglésies sufragànies de Sant Pere de Torroella o del Grau, de Santa Eulàlia de Puig-oriol, Sant Agustí de Lluçanès, Sant Climent de la Riba i de Sant Cristòfol de Borrassers. Així doncs, al segle X, ens trobem que les terres lluçaneses estaven organitzades, i el centre era Santa Maria de Lluçà. Cap al 1170 i 1190 ja es va fer una reedificació. La nova església es va construïr sota un mòdul romànic. Hi havia tres altars de l’absis principal, i dues absidioles laterals dedicades a Santa Maria a Sant Joan i Sant Miquel. Els de Santa Maria Magdalena i Sant Agustí serien més tardans, encara que anteriors a 1270. A l’altar e Santa Magdalena, se li va afegir l’advocació de Sant Vicenç, en abandonar-se la capella del Castell. Es va convertir en un temple més gran que, amb moltes modificacions, és el que ens ha arribat als nostres dies.

Es pot assegurar que que abans del 1150 a Lluçà no hi havia cap comunitat, i que la seva església estava regida per un o més sacerdots. Es veu sobretot a través dels testaments dels senyors de Lluçà, que consideren Lluçà com una parròquia més, i per tant les seves preferències són pel monestir de Ripoll. A partir de 1154, ja es fan enterrar a Lluçà. Això ho coneixem gràcies al testament de Bernat Guillem de Lluçà. És a partir de 1168 que trobem la primera comunitat de canonges, amb el primer prior, Pere de Sagàs. És llavors quan s’assegura la subsitència de la comunitat gràcies a donacions. Per suposat, les més importants eren les dels senyors de Lluçà. El segle XIII, va ser el moment de major esplendor de la canònica ja que va rebre importants donacions dels propietaris de la zona. Ens fem una idea de la importància de la influència religiosa de Santa Maria en l’època quan veiem que la majoria de canonges que van excercir de canonges eren fills dels masos veïns. La canònica agustiniana estava sota la protecció de la de l’Estany i es beneficiava dels seus béns i càrrecs, que s’intercanviaven. Deuria ser en aquest s. XIII, tan pròsper, quan es va pintar el revestiment d’altar pintat sobre fusta, avui conservat al Museu Episcopal de Vic, i obra de l’anomenat Mestre de Lluçà. És una obra d’un viu cromatisme i una de les pintures més belles del romànic català. Cap a l’any 1330 comença la decadència espiritual i econòmica, fins a tal punt que al 1357, al monestir, hi havia només el prior, tres canonges i un deodonat.D’altra banda, els terratrèmols que van assolar Catalunya entre 1428 i 1448, van castigar Lluçà que va veure com s’esfondrava la nau de l’església, el campanar i algunes dependències monàstiques. L’any 1592, el papa sumprimeix les canòniques agustinianes a Catalunya, i la de Lluçà s’uneix a la Casa de Caritat de Barcelona que es queda amb tots els seus béns. Al segle XVII es converteix en santuari marià i es porten a terme transformacions a l’església, com l’aixacament del campanar, remodelamanet de la façana, una nova sagristia, un portal pel campanar.... Més tard, al segle XVIII es decora l’església seguint l’estil barroc i s’afegeix un pis amb porxades amb claustre. Ens trobem que de la primera església, no en queda res, excepte unes tombes antropomorfes que hi podrien correspondre. En unes reformes que hi feu la Diputació de Barcelona l’any 1967 es retorna a l’església la seva fesomia original del segle XII. Avui en dia conserva la majoria de frescos i pintures, així com alguna escultura de gran valor. Les seves obres formen un conjunt importantíssim del Romànic Català.

La consagración de Santa Maria de Lluçà, fue llevada a cabo por el obispo de Vic, Idelguer, el 22 de mayo del año 905. Esta iglesia se encontraba ad radices castro de Luzán, al pie del castillo de Lluçà-es decir, en el lugar actual-. Fue erigida por el presbítero Vininza y dotada por los parroquianos. Estaba formada por una nave con un pequeño crucero, en el que había un ábside central y una absidiola en cada extremo. Dice el acta de consagración que el obispo sujetó a esta iglesia los Vilars o centros de explotación rural que se repartieron el término del castillo de Lluçà, y muchas iglesias que ya funcionaban. Santa Maria fue la jefa de las iglesias sufragáneas de Sant Pere de Torroella o del Grau, de Santa Eulàlia de Puig-oriol, Sant Agustí de Lluçanès, Sant Climent de la Riba y de Sant Cristòfol de Borrassers. Así pues, el siglo X, nos encontramos que las tierras Lluçanesa estaban organizadas, y el centro era Santa Maria de Lluçà. Hacia el 1170 y 1190 ya se hizo una reedificación. La nueva iglesia se construyó bajo un módulo románico. Había tres altares del ábside principal, y dos absidiolos laterales dedicadas a Santa Maria en Sant Joan y Sant Miquel. Los de Santa Maria Magdalena y Sant Agustí serían más tardíos, aunque anteriores a 1270. En el altar y Santa Magdalena, se le añadió la advocación de Sant Vicenç, en abandonarse la capilla del Castillo. Se convirtió en un templo más grande que, con muchas modificaciones, es lo que nos ha llegado a nuestros días.

Se puede asegurar que que antes del 1150 en Lluçà no había ninguna comunidad, y que su iglesia estaba regida por uno o más sacerdotes. Se ve sobre todo a través de los testamentos de los señores de Lluçà, que consideran Lluçà como una parroquia más, y por tanto sus preferencias son por el monasterio de Ripoll. A partir de 1154, ya se hacen enterrar en Lluçà. Esto lo conocemos gracias al testamento de Bernat Guillem de Lluçà. Es a partir de 1168 que encontramos la primera comunidad de canónigos, con el primer prior, Pedro de Sagàs. Es entonces cuando se asegura la subsistencia de la comunidad gracias a donaciones. Por supuesto, las más importantes eran las de los señores de Lluçà. El siglo XIII, fue el momento de mayor esplendor de la canónica ya que recibió importantes donaciones de los propietarios de la zona. Nos hacemos una idea de la importancia de la influencia religiosa de Santa Maria en la época cuando vemos que la mayoría de canónigos que ejercer de canónigos eran hijos de los caseríos vecinos. La canónica agustiniana estaba bajo la protección de la de l'Estany y se beneficiaba de sus bienes y cargos, que se intercambiaban. Debería ser en este siglo XIII, tan próspero, cuando se pintó el revestimiento de altar pintado sobre madera, hoy conservado en el Museo Episcopal de Vic, y obra del llamado Maestro de Lluçà. Es una obra de un vivo cromatismo y una de las pinturas más bellas del románico catalán. Hacia el año 1330 comienza la decadencia espiritual y económica, hasta tal punto que en 1357, el monasterio, había sólo el prior, tres canónigos y un deodonat.D Por otra parte, los terremotos que asolaron Cataluña entre 1428 y 1448 , castigaron Lluçà que vio como se derrumba la nave de la iglesia, el campanario y algunas dependencias monásticas. En 1592, el papa sumprimeix las canónicas agustinianas en Cataluña, y la de Lluçà se une a la Casa de Caritat de Barcelona que se queda con todos sus bienes. En el siglo XVII se convierte en santuario mariano y se llevan a cabo transformaciones iglesia, como el aixacament del campanario, remodelamanet de la fachada, una nueva sacristía, un portal por el campanario .... Más tarde, en el siglo XVIII se decora la iglesia siguiendo el estilo barroco y se añade un piso con soportales con claustro. Nos encontramos que de la primera iglesia, no queda nada, salvo unas tumbas antropomorfas que podrían corresponder. En unas reformas que haga la Diputación de Barcelona en el año 1967 se devuelve la iglesia su fisonomía original del siglo XII. Hoy en día conserva la mayoría de frescos y pinturas, así como alguna escultura de gran valor. Sus obras forman un conjunto importantísimo del Románico Catalán.

Please View Large On Black

The beautiful Statue of Liberty, Liberty Island, New York City. I took several photos of the Statue of Liberty from a ferry boat on my first trip to Liberty Island and New York City in October 2004. In this version I applied my new Photoshop filter plug-in called "Fractalius" to create a drawing effect.

INFORMATION ON THE STATUE OF LIBERTY

Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.

The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.

The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).

Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.

Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:

“Not like the brazen giant of Greek fame,

With conquering limbs astride from land to land;

Here at our sea-washed, sunset gates shall stand

A mighty woman with a torch, whose flame

Is the imprisoned lightning, and her name

Mother of Exiles. From her beacon-hand

Glows world-wide welcome; her mild eyes command

The air-bridged harbor that twin cities frame.

"Keep ancient lands, your storied pomp!" cries she

With silent lips. "Give me your tired, your poor,

Your huddled masses yearning to breathe free,

The wretched refuse of your teeming shore.

Send these, the homeless, tempest-tost to me,

I lift my lamp beside the golden door!"

There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.

Source: Wikipedia

Internet Archive Link for all 12 Chapters

archive.org/search.php?query=subject:%22%20Undersea%20Kin...

In 1966, NTA released Sharad of Atlantis in television syndication. It was a feature edited from the 1936 Republic serial, Undersea Kingdom. Starring Ray "Crash" Corrigan, Lon Chaney Jr., Monte Blue, Smiley Burnette. Directed by B. Reeves "Breezy" Eason.

Starring Ray "Crash" Corrigan, Lon Chaney Jr., Monte Blue, Smiley Burnette. Directed by B. Reeves "Breezy" Eason. Crash Corrigan dives to Atlantis in a submarine with his friends, Lois Wilde, C. Montague Shaw and Lee Van Atta, to save the world from the Black Robes, led by Unga Khan (Monte Blue).

Crash Corrigan, a recent graduate of Annapolis, and Diana, a go-getting reporter, join Professor Norton for a search for the source of a string of earthquakes, Atlantis. They ride Prof. Norton's rocket submarine searching the sea and little Billy Norton, the professor's son stows away, of course. When they find Atlantis they are caught in a war between peaceful Atlanteans, note their white capes, and war-monging Atlanteans, note their black capes. After many harrowing moments for Crash, Diana, Prof. Norton and Billy, they barely get away with their lives when they escape a tower of Atlantis raised to the surface for the sole purpose of dominating or destroying the Earth (Which one depends on the compliance of the upper world dwellers.)

Directed by B. Reeves Eason and former editor Joseph Kane, this Flash Gordon imitation was the second serial from a then newcomer in the field, Republic Pictures. Actually, it was only the Republic Eagle trademark that was new; Undersea Kingdom was produced by Nat Levine, formerly of Mascot Pictures, a serial kingdom all its own which had been incorporated into Republic in 1935, lock, stock, and Gene Autry. Not to be outdone by Universal's blond superhero, Undersea Kingdom had Ray "Crash" Corrigan, crash-helmet and all, diving into the ocean in a fantastic super submarine. Corrigan and his passengers -- Professor Norton (C. Montague Shaw), the professor's young son (Lee Van Atta), brash newspaperwoman Diana Compton (Lois Wilde), and a couple of sailors -- are headed toward the legendary sunken continent of Atlantis. Upon arrival, the surface people discover that the recent rash of undersea earthquakes are the work of Unga Khan (Monte Blue), the leader of the evil Black Robes whose nefarious goal is to destroy America. Unga Khan's kingdom proves to be a mixture of science-fiction gadgetry and medieval derring-do, both the Black Robes and their enemy, the White Robes, dressed like something out of a Wagnerian nightmare. The surface people ally themselves with the White Robes and in the 12th and final chapter, "Ascent to the Upperworld," Corrigan et al. finally manage to rid both worlds of the evil Khan. Republic threw everything but the kitchen sink at the Saturday matinee crowd this time around, including such veteran action and Western players as William Farnum, Raymond Hatton, Smiley Burnette, Lon Chaney Jr., Lane Chandler, Malcolm McGregor, and John Merton. Undersea Kingdom also employed most of the stunt men whose work would eventually help make Republic the pride of Poverty Row: Eddie Parker, Al Seymour, George de Normand, Tom Steele, and the Yrigoyen brothers, Bill and Joe. Undersea Kingdom was also released in an edited feature version, retitled Sharrad of Atlantis.

One of my all-time favorite serials, goofy over-the-top fun that's hard to beat. Here's the premise: a series of devastating earthquakes are investigated by kindly old Professor Norton, who theorizes that they are somehow being caused by the legendary sunken continent of Atlantis. Luckily, the prof has invented an amazing new super-submarine and he goes to check things out. Unfortunately, his party consists of two goofy stooges, a colorless girl reporter who tags along, and his little son Billy (a thrill freak who stows away). On the other hand, he's sharp enough to also bring along the very athletic and tough Naval lieutenant Ray "Crash" Corrigan, one of the best guys to have at your back in a cliffhanger.

Things get weird awful fast. The sub is drawn into a cavern ten thousand feet below the surface and here they find a lost world. Yes, in a cave deep under the ocean is the land of Atlantis, complete with sunlight and a wide open sky and trees and all that. The Professor doesn't even try to explain this, and frankly, neither will I. You just have to go with it. Atlantis is in theory ruled by the kindly high priest Sharad (finally! a decent high priest), but there is also this usurper named Unga Khan.

Although everyone else is still riding in chariots and fighting with curved swords, Unga Khan has an impressive array of advanced technology. Robots (called Volkites for some reason), flying torpedoes and death rays, an armored tank called the Juggernaut, television spy cameras, everything except Gameboys. Being one of those mad conquest-hungry types (as his name suggests), Khan is determined to bring his metal tower to the surface like a missile and launch an all-out attack on the world above.

Right off the bat, Unga Khan brainwashes Professor Norton to help him with his schemes. Crash Corrigan objects strenuously and we're off on a wild barrage of attacks and deathtraps and wrestling matches and explosions.... all the things that are great to enjoy if you're sitting comfortably on your couch instead of being in the middle of it all. The serial is full of memorable moments, but you really have to love the scene where Crash has been tied to the front of that Juggernaut thing. Behind the wheel, Lon Chaney (of all people) as the brutal Captain Hakur gives him one more chance to co-operate or he'll ram the tank right through the city gates with our hero on the front bumper. Clenching his teeth and speaking with absolute conviction, Crash says, "Go ahead and RAM!" That's the spirit, Corrigan.

It's kind of obvious that UNDERSEA KINGDOM was Republic's response to the successful Universal epic, FLASH GORDON. I mean, "Flash Gordon" - "Crash Corrigan", say them quickly together. The basic plots were the same, but although I thought UNDERSEA KINGDOM moved a bit more briskly and had better action than FLASH GORDON, there were a few areas where the second serial suffered in comparison to its inspiration. Monte Blue was okay as Unga Khan, giving his lines a lot of zest but he certainly was no match for Charles Middleton as Ming. (Now there was a villain who ranked with Fu Manchu and Professor Moriarty.)

Also, Lois Wilde as pushy reporter Diana makes no impression on me, and apparently Crash wasn't too smitten with her, either. Although most of the cast (including Crash) get to run around in bizarre tunics and crested helmets and flashy robes, Diana stays in her drab professional skirt & jacket ensemble. Compare her with Jean Rogers as Dale Arden in those teeny outfits that still cause testosterone surges in male viewers. Actually, most of the comraderie was between Crash and little Billy Norton, who idolized the big lug in a completely straight, non-suggestive kid brotherly way. Billy even got to save the day a few times, which was more than Diana or the brainwashed professor did.

The biggest misgiving I have about UNDERSEA KINGDOM is that it cheated shamelessly on some of the chapter endings. You see someone clearly drop down an elevator shaft, tumbling roughly to doom; and then next chapter opens with that person catching a projection right after falling in. Boo! Hiss! I can forgive some dodgy solutions to cliffhangers but outright cheating riles me. Showing the hero finding a last minute way out of the burning building or even just leaping out of the car before it blows up is okay, but showing events completely different from what we saw the week before just isn't playing fair.

Crash Corrigan (1902-1976, real name Raymond Bernard) makes a splendid hero. Obviously in terrific shape, he really seems like he can wrestle down two big men at a time and he delivers his lines with conviction. He would not have been a bad choice to play Tarzan or Hercules. Although Corrigan made a lot of Westerns, that's really not my field of interest (maybe someday) and I know him better for all his appearances in that inimitable gorilla suit - in fact, as the horned apelike Orangapoid, he gave Buster Crabbe a rough tangle in FLASH GORDON not long before UNDERSEA KINGDOM. Twenty years later, he played the murderous Martian creature in the very cool drive-in classic IT! THE TERROR FROM BEYOND SPACE, often cited as an inspiration for the ALIEN movies.

Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (2 of 5): The movie /

CITA EN EL CINE (2 de 5): La Peli

(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.

FOTOSTORY: In English / En Español

MOVIE: I GOT YOU!!

Akari: Whaaarg! Ó_Ò

Dom: Haha, it's okay ^^

/

PELI: TE PILLÉ!!

Akari: Aaaaarg! Ó_Ò

Dom: Jaja, no pasa nada. ^^

COLLABORATION:

- Minao's Akari Collaboration

- Dom y Akari en el Foro de Pullips: Pullip .es

- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.

- Little interpretation of Mad_Pullip's Emily as a MUSE fan.

SHERYL LINKS:

- Pullip .es: Las Fotohistorias de Sheryl

- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012

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...

Todo ha de alejarse en la muerte esconderse en la muerte

Yo tú él nosotros vosotros ellos

Ayer hoy mañana

Pasto en las fauces del insaciable olvido

Pasto para la rumia eterna del caos incansable

Justicia ¿qué has hecho de mí Vicente Huidobro?

Se me cae el dolor de la lengua y las alas marchitas

Se me caen los dedos muertos uno a uno

¿Qué has hecho de mi voz cargada de pájaros en el atardecer

La voz que me dolía como sangre?

Dadme el infinito como una flor para mis manos...

{Fragmento Altazor (Canto I) - Vicente Huidobro}

No usar esta imagen en páginas web, blogs u otros soportes sin mi autorización, © Todos los derechos reservados.

Don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

“Y estos derechos... a respetarlos, ¿eh? ¡No vaya a pasar como con los diez mandamientos!” (Mafalda)

LARRY"S COLLECTION

OK I have to tell you the story of the Barbies. Y'all know My 100 possibilities project is a Barbie. Well I am always on the lookout for clothes, props etc. I saw these 2 Top Model Barbies with extra outfits, shoes, and stands for 9.99 each at Food Lion. And since they are Model Muse Barbies. (Better posers) I grabbed 2 and proceeded to the checkout with my groceries. The checker asked who the Barbies were for, IDK why I did it people, but I lied and said they were for my nieces, thinking that would be the end of it. OH NO! Not to happen. Next comes the interrogation! How old are your Nieces? Where do they live?, Do they go tho School with so-n-so?, Do they watch Top Model?... OMG I wanted to shrink!

The moral of the story is, Dont Do It People.... One lie leads to another and another and another....;-)

I Thought it was Damn funny. It woulda been so much easier to explain the whole 100 possibilities project!

Zoo - Barcelona (Spain).

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ENGLISH

The Komodo dragon (Varanus komodoensis) is a species of lizard that inhabits the islands of Komodo, Rinca, Flores, Gili Motang, and Gili Dasami, in central Indonesia. A member of the monitor lizard family (Varanidae), it is the largest living species of lizard, growing to an average length of 2–3 meters (approximately 6.5–10 ft) and weighing around 70 kilograms (154 lb). Their unusual size is attributed to island gigantism, since there are no other carnivorous mammals to fill the niche on the islands where they live, and also to the Komodo dragon's low metabolic rate. As a result of their size, these lizards are apex predators, dominating the ecosystems in which they live. Although Komodo dragons eat mostly carrion, they will also hunt and ambush prey including invertebrates, birds, and mammals.

Komodo dragons possess virulent bacteria in their saliva, of which more than 28 Gram-negative and 29 Gram-positive strains have been isolated. These bacteria cause septicemia in their victim; if an initial bite does not kill the prey animal and it escapes, it will commonly succumb within a week to the resulting infection. The deadliest bacteria in Komodo dragon saliva appears to be a very deadly strain of Pasteurella multocida, from studies performed with lab mice. Because the Komodo dragon appears immune to its own microbes, much research has been done searching for the antibacterial molecule in the hopes of human medicinal use.

More info: en.wikipedia.org/wiki/Komodo_dragon

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CASTELLANO

El Dragón de Komodo (Varanus komodoensis) es el saurio de mayor tamaño en el mundo, pudiendo llegar a alcanzar una longitud de tres metros y un peso entre 80 y 140 Kg. Es un miembro de la familia Varanidae que habita en diversas islas de Indonesia.

Este animal es un reptil carroñero que, para matar, no tiene que atrapar a su presa, sino que basta con que la muerda una vez. Su saliva tiene hasta 82 tipos diferentes de bacterias que provocan una septicemia en su presa, que muere a las pocas horas. La bacteria más mortífera de la saliva del dragón de Komodo parece ser una cepa de Pasteurella multocida, según estudios en ratones de laboratorio. Dado que el dragón de Komodo parece ser inmune a sus propios microbios, se han iniciado investigaciones en busca de la molécula antibacteriana para uso médico en humanos.

Este dragón es el animal más grande que habita en la isla, por lo tanto, su único enemigo es otro dragón.

Generalmente se movilizan en grupos de 2 a 10 dragones.

Está emparentado con los mosasaurios, un tipo de reptiles marinos que vivieron hace 136 millones de años y que llegaban a medir hasta 17 metros de longitud.

Más info: en.wikipedia.org/wiki/Komodo_dragon

Marathoners: First Name: J

The following is a list of Ottawa, Gatineau and area marathoners who have first names starting with a J.

Click on the names below to link to Sportstats' running statistics, as well as race pictures.

Marathon pictures are available for sale from ASI Photos, Zoom Photo, etc.

(in order by first name)

575….J Dewar….Gloucester

576….Jacki Sachrajda….Ottawa

577….Jackie Benn….Ottawa

578….Jackie Forman….Ottawa

579….Jacob Maracle….Ottawa

580….Jacqueline Akerman….Gatineau

581….Jacqueline Greenblatt….Ottawa

582….Jacquelyn Wingrove….Ottawa

583….James Beaupre….Ottawa

584….James Bonany….Nepean

585….James Buell….Gatineau

586….James Campbell….Ottawa

587….James Carere….Ottawa

588….James Dutrisac….Ottawa

589….James Houseman….Alexandria

590….James Jun….Ottawa

591….James McGuire….Carleton Place

592….James Peltzer….Ottawa

593….James Stringham….Kanata

594….James Waite….Orleans

595….Jamie Anderson….Ottawa

596….Jamie Driscoll….Ottawa

597….Jamie Hayami….Nepean

598….Jamie Hurst….Ottawa

599….Jamie Lee….Ottawa

600….Jamila Gubbels….Ottawa

601….Jan Donak….Kanata

602….Jan Donker….Navan

603….Jana Seymour….Nepean

604….Jane Brown….Ottawa

605….Jane Brunetta….Ottawa

606….Jane Dawson….Ottawa

607….Jane Rooney….Ottawa

608….Janet Lovelady….Ottawa

609….Janet Sol….Ottawa

610….Janette Marquardt….Orleans

611….Janice Morlidge….Ottawa

612….Janice Richard….Nepean

613….Janusz Gawlik….Ottawa

614….Jared Broughton….Ottawa

615….Jason Bussey….Ottawa

616….Jason Duhaime….Ottawa

617….Jason Lawton….Ottawa

618….Jason Lyons….Stittsville

619….Jason Mackey….Ottawa

620….Jason Mcneely….Lansdowne

621….Jason Riordon….Ottawa

622….Jason Roberts….Orleans

623….Jason Stanley….Nepean

624….Jason Stewart….Ottawa

625….Jason Vallis….Pembroke

626….Jason Williams….Ottawa

627….Jean Lapointe….Ottawa

628….Jean Magne….Orleans

629….Jean-Alexis Marquis….Gatineau

630….Jean-Charles Daoust….Gatineau

631….Jeanfrancois Laplante….Gatineau

632….Jeanfrancois Seguin….Gatineau

633….Jeannie Leblanc….Gloucester

634….Jean-Noel Gilbert….Orleans

635….Jeff Bowes….Ottawa

636….Jeff Goold….Kanata

637….Jeff McCue….Ottawa

638….Jeff Moore….Ottawa

639….Jeff Morrison….Ottawa

640….Jeff Perras….Nepean

641….Jeffrey Johnston….Ottawa

642….Jeffrey Martin….Petawawa

643….Jeffrey Reid….Ottawa

644….Jeffrey Smith….Ottawa

645….Jen Milligan….Ottawa

646….Jenifer Cepella….Ottawa

647….Jenn Bon….Smiths Falls

648….Jenn Ross….Merrickville

649….Jenna Bender….Orleans

650….Jennifer Cameron….Stittsville

651….Jennifer Crain….Ottawa

652….Jennifer Foulon….Stittsville

653….Jennifer Fraser….Ottawa

654….Jennifer Hartley….Ottawa

655….Jennifer Hausman….Orleans

656….Jennifer Moores….Ottawa

657….Jennifer North….Ottawa

658….Jennifer Prieur….Kanata

659….Jennifer Quinlan….Kanata

660….Jennifer Schenkel….Orleans

661….Jennifer Wallis….Ottawa

662….Jennifer Wills….Nepean

663….Jenny Kehrberger….Ottawa

664….Jenny Midwinter….Ottawa

665….Jenny Packham….Ottawa

666….Jenny Sheffield….Almonte

667….Jeremy Hildebrand….Ottawa

668….Jeremy Leal….Ottawa

669….Jesper Lind….Ottawa

670….Jessee Rodriguez….Kanata

671….Jessica Eamer….Ottawa

672….Jessica Evans….Ottawa

673….Jessica Fletcher….Ottawa

674….Jessica Mcrobbie….Petawawa

675….Jesula Drouillard….Ottawa

676….J-Francois Fillion….Gatineau

677….Jill Ainsworth….Ottawa

678….Jill Donak….Ottawa

679….Jill Kolisnek….Ottawa

680….Jim Fullarton….Ottawa

681….Jim Miller-Cushon….Merrickville

682….Jim Penman….Ottawa

683….Jim Ryan….Ottawa

684….Jim Stewart….Ottawa

685….Jim Ward….Orleans

686….Jo Anne Macdonald….Ottawa

687….Joan Tourangeau….Orleans

688….Joanna Hardwick….Ottawa

689….Joanne Bradley….Ottawa

690….Joanne Di Cresce….Stittsville

691….Joanne Kurtz….Ottawa

692….Joanne Lennon….Ottawa

693….Jo-Anne Macdonald….Ottawa

694….Jocelyn Larabie….Gatineau

695….Jody Gelowitz….Kanata

696….Joe Crowley….Gatineau

697….Joe Ross….Ottawa

698….Joe Smith….Ottawa

699….Joe Tegano….Ottawa

700….Joejon Noonan….Prescott

701….Joel Koffman….Ottawa

702….Joel Le Floch….Ottawa

703….Joel Willison….Gloucester

704….Joey Palomaki….Ottawa

705….Johanne Audet….Gatineau

706….John Beaudoin….Ottawa

707….John Frizzell….Nepean

708….John Gagnon….Pembroke

709….John Gallinger….Nepean

710….John Gelder….Ottawa

711….John Girard….Gloucester

712….John Gorman….Ottawa

713….John Heffernan….Orleans

714….John Jr. Fuller….Renfrew

715….John MacMillan….Spencerville

716….John Madower….Orleans

717….John O'Connell….Ottawa

718….John Pool….Kanata

719….John Ramcharan….Orleans

720….John Ruttle….Ottawa

721….John Scoles….Ottawa

722….John Smith….Brockville

723….John Stoddart….Ottawa

724….John Tardif….Orleans

725….John Welsh….Ottawa

726….John William Brown….Cornwall

727….John Wilson….Ottawa

728….John Young….Ottawa

729….John Zawada….Alexandria

730….Jolene Savoie….Ottawa

731….Jon Hamilton….Greely

732….Jonathan Daniel….Stittsville

733….Jonathan Hache….Ottawa

734….Jonathan Hurn….Ottawa

735….Jonathan Liddell….Ottawa

736….Jonathan Racicot….Ottawa

737….Jonathan Timlin….Ottawa

738….Jonathan Woodman….Nepean

739….Jono Hamer-Wilson….Ottawa

740….Jordan Jones….Kanata

741….Jose Marti Castillo Barba….Ottawa

742….Josee Surprenant….Ottawa

743….Joseph Emas….Nepean

744….Joseph Kozar….Ottawa

745….Joseph Rios….Ottawa

746….Josh Bates….Ottawa

747….Josh Roy….Ottawa

748….Joshua Brunetta….Ottawa

749….Juan Navarro….Ottawa

750….Judith Finn….Orleans

751….Judith Proulx-Snedden….Nepean

752….Julian Scott….Kanata

753….Julie Barden….Manotick

754….Julie Barrette….Rockland

755….Julie Burke….Ottawa

756….Julie Dale….Ottawa

757….Julie Laflamme….Ottawa

758….Julie Lefebvre….Ottawa

759….Julie Piche….Gatineau

760….Julie Samson….Ottawa

761….Julie Soucy….Ottawa

762….Justin Pike….Ottawa

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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.

Santa Coloma de Queralt, Tarragona (Spain).

1ª Sortida enfoca: Guimerà-Conesa (gener 2009).

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En Conesa nos despedimos todos y cada uno volvió a su casa. En el camino de regreso a mi casa pasé por este pueblo y decidir pararme un rato a conocerlo y sacar algunas fotos, que aunque no pertenezcan a la salida oficial, para mí es como si lo fueran.

ENGLISH

Santa Coloma de Queralt is a municipality in the comarca of the Conca de Barberà in Catalonia, Spain. It is situated in the north-east of the comarca. The four medieval gateways to the old town have been preserved. The gothic church of Santa Coloma dates from the fourteenth century.

There are settlements nearby to the town that they date of the Neolithic, but the first center of population of Santa Coloma is Iberian.

The first document that makes reference to the population of "Sancta Columba" it dates from 976 and places it in the territory of the "marca, in front of the limits of Spain", that is, land of border between the Christian and the Muslim Catalonia.

Almost during a thousand years Santa Coloma was the parental home of the barony of the Queralt, one of the feudal families more powerful of Middle Ages, firm allied of the count of Barcelona. Of this period are the main monuments: part of the castle, the wall (of which four portals stay), Jewish Jewry, parish church... The Jewish community, represented an important percentage of the population. The Jews dedicated themselves to commercial activities and were never an object of persecution.

During 16 and 17th centuries the castle went being to stately residence and was modified with Baroque and Renaissance styles.

In the national wars of the 17 and 18th centuries Santa Coloma believer to the Catalan institutions always stayed. During the War of the Reapers (Segadors), the town declared "enemy of the homeland" the count of Santa Coloma and viceroy of Catalonia Dalmau III of Queralt. Afterwards it put itself under the protection of the king of France and renounced to name Queralt to be called Santa Coloma "the Royal".

In the War of Succession, the town declared adherent to archduke Charles of Austria and collaborated in the fight against the Franco-Castilian troops of Philip V. After the defeat of 1714 and during all the 18th century, the town experienced a strong growth of the population, who provoked the disappearance of the walls on building the outskirts. Today some towers are visible still and they subtract four portals intact.

In the 19th century and until mid 20th the textile industry supposed an important economic growth and demographic of the population, which increased in more than a thousand inhabitants and arrived at its historical maximum of 3.500 inhabitants in 1932. During the war of 1936-1939, the town changed its historical name for that of Segarra de Gaià.

Source: www.stacqueralt.altanet.org/municipi/descripcioihistoria.php

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CASTELLANO

Santa Coloma de Queralt, es un municipio español, situado en la provincia de Tarragona (Cataluña), en la comarca de la Conca de Barberá, a la derecha del río Gayá, protegido por la sierra de Aguiló (811 m) y del Codony (789 m). Tiene diversos torrentes, que son los que surten de agua al término.

El municipio tiene su origen en la primitiva iglesia dedicada a Santa Coloma, perteneciente al castillo de Queralt. Este edificio aparece documentado en 976 cuando fue adquirido por el vizconde Guitard. Fue el primer centro de la baronía de Queralt. La primera denominación de la villa fue la de Santa Coloma Samora. Durante el siglo XIII aparece citada como Samarca o de la Marca aunque el término de Queralt ya aparece en algunos dodumentos.

Entre el siglo XIII y 1492 tuvo una importante comunidad judía de la que aún se conservan algunas calles.

Durante la Guerra de los Segadores, el pueblo apoyó a la Generalidad. El rey Luis XIV le concedió a Santa Coloma el título de "villa real" y abolió la señoría. Al finalizar la guerra, el pueblo volvió a quedar en manos de la familia Queralt.

De su población medieval se conserva parte de la muralla y las puertas de Cervera, del Martí, de Santa María y de Santa Coloma. En 1294 había tres puertas que se ampliaron a seis en el año 1471.La baronía de Queralt perteneció a los señores de Gurb hasta el 1213 que vendieron el término a los Timor, que se quedaron con el nombre de Queralt para fundar un linaje.

El castillo de Queralt en el siglo X pertenecía a los señores de Barcelona, durante los siglos XI -XIII al condado de Osona-Manresa.

La iglesia parroquial esta dedicada a Santa Maria (siglo XIV). Es de estilo gótico. Aunque su construcción se inició en 1331 no fue culminada hasta 1587. En su interior se encuentra un retablo de alabastro dedicado a San Lorenzo, del año 1386 realizado por el escultor Jordi de Déu. Tiene un alto campanario cuadrado del siglo XVII.

Más info: es.wikipedia.org/wiki/Colom%c3%adn

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).

View Large On Black

An adult Killdeer (Charadrius vodiferus) near a pond, watching over its little ones, in Mission Trails Regional Park, San Diego, CA.

This bird was positioning itself between me and its chicks. At no other time can I hope to get this close to a killdeer.

20100325-135

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All Rights Reserved © Nick Chill

www.foschieditore.com/autore.php?id=109

LA VALLE DELL'ORCO

ll cadavere che viene trovato impiccato a una trave è quello di Aldo Manfredini, medico in trasferta in una piccola contrada sperduta tra i monti vicentini. Carlo Zampieri, amico fraterno di Aldo e suo erede universale, raggiunge contrada Brunelli per conoscere il piccolo mondo che aveva spinto il suo amico a lasciare tutto per cominciare una nuova vita. E il mondo che scopre è fatto di paesaggi bellissimi, di pace, silenzio, bicchieri di vino e leggende raccontate attorno al fuoco. Ma anche di vecchie filastrocche cimbre sussurrate tra i boschi, di indebite appropriazioni terriere, di morti troppo strane per essere considerate accidentali. Grazie ad archivi polverosi, ad antiche mappe e all'aiuto di un vecchio parroco, il protagonista porterà alla luce una scia di sangue che si protrae da secoli e che sembra impossibile arrestare.

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L'ULTIMA ANGUANA

È il 22 giugno del 1968, e una lieve scossa di terremoto provoca il crollo di un antico mulino. Fra le sue macerie vengono rinvenuti casualmente tre scheletri. Dalla raccapricciante scoperta, parte l'indagine del maresciallo Baldelli, ex comandante della locale stazione dei carabinieri, che viene richiamato urgentemente dalla Calabria per investigare. Per dipanare il filo che unisce la macabra scoperta con i misteriosi avvenimenti del passato a cui sembrano connessi, Baldelli dovrà ripercorrere con la memoria l'estate del '56. Allora era un giovane brigadiere pieno di belle speranze e per far luce su una drammatica vicenda, si avvalse dell'aiuto di un estemporaneo cappellano che insegnava latino al liceo del capoluogo.

Quell'anno, tre fratellini di Vicenza, Vito, Marilù e Pino, stavano trascorrendo le loro vacanze estive lassù in montagna, ospiti di una solida e vigorosa signorina che li accudiva con un piglio da governante teutonica: d'improvviso, l'atmosfera bucolica dei loro passatempi infantili si fece cupa e minacciosa. La valle, i boschi ed i monti, che agli occhi dei bambini parevano magici e fatati, si riempirono di presenze malefiche e rivelarono tracce di esseri ostili. Erano i segni inequivocabili delle Anguàne, le mitiche ed ambigue ninfe delle fonti. In quelle avventurose vacanze i giochi infantili si fecero via via più imprudenti mettendo inconsapevolmente allo scoperto i segni di un passato inquietante… La vacanza dei bambini verrà interrotta in maniera repentina ed imprevista.Toccherà a Baldelli ricostruire le tante verità nascoste, ripercorrendo a ritroso gli aspetti più sinistri della storia della contrada e dei suoi abitanti.

De Ommetje publieksprijs.

Afgelopen zaterdag viel mij de eer te beurt om de ‘Ommetje publieksprijs’ in ontvangst te nemen.

De meeste Vlielanders en Vlielandfans zijn vermoedelijk wel bekent met de website ‘Het Ommetje’ van Folkert Janssens.

Folkert weet met ontzettend veel enthousiasme deze website te vullen met allerlei wetenswaardigheden, nieuwsfeiten en verslagen over Vlieland en haar bewoners.

Vorig jaar heeft Folkert de Ommetje publieksprijs ingesteld, op Het Ommetje wordt daar het volgende over gemeld;

Website www.hetommetje.nl kent jaarlijks een publieksprijs toe aan iemand die zich heeft ingezet voor de beeldvorming van het eiland Vlieland of die Vlieland op de één of andere wijze belangeloos heeft gepromoot.

In 2011 resulteerde dit bijvoorbeeld in een optreden van de Vlielander zanger Sjoerd op het festival Into the Great Wide Open alwaar hij zijn onderscheiding in ontvangst mocht nemen.

U als lezer van deze website mag meebeslissen over wie om welke reden in aanmerking moet komen voor deze prijs die bestaat uit een onderscheiding in de vorm van een door Peter Petersen vervaardigde bronzen penning en er wordt altijd gepoogd om de uitreiking passend naar de verdienste(n) van de betreffende persoon of organisatie aan te kleden.

Kent u iemand die in aanmerking komt voor deze onderscheiding, neem dan even contact met ons op.

Enige weken terug zocht Folkert mij op in De Noordwester en liet mij weten dat Het Ommetje voornemens was mij de Ommetje publieksprijs uit te reiken.

Folkert en de lezers van het Ommetje waren tot de voordracht gekomen vanwege mijn inzet voor de beschrijving van Vlieland tijdens de oorlogsjaren in het algemeen, en de inspanningen voor het voor het publiek open stellen van het Stützpunkt 12H in het bijzonder.

Ik ging schoorvoetend akkoord met het in ontvangst nemen van de prijs, ik houdt er niet zo van om het middelpunt van de belangstelling te staan.

Ik ging er daarna van uit dat Folkert voor de uitreiking op zijn fiets naar de Lange-Paal zou komen, om mij daar aan de deur een attentie te overhandigen, een fotootje te maken voor de website Het Ommetje, en dat het daarmee gedaan zou zijn.

Daarbij had ik even buiten Folkert gerekend; een maandje later viel bij mij de uitnodiging in de bus, met daarbij het programma van de uitreiking.

Dit luidde als volgt;

Het programma:

16.30 De Noordwester: Voor genodigden en pers presentatie plannen renovatie en openstelling stelling 12H.

Daar werd ik toch enigszins beduusd van.

Folkert had alle registers open getrokken om van de uitreiking een ware happening te maken.

Omdat ik meteen inzag dat er nu geen weg terug meer was, nam ik mij voor mij er aan over te geven en de hele gebeurtenis te ondergaan.

Afgelopen vrijdag maakte ik bij Podium Vlieland kennis met Luitenant-kolonel i.G. Joachim Schmidt, de militaire attaché van de Duitse ambassade en hoorden we met een select gezelschap een enthousiaste lezing van Jan Houter aan.

De zaterdag was het zover; verzamelen van de militaire voertuigen bij de Veerdam en daarna met het hele gezelschap naar het Cavalerie Schiet Kamp.

Ik mocht voor gaan op mijn Harley-Davidson 1943, en verzorgde het escorte samen met Erik de Boer en Rein Schokker beiden op hun Moto Guzzi V50 in Koninklijke Landmacht uitvoering.

Rein had zijn Go Pro op zijn helm, en maakte deze reportage van de rit naar het CSK.

Op het CSK troffen we Jorrit Volkers uit Leeuwarden, die speciaal voor deze gelegenheid met zijn GMC CCKW- 352, met in de laadbak een originele Amerikaanse veldkeuken, naar Vlieland was gekomen. Jorrit en zijn keukenteam hadden op deze veldkeuken een heerlijk geurende nasi bereidt.

De aanwezigheid van deze en de overige legervoertuigen was tot stand gekomen door vooral de bemiddelingen van Wietze Kikstra en Klaas Houter.

Het gezelschap verzamelde zich in de kantine van het Klu-detachement op Vlieland en werd welkom geheten door de commandant van het Detachement, de majoor Pieter Bruinink.

Na de voortreffelijke nasi-maaltijd begon het officiële gedeelte, en nam de Luitenant-kolonel i.G. Joachim Schmidt het woord om mij en het gezelschap toe te spreken.

De Oberstleutnant Schmidt hield een mooie toespraak, de tekst daarvan vindt u hier onder.

Ik werd wel enigszins ongemakkelijk van de lofuitingen die ik mocht aanhoren, maar ontving deze dankbaar.

Na de toespraak van Oberstleutnant Schmidt kreeg ik de fraai legpenning gemaakt door Peter Petersen behorende bij de Ommetje publieksprijs overhandigd en, ook erg aardig, een dinerbon voor Anke en mij bij restaurant Zuiver.

Na de overhandiging van de publieksprijs van het Ommetje nam ik zelf nog even het woord om een korte schets te geven van het ontstaan van mijn interesse voor de geschiedenis van de oorlogsjaren op Vlieland en sprak ik mijn dank uit naar met name Folkert, aan alle anderen die op enige wijze hun bijdrage hadden geleverd aan deze dag.

Na dit officiële gedeelte kon men weer instijgen in de voertuigen en werd via het Kantonnierspad onder langs de zeeduinen koers gezet naar de Stelling 12H.

Bij 12H mocht ik nog een rondleiding geven langs de diverse verscholen bunkers, kon ik uitleg geven over de functie en uitrusting van de stelling en een toelichting op de plannen voor de openstelling van het geheel voor het publiek.

Altijd leuk om voor een oprecht geïnteresseerd publiek een inleiding te geven over een onderwerp waar ik goed van op de hoogte ben.

Ook aardig om mensen die al heel lang op Vlieland wonen dingen te laten zien waar men geen notie van had dat die nog in het terrein zijn terug te vinden.

Bij het vertrek richting dorp vielen de eerste spatjes van de verwachtte regen, gelukkig arriveerden de verwachtte buien pas op het einde van het ‘buiten programma’.

Ter afsluiting was er nog de mogelijkheid voor de geïnteresseerden om de tentoonstelling ‘Vlieland tijdens de Oorlogsjaren’ waarbij ik voor de aanwezigen nog een toelichting gaf op hetgeen daar allemaal te zien valt.

Na nog een kop koffie kwam deze gebeurtenis tot een eind, en na afscheid van de Luitenant Kolonel Schmidt en zijn vrouw en nog een hand en een Hartelijke Dank aan Folkert en Nancy reed ik met een tevreden en voldaan gevoel door de regen op mijn Harley-Davidson naar de Lange-Paal.

Dirk Bruin – oktober 2012

Nawoord;

Folkert moet ontzettend veel werk gehad hebben met de organisatie van de uitreiking van de Ommetje Publieksprijs, en ik wil hem vanaf deze plaats nogmaals heel hartelijk danken.

Ik besef ook dat Folkert van veel mensen en bedrijven hulp heeft gehad, en dat het zonder deze belangeloze medewerking nooit zo’n geslaagde gebeurtenis had kunnen realiseren.

Zonder tot in detail te weten wie hier allemaal bij betrokken waren, wil ik ook dezen zeer hartelijk danken!

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Toespraak ter gelegenheid van de ‘Ommetje Publieksprijs’ aan de heer Dirk Bruin op 13 oktober 2012.

Geachte meneer Janssens, meneer de burgemeester, geachte meneer Bruin, geachte dames en

heren,

Het is voor alle aanwezigen vast een beetje ongewoon dat de defensie-attaché van de Duitse

ambassade in Nederland vandaag tot u spreekt. Ik wil u, geachte meneer Janssens, ook namens

mijn vrouw, allereerst danken voor uw uitnodiging voor deze prijsuitreiking. Ik wil u allen de

hartelijke groeten overbrengen van de Duitse ambassadeur in Nederland, dr. Heinz-Peter Behr. Hij

was graag zelf gekomen, maar was verhinderd en heeft mij verzocht naar Vlieland te gaan om

deze prijs uit te reiken.

Dat doe ik natuurlijk graag. Want het is ook voor mijn vrouwen mij om diverse redenen een

bijzondere manifestatie. Zo zijn wij voor het eerst op Vlieland. Over Vlieland hoorde ik voor het

eerst in 1988. Ik was compagniecommandant van een verkenningseenheid in Lüneburg in

Nedersaksen. Wij hadden een mooie en levendige peetschap met het B-Eskadron van het

verkennings bataljon 103 in Seedorf. De officieren van dit bataljon hadden voorgesteld dat wij een

van onze toentertijd regelmatige ontmoetingen met onze gezinnen eens op Vlieland konden

houden. Mijn Nederlandse kameraden hadden hoog opgegeven van dit eiland, dat zij kenden van

hun oefeningen. Mijn vrouwen ik weten sinds gisteravond waarom.

Helaas is het toen niet meer van een trip naar Vlieland gekomen. Enerzijds was dit jammer, maar

anderzijds kwam er een gebeurtenis in de wereldpolitiek tussen, die men toen en zeker ook nu

nog als een wonder kan zien: de val van de Berlijnse muur.

Het ijzeren gordijn was weg, de koude oorlog ras zonder bloedvergieten geëindigd. De Bondsrepubliek Duitsland had dankzij haar betrokkenheid bij het westen en dankzij de steun van haar vrienden, waartoe ook toen al Nederland hoorde, niet alleen de koude oorlog overwonnen, maar ook haar eenheid

teruggekregen. Wij Duitsers zijn hierover zeer verheugd en het is zeker ook nu - na meer dan 22

Jaar - nog steeds gepast deze vrienden en daarmee u allen ervoor te bedanken dat u tijdens de

koude oorlog en de tijd na de ommekeer standvastig aan onze kant stond.

Zoals bekend was de koude oorlog een nasleep van de Tweede Wereldoorlog die Duitsland had

veroorzaakt en die zoveel onheil met zich mee heeft gebracht. Ook Vlieland bleef niet gespaard.

De Duitse Wehrmacht hield het eiland langer bezet dan de rest van Nederland. Dit eiland hoorde -

zoals de gehele Noordzeekust van Skagerrak tot aan Frankrijk - tot de zogenoemde Atlantikwall.

Met stellingen over een lengte van meer dan 2685 km geloofde men aan Duitse kant effectief het

hoofd te kunnen bieden aan een dreigende invasie vanaf de Atlantische Oceaan, het Kanaal en de

Noordzee en hier aan de Nederlandse Noordzeekust de heerschappij van het naziregime over uw

vaderland te verlengen.

Dames en heren, de sporen van deze Atlantikwall zijn ook nu nog aan te treffen. Sporen van beton

en steen, die getuigen van een tijd, die goddank allang achter ons ligt. Maar het zijn sporen die

voor het nageslacht moeten worden behouden, omdat zij deel uitmaken van onze gezamenlijke

geschiedenis. Zij herinneren Vlieland en al zijn bezoekers aan een donkere tijd vol ontberingen en

het verlies van vrijheid. Het zijn sporen die ons Duitsers altijd weer onder ogen brengen hoever

grootheidswaan en verblinding kunnen gaan. Alleen al de blik op zulke bunkers middenin een

natuurparadijs als Vlieland sterkt mij als Duits soldaat in de mening dat wij er alles voor moeten

doen om niet alleen lering te trekken Uit deze ontzettende geschiedenis, maar dit ook aan onze

kinderen en volgende generaties moeten doorgeven.

U, meneer Bruin, doet dit al vele jaren. Het is uw verdienste dat de herinnering aan de Tweede

Wereldoorlog op Vlieland levend gehouden blijft. Met zeer grote persoonlijke inzet draagt u al heel

lang toe bij dat de geschiedenis hier op Vlieland tastbaar blijft. Wat is er zinvoller dan een

geschiedenisles juist daar aan te bieden, waar de geschiedenis zich daadwerkelijk heeft

afgespeeld? Men mag de beschouwers van deze geschiedenis niet aan zich zelf overlaten: de

geschiedenis moet worden verklaard. U, meneer Bruin, maakt ons en alle bezoekers daar in de

duinen deze geschiedenis duidelijk. Dat is uw verdienste en dat waarderen wij vandaag.

De organisatoren van de huidige manifestatie rond Folkert Janssens hebben besloten u de

Ommetje publieksprijs 2012 toe te kennen.

Ik vind dit een heel goede beslissing• en feliciteer de verantwoordelijken met hun keuze.

U, geachte meneer Bruin, feliciteer ik van harte, ook namens de Duitse ambassadeur in

Nederland, met deze mooie onderscheiding. Ik wens u ook verder de grote motivatie toe om uw

werk met hetzelfde enthousiasme voort te zetten. En natuurlijk wens ik u ook dat u met uw

verdienstelijke werk het interesse en de erkenning krijgt van diegenen die ten slotte dit

geschiedenis project nog financieel moeten ondersteunen. Hier moet zeker ook dank uitgaan aan

de ondernemer en sponsoren van Vlieland die zich in het verleden ook al geëngageerd hebben.

Wij moeten de herinnering aan de oorlog voor onze huisdeur levend houden. Alleen zo kunnen de

verschrikkingen van die tijd geloofwaardig aan de jongere generatie worden doorgegeven en als

afschrikking dienen. U, meneer Bruin, heeft zich hiervoor in bijzondere mate verdienstelijk

gemaakt,.

Luitenant Kolonel (GS) Joachim Schmidt

Defensie attaché – Ambassade van de Bondsrepubliek Duitsland

View Large!

Hung out with my friend CJ, it's been too long since we last hung out. The SB600 I've been using was his lol...I finally returned it to him after several months.

So I'm going to be strobeless for a couple of weeks...getting an AB800 (FINALLY), the Vagabond II, and a giant softbox :D Should be awesome :).

These are a couple of photos I took today.

The photo on the left was free lensed...the effect is pretty cool :).

Tumblr

Twitter

Strobist (Right photo)

Bare SB600 camera left

Triggered with CLS

Enjoy!

aumentar

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

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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.

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☁ 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

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).

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© All rights are reserved, please do not use my photos without my permission. Thanks !

Type: SWATH Pilot Tender

Flag: Germany

Port of registry: Cuxhaven

Launched: December 2011

Built by: Abeking & Rasmussen,Lemwerder, Germany

Client: Water and Shipping Directorate North

Operator: Lotsbetriebsverein eV Cuxhaven

User: Lotsenbrüderschaft Elbe

Length: 25.65m

Beam: 14.25m

Draft: 2.70m max

Engine type: 2 x MTU 12V 2000M70 diesel-electric

Engine power: 2 x 788 Kw

Speed​​: 18 knots

Crew: 2 people

Pilots: 8 max.

Call Singn: DBEX

MMSI: 211545300

www.elbe-pilot.de/cms/index.php/swath-technologie

www.abeking.com/Ships.11.0.html?&L=1

"What sunshine is to flowers, smiles are to humanity. These are but trifles, to be sure; but, scattered along life's pathway, the good they do is inconceivable."

( Joseph Addison )

PRINTS

FACEBOOK FAN PAGE | TWITTER | WEBSITE | PINTEREST | TUMBLR | 500px | INSTAGRAM @lucyalicephotog | ELLO

Some of my images are availble in prints over on my ETSY store

- feel free to contact me if you are interested in a certain image :) THANK YOU <3

Old 1

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We always complain about it...

We were hating that by the end of June, the weather was crappy and the days not so warm...

And then, as soon as the summer REALLY starts, 3 days in I'm missing the chilly breeze, the hats and coats...

And to that, I dedicate this photo that I stumbled upon yesterday surfing my iPhoto catalog.

Subway Station,

New York

View On Black

The concept- A girl who's been turned into a human, after being a flower for years. This is supposed to capture the vulnerability of a flower.

187/365

M'kay, hii guys. First of all- Merry Christmas if you celebrate it! <3 Second of all- I'm starting a new series! "Life on Earth." It's going to be conceptual shots with interpreting something of the earth into it. ( 'Be the beauty you see' Would be a good example of what it will be, too.) I'm really excited to do things like this more. Third of all- This was inspired by a painting I did earlier today, then realized it'd be a good picture! Fourth of all- Next month, I am officially taking Photography classes once a week at Gainesville Uni! Thank you so much to my parents for finding it, and paying for it, so I can do what I love. I love you guys! <3

Hope you all have a great holiday, closeup in comments!

| Facebook page | Blog|

By Rob the moment profile - Flickr, CC BY 2.0, commons.wikimedia.org/w/index.php?curid=17844737

Access to Observation Deck Granted

Far away

This ship has taken me far away

Far away from the memories

Of the people who care if I live or die

Starlight by muse...the song been in my head for DAYS

www.youtube.com/watch?v=Pgum6OT_VH8

I forgot i was tagged. Very well, here are a few facts.

1. My favorite late night host is Craig Ferguson.

2. I don't really have a favorite color. (do you guys remember like in 1st grade when you learn how to mix colors? And you have the bright idea to mix them all together, and get all excited because clearly, all the colors together should make a awesome one? only to discover.. brown.....

3. One of my new favorite movies is fantastic mr.fox...differently making its way onto my ipod.

4. Just finished reading Bram Stoker's Dracula and playing Mass effect 2.

beliomagazine.com/app/webroot/index.php/products/view/66

www.beliomagazine.com/store/belio032-neopsychedelia-p-142...

BELIO:32: Neo-Psychedelia. Libro.

Tamaño 220 x 220 mm.

216 paginas a todo color.

Cubierta plastificado mate.

Textos en castellano e ingles.

Contenido: Diseño gráfico, ilustración, fotografía, arte urbano, arte contemporáneo.

ISBN: 978-84-614-3652-1

En este libro de Belio podréis encontrar artistas cuya obra nos parece un paso contemporáneo hacia una nueva concepción de la psicodelia, un reflejo de la naturaleza fractal y matemática, la alteración de la percepción humana y la exploración del espacio infinito contenido en nuestra mente. En definitiva, una oda a la belleza de una realidad aún inexplicable. Artículos de artistas como Daniel Zeller, Robert Hardgrave, Philip Metten, Dhear, Oliver Hibert, Jimmy Joe Roche, Transphormetic, Yoshi Sodeoka y Damon Soule. En la sección INKjection tenéis dossiers de los artistas Android, Arn Vleespapier, Base23 y Tabasco Raremaster.

Listado de artistas publicados en la sección EXP: Adam White, Agnosix, Arnaud Loumeau, blindSALIDA, Boogieman Media, C86, Crispy/Crystal, Eika, Enrico Fioraso, Ezequiel de San Pablo, Feli, Felipe Solano, George 'Geo' Atherton, Jimena Ramírez, Lateralideas, Luis Alfonso Villalobos, Mankey y Flextatowa, Nick Nenov, Pinkyvision, Sorin Bericha, Tim Green, Uranus Design Lab. + Lechatrose y Vritis.

Listado de artistas publicados en la sección FLOG: Bettina Harvey, Daniel Martin, Javier IA, Noem9 Studio, Pery Burge, Priya Saihgal, Salt, Tomas Rak.

----------------------- ENG --------------------

BELIO:32: Neo-Psychedelia. Libro.

Size 220 x 220 mm.

216 pages printed in full color.

Glossy coated double cover.

English and Spanish texts.

Content: Graphic design, illustration, photography, street art, contemporary art.

ISBN: 978-84-614-3652-1

In this Belio book you can find artists whose work we consider a contemporary step towards a new conception of psychedelia. A reflection of the fractal and mathematic nature, the alteration of the human perception and the exploration of the infinite spacial content in our mind. In short, an ode to the beauty of a still inexplicable reality. Articles about artists like Daniel Zeller, Robert Hardgrave, Philip Metten, Dhear, Oliver Hibert, Jimmy Joe Roche, Transphormetic, Yoshi Sodeoka and Damon Soule. At INKjection section you have dossiers of the artists Android, Arn Vleespapier, Base23 and Tabasco Raremaster.

List of artists published on EXP section: Adam White, Agnosix, Arnaud Loumeau, blindSALIDA, Boogieman Media, C86, Crispy/Crystal, Eika, Enrico Fioraso, Ezequiel de San Pablo, Feli, Felipe Solano, George 'Geo' Atherton, Jimena Ramírez, Lateralideas, Luis Alfonso Villalobos, Mankey y Flextatowa, Nick Nenov, Pinkyvision, Sorin Bericha, Tim Green, Uranus Design Lab. + Lechatrose and Vritis.

List of artists published on FLOG section: Bettina Harvey, Daniel Martin, Javier IA, Noem9 Studio, Pery Burge, Priya Saihgal, Salt, Tomas Rak.

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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.

www.chicagoarchitecture.info/Building/913/Aqua.php

2009

250 mtrs

Aqua is an 82-story mixed-use residential skyscraper in the Lakeshore East development in downtown Chicago designed in the Modern architectural style. The building's height of 819 ft (250 m), includes six levels of parking below ground. The building's eight-story, 140,000 sq ft (13,000 m2) base is topped by a 82,550 sq ft (7,669 m2) terrace with gardens, gazebos, pools, hot tubs, a walking/running track and fire pit. Each floor will cover approximately 16,000 sq ft (1,500 m2). The Aqua was named the Emporis 2009 skyscraper of the year.

Architect

Aqua is designed by Jeanne Gang, principal and founder of Studio Gang Architects, and it is her first skyscraper project. This is the largest project ever awarded to an American firm headed by a woman. Loewenberg & Associates are the architects of record, led by James Loewenberg.

Design

The Aqua Tower is located on the 200 block of North Columbus Drive, and is surrounded by high-rises. To capture views of nearby landmarks for Aqua's residents, Gang stretched its balconies outward by as much as 12 feet (3.7 meters).

The result is a building composed of irregularly shaped concrete floor slabs which lend the facade an undulating, sculptural quality. Gang cites the striated limestone outcroppings that are a common topographic feature of the Great Lakes region as inspiration for these slabs.

The building will contain 55,000 square feet (5,100 square meters) of retail and office space, in addition to 215 hotel rooms (floors 1-18), 476 rental residential units (floors 19-52), and 263 condominium units & Penthouses (floors 53-80).[14] Aqua will also be the first downtown building to combine condos, apartments and a hotel. Strategic Hotels & Resorts had agreed to acquire the first 15 floors of hotel space upon completion of the building, but terminated its $84 million contract for the space in August 2008, citing significant changes in the economic environment. On May 12, 2010, it was announced that Carlson Hotels Worldwide agreed to spend $125 million to open the first Radisson Blu hotel in the United States on 18 vacant floors of the highrise.

The name 'Aqua' was assigned to the building by Magellan Development Group LLC. It fits the nautical theme of the other buildings in the Lakeshore East development, and is derived from the wave-like forms of the balconies; the tower's proximity to nearby Lake Michigan also influenced the name.

Sustainability was also an important factor in Aqua's design. Gang and her team refined the terrace extensions to maximize solar shading, and other sustainable features will include rainwater collection systems and energy-efficient lighting. The green roof on top of the tower base will be the largest in Chicago. The tower will seek LEED certification.

barricada - en la esquina del zorro (acustica)

catala

L'antic municipi de Vulpellac tenia, abans de l'annexió de Fonteta i Peratallada, 4,29 quilòmetres quadrats d'extensió. El terme comprèn una zona aturonada, a ponent i al NW amb el punt més elevat al puig Negre (109 m. d'alt), que forma part de la serra de Sant Ramon, límit amb el terme veí de La Bisbal d'Empordà. La part restant del terme és plana i drenada per la riera de Fonteta, de la conca del Daró, que devalla de les Gavarres. La carretera de Palamós a Girona, per la Bisbal, travessa el territori municipal d'est a oest. En aquest lloc s'inicia la carretera local de Vulpellac a Pals. El lloc de Volpeyliacho, del comtat d'Empúries, s'esmenta l'any 894 i, en documents dels anys 904 i 911, és anomenat Vulpiliaco. Hom ha suposat que el topònim pot derivar del gentilici llatí Vulpi8lius, però Joan Coromines el creu d'origen cèltic.

El poble de Vulpellac (51 m d'alt), a l'esquerra de la riera de Fonteta, té un nucli antic de notable interès arquitectònic, centrat pel conjunt que formen el castell-palau i l'església parroquial. Com en tants pobles de l'Empordà, en els darrers anys un bon nombres de cases han estat convertides en segona residència. Fora d'aquest nucli són força nombroses les masies disseminades pel veïnat del pla i una mica per tot el terme, que té altres dos nuclis importants de població: el veïnat de la Bordeta, sorgit el segle XIX al llarg de la carretera de Girona, i la urbanització del Puig de Sant Ramon.

L'església parroquial de Sant Julià i Santa Basilissa és l'antiga capella del castell. L'edifici actual és del segle XVI, d'estil gòtic tardà, amb detalls renaixentistes i fortificada. A migdia de l'església s'ha excavat part d'una necròpolis alt-medieval amb tombes antropomorfes i de lloses que també s'estenien per sota del temple i pel subsòl del castell, on es troba un fragment de sarcòfag decorat. S'han trobat vestigis de l'església anterior, que podrien ésser romànics.

El castell-palau, per la seva banda, manté en una bona part l'estructura essencial del segle XIV, amb nombroses reformes de la primera meitat del XVI, efectuades per ordre de Miquel Sarriera, que afectaren la disposició interior i la decoració, Pels volts de 1725 s'hi van fer altres reformes i més endavant, l'edifici va ser convertit en casa de pagès. És un immoble de dues plantes format per tres crugies, que junt amb l'església, emmarquen un petit pati interior de planta trapezial. El 1931 va ser declarat monument nacional.

A l'entorn de l'església i del palau hi ha restes disperses de la muralla, alguns vestigis de la qual es troben entremig de les cases del poble. L'element més ben conservat és la torre-portal del nord-est, de planta quadrada i amb la porta adovellada. Es conserva una altra torrre, cilíndrica, al sudo-est del poble, encaixada entre les cases. Malgrat l'alteració recent d'algunes cases del nucli urbà, estructurat a l'entorn del castell i de l'església, hi ha alguns edificis dels segles XVII i XVIII que tenen un interès notable com a arquitectura popular als carrerons del nord a la plaça Major, situada extramurs, i al carrer Major, on hi ha cases amb portals adovellats, escuts i alguns finestrals decorats.

A la part muntanyosa del terme hi ha petites zones de pins i alzines, i espais de vinya i oliveres. A la resta dels conreus, principalment de secà, es planten cereals, farratges i llegums. Hi ha un reduït sector de regadiu, que aprofita les aigües subterrànies, dedicat a hortalises, blat de moro i farratges. Les granges avícoles i la cria de bestiar boví i porcí, amb algunes activitats industrials derivades, completen l'economia. Degut a la seva situació —al costat de la carretera C-255 de Girona a Palamós i de la Bisbal—, al seu terme s'hi han anat instal·lant un bon nombre d'indústires, principalment relacionades amb el sector de la ceràmica o la pedra artificial. Per concolidar i ordenar aquest potencial industrial, l'any 1999 es va començar a urbanitzar un polígon que permetrà donar sortida a la gran demanda de sòl industrial que existeix en aquesta zona.

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spanish

El antiguo municipio de Vulpellac tenía, antes de la anexión de Fonteta i Peratallada, 4,29 kilómetros cuadrados de extensión. El término comprende una zona aturonada, a ponente|poniente y al NW con el punto más elevado en el monte Negre (109 m. de alto), que forma parte de la sierra de Sant Ramon, límite con el término vecino de La Bisbal d'Empordà. La parte restante del término está plana y drenada por la rambla de Fonteta, de la cuenca del Daró, que devalla de las Gabarras. La carretera de Palamós a Gerona, por|para la Episcopal, atraviesa el territorio municipal de este en oeste. En este lugar|sitio se inicia la carretera local de Vulpellac a Pals. El lugar|sitio de Volpeyliacho, del condado de Empúries, se menciona el año 894 y, en documentos de los años 904 y 911, es nombrado Vulpiliaco. Se ha supuesto que el topónimo puede derivar del gentilicio latín Vulpi8lius, pero Joan Coromines lo cree de origen céltico.

El pueblo de Vulpellac (51 m de 'alto), a la izquierda de la rambla de Fonteta, tiene un núcleo antiguo de notable interés arquitectónico, centrado por el conjunto que forman el castillo-palacio y la iglesia parroquial. Como en tantos pueblos del Empordà, en los últimos años uno bueno números de casas han sido convertidas en segunda residencia. Fuera de este núcleo son bastante numerosas las masías diseminadas por el vecindario del plan|llano y un poco por|para todo el término, que tiene otros dos núcleos importantes de población: el vecindario de la Bordeta, surgido el siglo XIX a lo largo de la carretera de Gerona, y la urbanización del Puig de Sant Ramon.

La iglesia parroquial de Sant Julià i Santa Basilissa es la antigua capilla del castillo. El edificio actual es del siglo XVI, de estilo gótico tardó, con detalles renacentistas y fortificada. A mediodía de la iglesia se ha excavado parte de una necrópolis alto-medieval con tumbas antropomorfas y de losas que también se extendían por debajo del templo y por|para el subsuelo del castillo, donde se encuentra un fragmento de sarcófago decorado. Se han encontrado vestigios de la iglesia anterior, que podrían ser románicos.

El castillo-palacio, por su parte, mantiene en una buena parte la estructura esencial del siglo XIV, con numerosas reformas de la primera mitad del XVI, efectuadas por orden de Miquel Sarriera, que afectaron a la disposición interior y la decoración, Alrededor de 1725 se hicieron otras reformas y más adelante, el edificio fue convertido en casa de campo. Es un inmueble de dos plantas formado por tres crujías, que junto con la iglesia, enmarcan un pequeño patio interior de planta trapecial. En 1931 fue declarado monumento nacional.

En Torno a la iglesia y del palacio hay restos dispersos de la muralla, algunos vestigios de la cual se encuentran en medio de las casas del pueblo. El elemento mejor conservado es la torre-portal del nordeste, de planta cuadrada y con la puerta adintelada. Se conserva otra torrre, cilíndrica, en el sudo-est del pueblo, apretón entre las casas. A pesar de la alteración reciente de algunas casas del núcleo urbano, estructurado en torno al castillo y de la iglesia, hay algunos edificios de los siglos XVII y XVIII que tienen un interés notable como arquitectura popular a las callejuelas|callejones del norte en la plaza Major, situada extramurs, y a la calle Major, donde|dónde hay casas con portales adintelados, escudos y algunos ventanales decorados.

En la parte montañosa del término hay pequeñas zonas de pins y encinas, y espacios de viña y olivos. En el resto de los cultivos, principalmente de secano, se plantan cereales, forrajes y legumbres. Hay un reducido sector de regadío, que aprovecha las aguas subterráneas, dedicado a hortalises, maíz y forrajes. Las granjas avícolas y la cría de ganado bovino y porcino, con algunas actividades industriales derivadas, completan la economía. Debido a su situación -al lado de la carretera C-255 de Gerona a Palamós y de la Episcopal-, a su término se han ido instalando un buen número de indústires, principalmente relacionadas con el sector de la cerámica o la piedra artificial. Por concolidar y ordenar este potencial industrial, el año 1999 se empezó a urbanizar un polígono que permitirá dar salida a la gran demanda de suelo industrial que existe en esta zona.

The PHP Elephant toy

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PHP is a server-side scripting language designed for web development but also used as a general-purpose programming language

View On Black

Taken this afternoon up at Flush House.I was running out of daylight so risked driving to the top of the hill.Seemed ok until the very brow of the hill where a rather large snowdrift was across the road.Fortunately an orangelight & blade appeared on a tractor and pushed it away in one go.I just managed to get through the remains.The people in the top house had just been dug out and told me how bad it was last night.Despite the conditions they stopped and talked about how wonderful evertywhere looked.

Merry Christmas !!!

Tundra community, Camp Ridge, Kantishna Hills, Denali National Park, Alaska

lichenportal.org/portal/taxa/index.php?taxauthid=1&ta...

One of the wanderflechten, or vagrant lichens, which curls when dry and may blow around like tumbleweed. Moisture causes it to uncurl to facilitate photosynthesis . The upper surface of the branches is dark, while the lower surface features "whitish pruinose patches without a cortex, and functionally equivalent to pseudochyphellae" as described by Brodo.

view large

www.cpbr.gov.au/lichen/ecology-vagrants.html - "The great majority of lichens grow attached to substrates of some sort but many are able to continue growing if they become unattached. There is also a small number of species which never grow attached to any substrate. These are often referred to as vagrant lichens and I will use the word in that sense on this website. Species that normally grow attached but that are able to survive unattached are often referred to as erratic lichens, but be aware that some authors use the word erratic to include the vagrant species as well and then describe those species as obligatorily erratic. English words such as vagrant and vague are derived from Latin words built on the root VAG, conveying the sense of 'wandering'. In several other languages these lichens are known by names that are easy for an English speaker to understand. Thus they may be lichens vagabondes (French), licheni vaganti (Italian), líquenes migratorios, líquenes vagantes (both Spanish) or Wanderflechten (German). The last is easy to comprehend once you know that Flechten is the German word for lichens."

ready to roll - www.flickr.com/photos/tabtannery/14960118516/

rarely fertile - www.flickr.com/photos/jordan_in_alaska/3578746229/

neat vagrant in Australia - www.flickr.com/photos/83327151@N08/29498214986/

replaced with improved version 11/2025

my lichen photos by genus - www.flickr.com/photos/29750062@N06/collections/7215762439...

my photos arranged by subject, e.g. mountains - www.flickr.com/photos/29750062@N06/collections

1. Forest critters - wall stickers, removable decals by mae

2. Jinx moon bun by Moon's Creations

3. Off with their heads - small tote bag by www.etsy.com/shop.php?user_id=35322

4. Bunny rabbit field bag by rainbowswirlz

5. Lapin de lune by Lou Lou and Oscar

6. Organic cotton baby hat - chocolate bunny by Adrienne Kinsella

7. Winking bunny puff sleeve top by Em and Sprout

8. Purple mushroom bunny brooch by Danielleorama

9. A spring collection by fifi lapin

10. Handcrafted childrens hopping rabbit pull toy by Stump Pond Woodworks

11. Personalised jackalope cards by Farouche

12. Bunny embroidery pattern by Sadie and Oliver

Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (1 of 5): Minao Theatre /

CITA EN EL CINE (1 de 5): Cines Minao

(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.

FOTOSTORY: In English / En Español

Dom: I'm sorry Akari

Akari: Don't... why do you apologize?

Dom: Because of the guys, we should have given them the slip while Matt was busy signing autographs

/

Dom: Perdona Akari.

Akari: Nooo... por que te disculpas?

Dom: Por estos dos, teníamos que haberles dado esquinazo mientras Matt estaba entretenido firmando autógrafos.

COLLABORATION:

- Minao's Akari Collaboration

- Dom y Akari en el Foro de Pullips: Pullip .es

- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.

- Little interpretation of Mad_Pullip's Emily as a MUSE fan.

SHERYL LINKS:

- Pullip .es: Las Fotohistorias de Sheryl

- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012

Substantial metapodium (1), dorsal rim of the foot (2), eye areas (3) and head-crests (4) are all translucent whitish, flecked with opaque white. There are random light spots and a few flecks of green on the dark areas.

Full SPECIES DESCRIPTION BELOW

Sets of OTHER SPECIES: www.flickr.com/photos/56388191@N08/collections/

Limapontia capitata (O. F. Müller, 1774)

Revised July 2021.

Current taxonomy; World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=140229

Synonyms: Fasciola capitata O. F. Müller, 1774; Pontolimax capitatus (O. F. Müller, 1774); Limapontia nigra G. Johnston, 1835.

GLOSSARY below.

Description

Usually up to 4 mm long, rarely 8 mm (Thompson, 1976). The smooth body has no tubercles, gills or appendages. It is dark brown (fig. 1 flic.kr/p/2m1yssd ) or black (fig. 2 flic.kr/p/2m1C9ti ) except for the dorsal rim of the foot, metapodium, eye areas and head crests which are all translucent whitish, flecked with opaque white. There are often random light spots on the dark areas and, sometimes, small greenish patches and flecks. Usually, there is a large pale patch, often approximating to a heart shape, (fig. 3 flic.kr/p/2m1DbBw ) on the dorsum. Part of the patch is often translucent allowing sight of the heart beating within the translucent pericardium (Jensen, 1977).

The anus is a short distance behind and to the right of the midpoint of the body, but it is often difficult to see when it is not defecating.

The head has a truncated anterior edge and usually extends beyond the foot (fig. 4 flic.kr/p/2m1G6Nd ). There are no digitiform rhinophores but, above and in front of each eye, adults have a strong (fig. 5 flic.kr/p/2m1C9sG ) or weak (fig. 3 flic.kr/p/2m1DbBw ) head crest which is absent from some juveniles.

The foot has a translucent whitish sole spotted with white pigment. The yellow ovotestes of adults and/or green contents of the digestive gland may be visible through the sole (fig. 4 flic.kr/p/2m1G6Nd ). The anterior of the foot is often slightly expanded but there are no propodial tentacles.

The substantial pale metapodium is c. 19-25% of the body length.

Key identification features

Limapontia capitata

1) Curved head crest above and in front of each eye (figs. 3 flic.kr/p/2m1DbBw & 5 flic.kr/p/2m1C9sG ), no ridge below eye. At some angles of view, crests can be mistaken for digitiform rhinophores (fig. 6 flic.kr/p/2m1C9s1 ).

2) Substantial pale metapodium is c. 19-25% of body length.

3) Usually a large pale mark on the dorsum (fig. 3 flic.kr/p/2m1DbBw ).

4) Eye areas and head-crests whitish (fig. 2 flic.kr/p/2m1C9ti )

5) Anus a short distance behind midpoint of body.

6) Sublittoral and all levels of the shore in pools and moist positions. Usually on Cladophora attached to hard substrate. Optimum salinity 30‰, can survive 5‰ to over 40‰, but sustainable population improbable below 10‰, the lower limit for spawning.

Similar species

Limapontia depressa Alder & Hancock, 1862 (fig. 7 flic.kr/p/2m1HAoU )

1) No digitiform rhinophores but most have a raised rim around the pale eye patches which Alder & Hancock (1862) in their original species description refer to as ‘lateral crests’, and which Hancock clearly illustrated (item 4 on fig. 7). Most subsequent authors omit or deny the existence of the rim/crests on L. depressa (Barrett & Yonge, 1958; Gascoigne, 1975; Thompson, 1976; Hayward & Ryland, 1998; Kluijver et al.). Consequently, the rim is often mistaken for head crests of L. capitata. The rim varies in how much it is erected, being low when a specimen is not in good condition, and it may be difficult to discern in dorsal view of very dark specimens.

2) Pale metapodium (‘tail’) absent or negligible when viewed dorsally.

3) No large, pale, pigment mark on dorsum (occasionally a faded area).

4) Pale eye patches.

5) Dorsal anus close to posterior.

6) On tidal saltings in Britain in brackish or full marine salinity. Individuals adapt slowly and with difficulty to salinity change, but local populations are found adjusted to a wide range of salinities, to below 3‰ on the tidal River Dee, Wales. It lives sublittorally in the inner Baltic Sea, where the mean sea surface salinity is below 7‰ (Bendtsen et al.); a specimen near Helsinki, misidentified (when accessed in June 2021) as L. capitata, is at www.youtube.com/watch?v=6TBqOdGHmmI .

Limapontia senestra (Quatrefages, 1844) (fig. 8 flic.kr/p/2m1C9pL )

1) Pair of digitiform rhinophores on head only when full grown. Earlier growth stages with rhinophores not fully developed can resemble head crests of L. capitata; rear in captivity when in doubt; rearing details in Smith (2014).

2) Pale metapodium is 13-18.5% of body length , smaller than on L. capitata but more noticeable than on L. depressa.

3) Often a small pale dorsal spot and lateral spots form a quincunx or similar; missing on translucent specimens with visible pale viscera which can be mistaken for the dorsal mark of L. capitata.

4) Eye patches and tentacles whitish.

5) Anus a short distance behind midpoint of body.

6) Full salinity, lagoons perhaps with salinity c. 20‰, and rock pools up to MHW on exposed coasts.

Habits and ecology

L. capitata tolerates a wide range of salinities; in the Kieler Bucht, Germany, 5‰ to 40‰ at 14°C, but spawning only occurs at over 10‰ (Seelemann, 1968 in Jensen 1977). The optimum salinity in the Kattegat, Denmark, for growth and spawning is 30‰ at 15°C, though spawn is abundant at over 15‰.

Coma occurs from heat at 38-40°C and from cold at about 1°C (Jensen, 1977). Formation of ice on a shore is usually accompanied by local temporary extinction of littoral L. capitata (Jensen, 1976).

It lives sublittorally and at all levels of the shore in pools and moist situations on its food algae, primarily Cladophora rupestris (figs. 9 flic.kr/p/2m1G6Jq & 10 flic.kr/p/2m1ysh3 ) but also Chaetomorpha linum, Bryopsis plumosa (fig. 11 flic.kr/p/2m1ys8L ) and other Cladophora spp. (Jensen, 1975). These algal species are coenocytic with few or no internal cell walls subdividing the cytoplasm, which is consequently easily extracted by suction. Enteromorpha (currently genus Ulva) is sometimes mentioned as a food alga (Miller, 1962) but this is unlikely as all species in the order Ulvales, having uninucleate cells (Wichard et al. 2015), are not coenocytic, so unsuitable for suctorial feeding. Jensen (1975) observed a L. capitata grasping filaments of Enteromorpha in a feeding position, but it was unable to extract any cytoplasm. Cladophora. spp., Chaetomorpha linum and Bryopsis plumosa were equally favoured in experiments (Jensen, 1975), though in the wild most are found on Cladophora spp. as the other algae are less common. Individual L. capitata could change food in experiments, but were conservative, tending to remain on the first species encountered until all consumed. Cladophora glomerata, a freshwater species which grows well in the very low salinity of the inner Baltic (GBIF map) and forms large algal blooms in the Gulf of Finland (Berezina et al., 2007) was studied by A.-M. Jansson (1966, 1967 and 1970, in Jensen, 1975) on the island of Asko, south of Stockholm, but she found no L. capitata on it. However, L. depressa does feed on it and has been widely misidentified in the inner Baltic as L. capitata (misidentified L. depressa on probable C. glomerata at www.youtube.com/watch?v=6TBqOdGHmmI )

In L. capitata, the single row of radular teeth, adapted to only slitting and cutting (fig. 12 flic.kr/p/2m1C98J ), confines it to suctorial feeding. The leading tooth is used to puncture algal cell walls whereas the newer, unused teeth function as a spear shaft. Recently worn out older teeth are retained in an ascus sac (Thompson, 1976). Further restrictions on which algal species can be utilized may be due to the chemical structure of the algal polysaccharides and to the algal filament diameters (Jensen, 1975).

The related L. depressa feeds by holding an algal filament vertically in the groove at the front of its head while it punctures it and sucks out the cytoplasm, leaving a colourless filament. There is an apparent upper limit on the diameter of filaments that can fit into the groove, as it was observed in captivity to exhaust all available narrow filaments but to leave the thicker ones unaffected (IFS pers. obs.). The groove in front of the mouth of L. capitata (fig. 13 flic.kr/p/2m1ys1b ) is similar to that of L. depressa . The filaments of a coenocytic species of Trailiella were too thin for adult L. capitata to grip in their groove firmly enough for feeding (Jensen, 1975).

In 1973, at Hellebaek, Denmark, the intertidal population density of L. capitata peaked at 2370-2960 per litre of Cladophora in June, August and October just after settlement of newly metamorphosed juveniles less than 1.25 mm long from what seems to be three breeding events. The recorded population was zero in January to April, when water and air temperatures were below 10°C, and gradually increased in May, presumably originating from larval settlement from deeper water. The large population of L. capitata in summer was estimated to consume 1-10% of the total standing crop of Cladophora at Hellebaek (Jensen, 1975).

Copulation is by penetration by the stylet on the hypodermic penis into the body of the partner which lacks an aperture to receive it. The spawn mass, containing up to 800 ova, is deposited between June and November by two or more generations in Britain (Miller, 1962 in Thompson, 1976). The planktonic, veliger, larval stage lasts about a week at 16-17°C (Thompson, 1976). In Isefjord, Denmark, large numbers of planktonic veligers were recorded in April, August and December (Rasmussen, 1973), corresponding with hatching from the three spawning periods observed by Jensen (1975).

Distribution and status

L. capitata occurs from the Arctic to the Mediterranean and Black Sea. It extends into the Baltic to Rügen, Germany and the Øresund, Sweden further east than which the mean sea surface salinity (msss) is below 10‰ (Bendtsen et al, 2007). It may be over recorded because of incompletely developed rhinophores on juvenile L. senestra being mistaken for the crests of L. capitata. For details of misidentification and misrecording of Limapontia spp. in the inner Baltic, see the appendix below.

Common and widespread around Britain and Ireland. UK distribution map, NBN species.nbnatlas.org/species/NHMSYS0021056302 .

Appendix: Distribution of L. capitata in the Baltic Sea.

The first description of L. capitata, by Müller in 1774, was in the Baltic, ‘in Mari Balthico’. It is still present, sometimes abundantly (Jensen, 1975), in the outer Baltic to about 30° E. at Rügen, Germany (Schultze, 1849) and Øresund, Sweden. Working in the Kieler Bucht, Seelemann (1968 in Jensen 1977), found that the lower salinity limit for spawning is 10‰. The mean sea surface salinity (msss) of the inner Baltic east of Rügen-Øresund is below 10‰ (Bendtsen, 2007) and would be expected to prevent the establishment of sustainable populations of L. capitata. A study on the shores of Asko Island, south of Stockholm, (Jansson, 1966, 1967 and 1970, in Jensen, 1975), which conforms to expectations, found no L. capitata on Cladophora glomerata, a freshwater alga which grows well in the very low salinity of the inner Baltic and forms large algal blooms in the Gulf of Finland (Berezina et al., 2007).

Contrary to expectations, there are several reports of it east of Rügen-Øresund at,

1) Bornholm in 1863, current msss circa 7.5‰ (Meyer & Möbius, 1865–1872).

2) North of Stockholm at 61.1N, 17.2E, msss circa 5‰, in 1980 by Swedish Ocean Archive database (GBIF map, L. capitata).

3) Estonia, over 170 records, msss circa 5-6‰, 2008-2017 by Estonian Naturalists’ Society (GBIF map, L. capitata).

4) Finland, 450 records, msss circa 5-6‰, mainly 1990-2020, by Finnish Biodiversity Information Facility.

The Bornholm record has several reasons for reserve, apart from the low salinity. While the illustrations from Kieler Bucht (fig. 14 flic.kr/p/2m54gkU ) show that Meyer and Möbius (1865–1872) recognised correctly the features of L. capitata, the Bornholm specimens were found in 1863 when it is unlikely that M&M were familiar with Limapontia depressa, first described by Alder and Hancock only in the previous year and without published image. The specimens were collected for M&M by a fisherman who said that he found them abundantly under littoral stones. This is not the usual habitat of L. capitata, which lives on filamentous algae, mainly Cladophora spp.; one wonders how reliable the reported location is. It is desirable that this record be checked with fieldwork and photography.

The other localities have salinities well below the level suitable for spawning of L. capitata so its presence needs substantiation with detailed images. The only Baltic images labelled L. capitata found by IFS on the web are a video and two photographs from Finnish waters by K. Könönen at www.youtube.com/watch?v=6TBqOdGHmmI and laji.fi/en/taxon/MX.212476/images , which are all misidentified L. depressa lacking the substantial pale metapodium, large pale dorsal mark and distinct head crests of L. capitata. In 2012, on a blog by an artist for the Marine Research Centre at Stockholm University, there was a detailed painting labelled ’L. capitata’ from north of Stockholm, which was a perfect match for Hancock’s image of P. depressa (fig. 7 flic.kr/p/2m1HAoU ). See the ‘Key identification features’ and ‘Similar species’ sections of the main account above for detail of the historical confusion of the two spp.

Pruvot-Fol (1954) aggregated P. depressa with L. capitata as L. nigra as she could find no distinctive features to characterize them. In her description she used poor copies of 110 year old images of Limapontia spp. from Quatrefages (1844) and followed his omission of L. depressa which was not described by Alder and Hancock until 18 years after he wrote. Gascoigne (1975) and Thompson (1976) showed clear, anatomical differences which counter Pruvot-Fol’s opinion.

At the same time (June 2021) as showing multiple records of presumed L. capitata in Estonian and Finnish waters, the GBIF map for L. depressa and the Finnish Biodiversity Information Facility website have a complete absence in the same waters of records for L. depressa which has populations that can breed at the salinities found there, while L. capitata cannot. A video and two photographs from Finland and a painting from north of Stockholm, all mislabelled ‘L. capitata’, show that L. depressa does live in the inner Baltic. Over 30 records (1998-2012) on the GBIF map of L. depressa by the Swedish Ocean Archive database (SHARK) show that L. depressa lives on the coast of the inner Baltic in the Swedish counties of Kalmar and Blekinge.

Jonne Kotta of the Estonian Marine Institute, University of Tartu, agrees that all the Estonian records of L. capitata shown on GBIF are misidentified L. depressa and should be renamed on the database (J. Kotta, 2021, pers. comm., 14 June).

It is desirable that more photographs are obtained of Limapontia in the inner Baltic to substantiate or alter the evidence, reasoning and opinions presented above. This account will be amended if new evidence requires it.

Acknowledgements

I am most grateful to Kathe Jensen, Jonne Kotta and Vollrath Wiese for their help and advice with this account, but any errors or omissions are my (IFS) responsibility. I thank David Fenwick www.aphotomarine.com/index.html and Malcolm Storey www.bioimages.org.uk/ for use of their images.

References and links

Alder, J. and Hancock, A. 1862. Descriptions of a new genus and some new species of naked mollusc. Ann. mag. nat. hist. vol. 10, Third series, number LVIII: 261-265. [Original description of L. depressa on p. 264].

www.biodiversitylibrary.org/page/22162433#page/282/mode/1up

Barrett, J. and Yonge, C.M. 1958 Collins pocket guide to the sea shore. London, Collins.

Bendtsen, J., Söderkvist, J., Dahl, K., Hansen, J.L.S. and Reker, J. 2007. Model simulations of blue corridors in the Baltic Sea. BALANCE Interim Report No. 9.. Copenhagen. balance-eu.org/xpdf/balance-interim-report-no-9.pdf

Berezina, N. A., Tsiplenkina, I. G., Pankova, E. S. and Gubelit J. I. 2007. Dynamics of invertebrate communities in stony littoral of the Neva Estuary (Baltic Sea) under macroalgal blooms and bioinvasions. Transitional Waters Bulletin 1: 65-76. www.researchgate.net/publication/215447660_Dynamics_of_in...

Eliot, C.N.E. 1910. A monograph of the British nudibranchiate mollusca. London, Ray Society. Supplementary Volume. p. 141 [as L. nigra] archive.org/details/british_nudibranchiate_mollusca_pt8_l... (p. 151 of PDF).

Finnish Biodiversity Information Facility, Limapontia capitata overview page. laji.fi/en/taxon/MX.212476 images laji.fi/en/taxon/MX.212476/images [misidentified L. depressa]. Accessed 17 July 2021.

Gascoigne, T. 1975. A field guide to the British Limapontidae and Alderia modesta. J. Conch. Lond. 28: 359 – 364.

GBIF Distribution map of Limapontia capitata (O.F. Müller) Accessed 25 June, 2021. www.gbif.org/species/2298915

GBIF. Distribution map of Limapontia depressa Accessed 23 July, 2021. www.gbif.org/species/2298918

GBIF Distribution map of Cladophora glomerata (L.) Kütz. Accessed 14 June, 2021. www.gbif.org/species/5272770

Hayward, P.J. & Ryland, J.S. 1996. Handbook of the marine fauna of North-west Europe. Oxford, Oxford University Press.

Jeffreys, J. G. 1869. British conchology. vol. 5 (1869). London, van Voorst. [As L. nigra] archive.org/details/britishconcholog05jeffr/page/28/mode/1up

Jensen, K. R. 1975. Food preference and food consumption in relation to growth of Limapontia capitata (Opisthobranchia, Sacoglossa). Ophelia 14(1-2): 1-14. abstract

www.tandfonline.com/doi/abs/10.1080/00785236.1975.10421967

Jensen, K. R. 1976. The importance of Limapontia capitata (Mueller) (Opisthobranchia, Sacoglossa) as a primary consumer in the Cladophora-belt. 10th Europ. Symp. mar. Biol. 2: 339-350.

Jensen, K. R. 1977. Optimal salinity and temperature intervals of Limapontia capitata (Opisthobranchia, Sacoglossa) determined by growth and heart rate measurements. Ophelia, 16 (2): 175 – 185.

Kluijver, M.J. de, Ingalsuo S.S. & Bruyne, R.H. de. Mollusca of the North Sea, Limapontia depressa. Marine Species Identification Portal. (accessed 20 June 2021) species-identification.org/species.php?species_group=moll...

Meyer, H. A. & Möbius, K. 1865 - 1872. Fauna der Kieler Bucht. Band 1: Die Hinterkiemer oder Opisthobranchia. Leipzig, W. Engelmann. [As Pontolimax capitatus]

www.biodiversitylibrary.org/item/47329#page/57/mode/1up [images]

www.biodiversitylibrary.org/item/47329#page/55/mode/1up [text]

Miller, M.C. 1962. Annual cycles of some Manx nudibranchs, with a discussion of the problem of the migration. J. Anim. Ecol. 31(3): 545-569 www.jstor.org/stable/2053?seq=1

Müller, O. F. 1774. Vermium terrestrium et fluviatilium, seu animalium infusoriorum, helminthicorum, et testaceorum, non marinorum, succincta historia. Vol. 1, Pars Altera: p. 70. [1774]. Havniæ (Copenhagen) & Lipsiæ (Leipzig), Heineck & Faber. [original description as Fasciola capitata] www.biodiversitylibrary.org/item/50344#page/236/mode/1up

Pruvot-Fol, A. 1954. Faune de France. Mollusques opisthobranches. Paris, P. Lechevalier. faunedefrance.org/bibliotheque/docs/A.PRUVOT-FOL(FdeFr58)Mollusques.pdf

Quatrefages J.L.A. de. 1844. Sur les Gastéropodes Phlébentérés (Phlebenterata Nob.), ordre nouveau de la classe des Gastéropodes, proposé d'après l'examen anatomique et physiologique des genres Zéphyrine (Zephyrina Nob.), Actéon (Acteon Oken), Actéonie (Acteoniæ Nob.), Amphorine (Amphorina Nob.), Pavois (Pelta Nob.), Chalide (Chalidis Nob.). Annales des Sciences Naturelles. ser. 3, 1: 129-183, pls 3-6. biodiversitylibrary.org/page/13407269

Rasmussen, E. 1973. Systematics and ecology of the Isefjord marine fauna (Denmark). Ophelia, 11, 1-495.

Schultze, M.S. 1849. Ueber die Entwickelung des Tergipes lacinulatus. Archiv für Naturgeschicht. 15: 270. www.biodiversitylibrary.org/item/48696#page/670/mode/1up

Seelemann, U. 1968. Zur Überwindung der biologischen Grenze Meer-Land durch Mollusken. II. Untersuchungen an Limaponita capitata, Limapontia depressa und Assiminea grayana. Oekologia. 1: 356-368 www.jstor.org/stable/4214499

Smith, I.F. 2014. Rearing and breeding the sacoglossan sea slug, Limapontia senestra (Quatrefages, 1844). Mollusc World 34: 16-18. Conchological Society of Great Britain and Ireland. www.researchgate.net/publication/352982521_Limapontia_sen...

Thompson, T.E. 1976. Biology of opisthobranch molluscs 1. London, Ray Society.

Wichard, T., Charrier, B., Mineur, F., Bothwell, J. H., De Clerck, O. and Coates, J. C. 2015. The green seaweed Ulva: a model system to study morphogenesis. Frontiers in plant science. www.frontiersin.org/articles/10.3389/fpls.2015.00072/full

Current taxonomy; World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=140229

GLOSSARY

coenocytic = (of algae) with parts made up of multinucleate, large masses of cytoplasm enclosed by the wall of each large cell.

cytoplasm = gelatinous liquid that fills the inside of a cell; ‘cell sap’.

digitiform = shaped like a finger.

dorsum = upper outer surface of an organism.

metapodium = hind part of the foot.

MHW = mean high water level.

multinucleate = (of cells) having more than one nucleus per cell, i.e., multiple nuclei share one common cytoplasm.

ovotestes = (plural) hermaphrodite organs serving as both ovary and testes.

pericardium = sac containing the heart.

plankton = animals and plants that drift in pelagic zone (main body of water).

polysaccharides = (in algae) molecular structural components of cell walls.

propodial = (adj.) at the front of the foot.

radula = usually a chitinous ribbon with rows of teeth to rasp food, but on Sacoglossa a line of single, fused teeth used like a scalpel to pierce algal cells.

quincunx = pattern of five as on dominoes or dice.

radular = of the radula.

rhinophore = chemo-receptor tentacle; nudibranch and most sacoglossan sea slugs have a pair on top of the head.

salting = salt tolerant vascular vegetation at MHW to EHWS; preferred synonym for “saltmarsh” as much of a salting is not marshy.

siphonaceous = (of algae) entire thallus (‘plant’) is coenocytic with no internal cell walls subdividing the cytoplasm.

stylet = hard, sharp, slender piercing structure.

suctorial = (adj.) sucking

uninucleate = (of cells) having one nucleus per cell.

veliger = shelled larva of marine gastropod or bivalve mollusc which moves by action cilia on a velum (bilobed flap).

Nickelodeon logo 1984-2009.

Designed by Tom Corey & Scott Nash.

Developed by Alan Goodman and Fred Seibert, Fred/Alan Inc.

You can read about origins of this Nickelodeon logo here (and get the entire book in a flash file).

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☻ VIEW / SIEHE:► Large on black ► Place Map ►

☻ AWARD: no

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☻ Ort: Etretat - Strand • Alabaster Küste (cote de albatre)

• Seine-Maritim (Departement) • Obere Normandie (haute normandie) • Frankreich

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☻ Place.: Etretat - Beach • Alabaster coast (cote de albatre)

• Seine-Maritim (Departement) • Haute Normandie • France

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☻ KOMMENTAR: ► Klick "Links" ( oben ▲) =Wikiepedia- Info:

Die Cote Albatra ist also unbedingt einen Besuch Wert und das nicht nur wegen des schönen Etretat samt seinem berühmtem Elefantenfelsen.

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☻ COMMENT: ► Click "Links" ( above ▲) = Wikiepedia- Info

The Cote Albatra is necessarily a visit value, and that not just concerning of the beautiful Etretat including his famous elephant rocks

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ver en grande

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Son casi infinitamente los seres más abundantes que viven sobre nuestro Planeta y su acción silenciosa transforma el mundo implacablemente sin que apenas nos demos cuenta. Su origen se confunde con el de los océanos de la Tierra, en la que habitan desde hace más de tres mil millones de años, cuando la soledad en los planetas lo inundaba todo. Son las más veteranas pobladoras, las formas de vida más simple y también las que más rápidamente evolucionan. Son las insignificantes y extraordinarias bacterias.

Todas las bacterias necesitan el agua como medio para vivir, incluso, las que habitan en el suelo bucean en la fina película de agua que cubre a las partículas de mineral o a los restos de materia orgánica, allí se alimentan, se mueven y se multiplican cerrando el ciclo de la vida y devolviendo a la tierra los elementos minerales que partieron un día de ella y formaron parte de las entrañas los seres vivos.

La mayor parte de las bacterias se alimentan de materia orgánica, provocan su descomposición y permiten que los elementos químicos se reciclen y se incorporen de nuevo a la cadena de la vida a través del suelo, del aire y del agua. Sus innumerables especies y formas no se pueden diferenciar a la luz del microscopio pues su aspecto es muy parecido, cocos, bacilos, espirilos, vibriones, son las formas más comunes con las que suelen aparecer.

En la imagen de hoy los bacilos se agitan, se mueven en el agua ▷, representando sin duda una de las danzas más ancestrales de cualquier ser vivo. Se ayudan para ello de flagelos invisibles situados en el extremo de sus largos cuerpos de bastón.

Las bacterias no sólo descomponen la materia orgánica, también son las praderas que sirven de alimento a los numerosos organismos microscópicos que dan vida al agua y con ella a todo nuestro Planeta.

La fotografía procede de unas muestras recolectadas en el río Tirón por Marcos Ochoa en las inmediaciones de Tirgo (La Rioja). La fotografía se ha tomado con 400 aumentos empleando la técnica de contraste interferencia.

Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/

Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA

Y en este catálogo

También en la galería de Fotolog

Y nuestro granito de arena por la Paz

That's time to go, I'm leaving Milan to go in Calabria, my motherland.

We will see us when I come back on September with thousands and thousands new photos.

Bye my Flickr Firends ;)

ps: please, view it on Black, and press F11!

文字：李屏瑤/攝影：趙豫中http://okapi.books.com.tw/index.php/p3/p3_detail/sn/3144

www.books.com.tw/activity/2014/09/twdw_design/

〔File__O2〕拼貼╳黃子欽

黃子欽是設計者，創作者，也是記憶的封存者。擔任過櫥窗設計、平面設計，善用收集的大量舊書及物件，在平面中打開空間，拼貼推疊成具有空間感的視覺效果。1996年至今，他以保麗膠為素材，「書的記憶」「固體記憶—黃子欽的影像裝置展」「記憶標本」「日常枯槁」「破音大王」等個人作品展。2012年出版書籍設計作品集《PLAY．紙標本》，2014年與新世代作家共同創作《暴民画報：島國青年俱樂部》，收錄自318學運以來持續創作的近百幅拼貼。

Q1. 你怎麼看待「拼貼」這個書設計元素？

會用「拼貼」是來自我的個性，我沒辦法很簡單地講一件事情，常覺得表達得不夠完整。一開始也使用過攝影或繪畫，後來發現我比較喜歡複合式的語言，透過各種比對，在腦袋裡反覆辯證，慢慢產生內容。我是比較「高拐」的人，沒辦法接受一般教育的那套，才自己發展出複合式語言。很多的美學教育其實是僵化的，我會想去喬一喬，不一定能喬出像要的，但想動手試試看。

現在書籍封面的設計，傾向於低密度的、資訊少的、扁平化的，即使選擇了資訊密度低的設計，就需要有較高的美學高度，去形成一種有象徵、有指涉的儀式感。現在的設計常常是參考成熟的layout，少了「混亂」的思考過程和背後的內涵來支撐，就直接去做了，我覺得那是「layout 消費法」。我們的社會其實沒有那麼高發展，不像北歐、日本可以去理解極簡，台灣其實是多元的，有很多層次，不管設計或出版，應該可以保留這樣的生命力。

即使我喜歡經過混亂，但拼貼過後所呈現的複雜，其實需要簡化，最後的複雜已經不是原來的那些東西，要經過提煉過程，架構起來做出一個系統。在動手拼貼前， 常常要跟客戶先確認清楚，必須有比較精準且集中的討論才能決定怎麼做。做設計的常常會遇到客戶一直改，一直改一定是有問題的，但不見得一直改就能解決問 題，我寧願在前期花更多時間去瞭解對方的需求。

Q2. 「拼貼」元素在你的設計作品中，你喜歡哪些呢？

1.《濫情者》

把城市當成廢墟考察，再把收集的標本展示出來，暗示著讀者觀看的同時也在被消費著……

2.《日本人的縮小意識：豆物狂的傳奇》

紙本書＋玩具紙盒＝魔術書，兩者結合，即可置入無限想像。

3.《美援年代的往事並不如煙》

置入式廣告的概念，八○年代經濟起飛的氣息，蘋果西打、台豐汽水、香吉士、可爾必思的廣告印象，重要的東西都忘了，但那些可有可無、生活中的消費訊息，卻如此深刻。

4. 《請問么零么在哪裡》

縮小的池上便當感，成套的木頭名信片。

5.《幻想圖書館》

將腦中異想實體化的劇場櫥窗，我用電影工業實物搭棚的手法，展現書的平行想像空間。

6.《暴民画報：島國青年俱樂部》

書名聳動，而畫面充滿童趣感，甚至還有微酸無奈⋯⋯傳達台灣社會底層邊緣地帶的心聲！如書封上的「心酸繁榮飯桶空空」、「啞吧噪音」⋯⋯

Q3.「拼貼」元素與裝幀設計搭配得很厲害的國內外書籍，你會推薦哪幾本？

1.《フォトモ―路上写真の新展開》

糸崎公朗的「非人稱藝術」，介於攝影跟路上觀察學。

2.《Evidence：The Art of Candy Jernigan》

藝術家Candy Jernigan蒐集了許多來自不同環境的實體物件，有餐巾紙、一罐水、公路上的垃圾，拍照註記，將各種混亂整理成形，有種證物的感覺。

3.《橫尾少年》與《Tadanori Yokoo Selected Posters 116》

這兩本都跟日本國寶級大師橫尾忠則有關，風格很有個性，他喜歡棒球，封面放自己的照片，也很有畫報風格。

4.《美術手帖：日本．未來．美術》特集

會田誠是會把美少女開腸破肚那種，畫風很繁複繽紛，大竹伸朗也是做繁複的拼貼，他們兩個的風格我都蠻喜歡的，二者在日本被歸類成同一個系統。

Q4.櫥窗設計的經驗，對你的書籍設計有哪些影響

我記得第一次做櫥窗的主題是「嗜甜」，我用了真的烹飪用具、真的櫥櫃、滿滿的香料餅乾、甜食糖果，其實就是一個不斷可以打開的盒子。印象比較深刻還有誠品八週年慶的櫥窗，主題是「慾望之翼」，我用了機芯讓那個模型人不斷轉圈，還有一次做開學書展，用了真的課桌椅、課表、舊書，以及從舊書店買來的畢業紀念冊，拼貼成書店的一面牆，讓原始的圖像跟人群接觸，產生新的訊息。好玩的是，還有客人問，怎麼牆上會有他小時候的照片。

當時做了很多自己喜歡的東西，我從「材質」得到很多靈感，發現可以這樣去取材，獲得新的想像空間跟語言，而且幾乎是沒有止境的。要做櫥窗就要有實體，從有機世界取材，出來的力道會更有能量。我曾經非常憧憬向量圖，現在大家都在做向量圖了，我反而願意回頭追求更原始的。只要原始，就是複雜，真實的物件會有不同的層次，帶出不同的解釋跟溫度。

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).

On Black

7:14 pm CET -> Paraísos efímeros, que aparecen y desaparecen, a veces en los lugares o momentos más inesperados. Una de las cosas buenas de la fotografía es que ayuda a no ignorarlos, o aún mejor, te fuerza a buscarlos. El título: de una idea de trasguete sobre la fotografía anterior.

Lago Ercina. Al fondo, de derecha a izquierda, Requexón, Porru Bolu, Torre de Santa María, Canal Parda, Torre de los Cabrones y Verdilluenga. Y ahora, sólo un par de días hasta la próxima tormenta de nieve.

Focal length: 21 mm

Aperture: f/8.0

Exposure: 1/50 sec

ISO Speed: 100

LEE ND 0.6 Grad Hard

Manfrotto 190CXPRO4 + 460MG

FLUIDR I flickriver I Flickr Hive Mind I Getty Images I 500px

www.bap.de/start/musik/songtexte/titel/verdamp-lang-her --- www.youtube.com/watch?v=Ghi2xReyFYA&feature=related --- www.worldvision.de/unsere-arbeit-wie-wir-arbeiten-entwick... ---

Bap Colognian (Kölsch) pronunciation: [/bap/] is a German rock group. With ten albums reaching the number one in the German record charts, Bap is one of the most successful rock acts in their home country.

Nearly all of Bap's lyrics are written in Kölsch, the dialect of Cologne, or more precisely in a Kölsch-influenced derivation of Eifelplatt, a regional variant of the Ripuarian language spoken in the nearby rural Eifel. Niedecken's most prominent musical influences, especially early in his career, were Bob Dylan, the Kinks, Bruce Springsteen, the Rolling Stones, and Wolfgang Ambros.

The group was founded in 1976 under the name Wolfgang Niedecken's Bap in Cologne, Germany by Wolfgang Niedecken and Hans Heres. In 1981 they released their most famous song "Verdamp lang her" (English: Damn long time ago), in which Niedecken describes regrets he has about his relationship with his then recently deceased father. The band's name "BAP" derived from "BAPP", both, a play-on-words on the Kölsch word "Papp" (related to the German word Papa for dad), but pronounced differently, and Niedecken's then-times nickname. BAP ist eine Kölschrockband um den Frontmann Wolfgang Niedecken und gilt als eine der erfolgreichsten Rockbands deutscher Sprache. Von den 23 BAP-Alben erreichten 19 die Top 10, zehn wurden sogar Nummer 1 der Charts.Die Gruppe um Sänger und Songschreiber Wolfgang Niedecken besteht seit 1976. Die Band traf sich zu Beginn in wechselnder Besetzung, um „einen Kasten Bier leerzuproben“.[1] Der erste Auftritt erfolgte 1977 im Mariensaal in Köln-Nippes mit zwei akustischen Gitarren (Wolfgang Niedecken, Hans Heres) und Perkussion (Afro Bauermann). Das erste Album, Wolfgang Niedecken's BAP rockt andere kölsche Leeder. erschien 1979, die Band bestand zu dieser Zeit aus Wolfgang Niedecken, Hans „Honçe“ Heres, Wolfgang „Gröön“ Klever, Manfred „Schmal“ Boecker, Wolfgang „Wolli“ Boecker und Bernd Odenthal. Die zweite LP Affjetaut folgte 1980, wie die Debüt-Platte noch unter der Bezeichnung „Wolfgang Niedeckens BAP“, da Niedecken sich bereits als Solo-Künstler mit Gitarre und Mundharmonika als „Bob Dylan der Südstadt“ einen Namen gemacht hatte; beide Platten wurden noch beim Kölner Independent-Label Eigelstein Musikproduktion veröffentlicht.

Der Bandname BAP entstand aus Niedeckens Spitzname, der seinen Vater so nannte. Diese Aussprache entstammt der Herkunft der Familie aus Rheinland-Pfalz, und weil sie vom kölschen „Pap“ abwich, entstand so Niedeckens Spitzname.[2] Als ein erster Auftritt geplant wurde, für den mit einem Plakat geworben werden sollte, musste ein Bandname erdacht werden. Hans Heres schlug dem Veranstalter vor, „BAPP“ zu nehmen.[3] Da sich die Bandmitglieder aber einig waren, dass „BAPP“ – mit zwei „P“ geschrieben – auf der Bassdrum nicht gut aussah, wurde einfach ein „P“ gestrichen.[4]

Der musikalische und inhaltliche Stil der BAP-Songs wird wesentlich von Bob Dylan, den Kinks und den Rolling Stones geprägt. Auch Bruce Springsteen, mit dem Sänger Wolfgang Niedecken eine persönliche Freundschaft verbindet, gilt als wichtiger Orientierungspunkt für BAP. Verschiedene BAP-Lieder, vor allem melancholische (z. B. Helfe kann dir keiner, Paar Daach fröher) zeigen in den Arrangements und der Stimmung deutliche Ähnlichkeiten mit Stücken von Wolfgang Ambros, etwa von dessen Album 19 Class A Numbers. Die Texte beschäftigen sich oft mit gesellschaftlichen oder persönlichen Problemen.1979 fanden unter dem Bandnamen "Wolfgang Niedeckens BAP" erste Auftritte außerhalb von Köln und der näheren Umgebung statt; so zum Beispiel auch anlässlich der Bundesgartenschau 1979 in der Bonner Rheinaue.[5] Im Mai 1982 machte BAP ihre erste professionell organisierte Deutschlandtournee. Im Mittelpunkt standen Songs des aktuellen Albums Für Usszeschnigge, das 1981 als erstes beim Major-Label EMI-Electrola erschienen war. Für den Wechsel von Eigelstein zur EMI mussten BAP in der lokalen Kultur-Szene viel Kritik einstecken, wurden jedoch mit Platz 1 in den deutschen Album-Charts prompt belohnt.

Im Sommer 1982 folgten verschiedene Auftritte im Rahmen von Großveranstaltungen und Fernsehproduktionen: Rockpop In Concert für das ZDF in der Dortmunder Westfalenhalle 1, Demonstration gegen die Nachrüstung der NATO am 10. Juni 1982 (Zehnter Juni) auf den Bonner Rheinwiesen, Vorprogramm der Rolling Stones am 4. und 5. Juli 1982 im Müngersdorfer Stadion in Köln und als erste deutsche Band bei einem Festival des WDR-Rockpalast am 28. August 1982 auf der Loreley-Freilichtbühne.

Nach Erscheinen des vierten Albums Vun drinne noh drusse war die Band zwischen Oktober 1982 und Oktober 1983 sieben Monate lang unterwegs. Neben Deutschland standen auch Konzerte in Österreich, der Schweiz und den Benelux-Ländern auf dem Programm. Insgesamt wurden etwa 130 Auftritte gespielt. Die Tournee endete mit einem Konzert im Kölner „Stollwerck“. Das vom Abriss bedrohte Bürgerhaus Stollwerck erhielt die Einnahmen dieses Konzerts zur Finanzierung seiner weiteren Arbeit. Am 28. Mai 1983 spielte BAP auf einem Festival im niedersächsischen Schüttorf im Vorprogramm von Rod Stewart und am 22. Oktober 1983 auf einer weiteren Großdemonstration gegen die NATO-Nachrüstung im Bonner Hofgarten.

Für den Januar 1984 war – nach langen Verhandlungen mit der staatlichen Künstleragentur – eine Tournee mit 14 Konzerten in 13 Städten der DDR geplant. Im Vorfeld der Tour zeichnete das DDR-Fernsehen ein Interview mit Wolfgang Niedecken inklusive zweier Unplugged-Versionen von BAP-Liedern auf. Dieses wurde später jedoch sinnentstellend verkürzt gesendet. So entschloss sich Niedecken, einige politische Statements, die der Band wichtig waren, in einem eigenen Lied darzustellen. Es wurde als Deshalv spill’ mer he betitelt und erstmals auf dem letzten „West-Konzert“ vor der Tour in Wolfsburg gespielt. Als die Band bereits in Ost-Berlin im Hotel Unter den Linden war, gab es am Vorabend des ersten Konzerts heftige Auseinandersetzungen über dieses Lied mit der DDR-Seite. Als die Band sich weigerte, es von der Setlist zu nehmen, kam es zum Eklat. Die Tournee wurde abgebrochen, bevor das erste Konzert auf dem Boden der DDR gespielt werden konnte. In einer Sendung des DDR-Fernsehens war die Ansage eines Moderators während eines Konzerts im Berliner Palast der Republik zu sehen, zu dem BAP geladen war. Er nannte als Begründung ihrer Absage, die Band wolle „nicht unter dem Symbol der weißen Taube auf blauem Grund auftreten“.[6]

Die Tournee zum Album Zwesche Salzjebäck un Bier begann am 15. und 16. Juni 1984 mit zwei Konzerten im Archäologischen Park in Xanten. Sie wurden vom ZDF aufgezeichnet und später in einer Zusammenfassung gesendet. Die Tour dauerte bis zum Februar 1985 und übertraf von der Zuschauerresonanz her noch die von 1982/83.

Am 2. März 1986 begann in Lohmar bei Köln die Tournee Ahl Männer, aalglatt. BAP spielte zunächst einige Konzerte im ländlichen Raum, bevor die Band am 15. März 1986 in der Essener Grugahalle bei der 17. und letzten Rocknacht des WDR-Rockpalast auftrat. Die Rocknacht, bei der auch Jackson Browne und Big Country auftraten, wurde wie schon das Festival auf der Loreley 1982 via Eurovision von vielen europäischen Radio- und Fernsehstationen ausgestrahlt.

Von April bis Juli folgten zahlreiche weitere Konzerte. Wegen der anhaltenden Popularität wurden teilweise auch größere Hallen ausgewählt. So fanden die „Heimspiele“ der Kölner Band erstmals in der bis zu 8000 Zuschauer fassenden Kölner Sporthalle, der damals größten Veranstaltungshalle der Domstadt, statt. Bei dieser Tournee gab es mit Christian Schneider erstmals auf einer Tournee einen Gastmusiker, weil die zum Teil sehr komplexen Keyboard-Arrangements des neuen Albums live mit nur einem Keyboarder nicht zu realisieren gewesen wären. Schneider spielte neben Keyboards bei einigen Stücken auch Saxophon. Den letzten Auftritt der Tour absolvierte die Band am 26. Juli 1986; genau drei Monate nach der Atomreaktor-Katastrophe von Tschernobyl auf dem legendären Anti-WAAhnsinns-Festival gegen die Wiederaufbereitungsanlage von Wackersdorf in Burglengenfeld.

Nach Ende der Tournee 1986 legte BAP eine kreative Pause ein (u. a. bedingt durch bandinterne, künstlerische Meinungsverschiedenheiten), die Wolfgang Niedecken zur Veröffentlichung seines Albums Schlagzeiten und zu einigen Solo-Konzerten nutzte. BAP stand erst im September 1987 bei zwei Festivals wieder auf der Bühne, um sich auf eine Tournee durch China vorzubereiten. Diese Tournee ist im Buch BAP övver China dokumentiert.

Das Album Da Capo wurde von Oktober bis Dezember 1988 zunächst bei einer ausgedehnten Hallentournee präsentiert. Bei dieser Tournee legte BAP die Scheu vor den ganz großen Konzertarenen endgültig ab. So standen auch die Frankfurter Festhalle und die Münchener Olympiahalle auf dem Programm. Im Sommer 1989 folgten weitere Konzerte, teilweise auch im Rahmen von Festivals gemeinsam mit Joe Cocker. Eines dieser Events fand in der Berliner Waldbühne statt.

Auch die Tournee 1991 wurde in mehreren Teilen durchgeführt. Kurz nach der Vollendung der deutschen Einheit standen im Januar 1991 zunächst die ersten Konzerte der Band auf dem Gebiet der ehemaligen DDR auf dem Programm. Anschließend ging BAP in Westdeutschland auf Club-Tour und absolvierte eine Reihe von Auftritten in beschaulichem Rahmen, zumeist in kleinen Hallen. Das Konzert im Kölner E-Werk wurde aufgezeichnet und später auf dem Album Live – Affrocke veröffentlicht.

Im Mai und Juni 1991 folgte eine Tournee ausschließlich durch die größten deutschen Konzerthallen und bei verschiedenen Open-Air-Festivals. Als Gast bei den Konzerten trat Julian Dawson auf. Am 26. Januar 1994 startete die Tournee zum im August 1993 erschienenen Album Pik Sibbe. Nach wie vor war die Nachfrage in der BAP-Hochburg Köln groß, in einigen anderen Städten blieben die Zuschauerzahlen etwas hinter den Erwartungen zurück. Die folgende Tournee zum Album Amerika begann im November 1996. Der Tourneestart in Koblenz wurde für den WDR-Rockpalast mitgeschnitten und später im Fernsehen ausgestrahlt.

Mit dem Ausstieg von Bassist Steve Borg und von Gründungsmitglied Manfred „Schmal“ Boecker verließen zwei Musiker die Band, die BAP über viele Jahre mitgeprägt haben. 1999 stieg auch Gitarrist Klaus „Major“ Heuser aus, der während 19 Jahren Bandmitgliedschaft die überwiegende Zahl der Lieder komponierte. Außerdem verließ Keyboarder Alexander „Effendi“ Büchel die Firma BAP. Diese Abgänge und die darauf folgenden Neubesetzungen veränderten den musikalischen Ausdruck von BAP nachhaltig.

Zu den Gründen für den Ausstieg von Major sagt Wolfgang Niedecken rückblickend im März 2011:

„Der Major ist ein toller Gitarrist. Aber er wollte, dass BAP international ausgerichteten Radio-Pop spielt. Ich wollte beim Kölsch-Rock bleiben. Beide Positionen waren nicht vereinbar. Ich bin ihm dankbar, dass er selbst gegangen ist. Ich hätte ihn nämlich nie rausgeschmissen.[7]“

Als Neuzugang an den Keyboards stieg Michael Nass bei BAP ein, der zuvor in den 1980er Jahren in der DDR-Musikszene musikalisch sehr aktiv war, u. a. bei P 16 und später in Liselotte Rezniceks Frauenband Mona Lise. Gitarrist wurde Helmut Krumminga. Im Sommer 2001 gab BAP vor der eigentlichen Aff un zo-Tour ab Herbst 2001 zwei Vorabkonzerte, darunter das „Konzert an der toten Brücke“ (Soda-Brücke) in Euskirchen, das auch vom WDR aufgezeichnet und wenige Tage später in der Sendung Rockpalast gesendet wurde. Das Album selbst stieg wie der Vorgänger Tonfilm auf Platz 1 in die deutschen Charts ein.

Im Januar 2006 war die Kölnarena zwar anlässlich des Starts der Jubiläumskonzerte zum 30-jährigen Bestehen der Band mit 25.000 Zuschauern an zwei aufeinander folgenden Tagen fast ausverkauft. Bei anderen Auftritten hatte man sich von vorneherein durch die Wahl kleinerer Konzertorte angepasst.

Auch das im Mai 2008 erschienene Album Radio Pandora stieg auf Platz 1 in die deutschen Charts ein. Im Winter 2008 startete die Tournee dazu, am 2. Weihnachtstag gab es das Heimspiel in der Köln-Arena (Lanxess-Arena); sie dauerte (mit Unterbrechungen) bis zum Sommer 2009, wobei die Band von Anne de Wolff (Violine, Bratsche, Gesang) und teilweise von Rhani Krija (Percussion) begleitet wurde.

Für November 2011 war der Start der aktuellsten Tournee geplant. Aufgrund einer schweren Erkrankung Wolfgang Niedeckens wurde der Start der Tour auf Anfang Mai 2012 verschoben.[8][9][10]

Auslandsauftritte [Bearbeiten]

BAP ist im Laufe der bisher 35-jährigen Bandgeschichte in vielen Ländern der Welt aufgetreten. Nachdem sich die Bandmitglieder anfangs kaum vorstellen konnten, dass ihre kölschen Texte außerhalb des Rheinlandes verstanden würden, durften sie erleben, dass ihre Platten weit darüber hinaus gekauft wurden. Tourneen waren dadurch auch im Ausland möglich.

Die ersten Auftritte außerhalb Deutschlands waren im Dezember 1982 in der Schweiz (Basel und St.Gallen)[11] und bis Mitte der 1980er Jahre in Österreich, Luxemburg, Belgien und Dänemark (Roskilde-Festival). Seitdem gehören Auftritte in diesen Nachbarländern zum Bestandteil jeder Tournee.

Spätere Fernreisen wurden zumeist als Begleitung zu künstlerischen oder politischen Themen organisiert; häufig war nicht die komplette Gruppe unterwegs; manchmal auch nur Wolfgang Niedecken alleine oder in Begleitung von Musikern seiner Solo-Projekte:

Mit einigen Gästen tourte BAP im Oktober 1987 vier Wochen durch China. Acht Auftritte wurden in Peking, Shanghai und Kanton absolviert.[12]

Wolfgang Niedecken spielte 1987 auf Einladung der Kulturstiftung Casa de los tres Mundos (ein Projekt des Schauspielers Dietmar Schönherr, des Produzenten Peter Reichelt und des Kulturministers Ernesto Cardenal) mit seiner Complizen-Band in Nicaragua.

In ähnlicher Zusammensetzung spielten Wolfgang Niedecken & Complizen 1988 in Mosambik eine kleine Tour.

Die politischen Veränderungen in der Sowjetunion unter Gorbatschow machten es möglich, dass BAP im Mai 1989 je drei Konzerte in Moskau und Wolgograd gab.[13] Dort kamen die Musiker auch mit Fans aus der DDR ins Gespräch. Nachdem die BAP-Tour durch Ostdeutschland 1984 abgesagt wurde, war der Umweg über die UdSSR die einzige Möglichkeit, als DDR-Bürger mit der Band zu sprechen.

More info and other languages available at:

de.wikipedia.org/wiki/BAP

Alstroemeria, also called Peruvian /Inca lily.

View On Black

I uploaded 18 in one go, because I think they belong together...

Monochromatic? Not really he? All the shades of grey... from a true black to a pure white... as it should be!

Sometimes I just 'feeeeeeeeel' like this, a flower image in b&w...

I love the subtle tones, all the varied tones, that give the flower/petals/stems their texture, depth and form, their delectable shapes accentuated, extracted and emphasized without the colour. Don't you agree?

MORE THAN EVER:

Lead and enjoy a good life, do and say things that enrich... and do not forget to tell the people close to you, how much you love them!

With love to you and thank you for ALL your faves and comments, M, (* _ *)

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IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved

Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...

Kraków

web.archive.org/web/20131209161218/http://www.milosierdzi...

MORE info:

The Divine Mercy Shrine in Kraków, Poland is a Roman Catholic basilica dedicated to the Divine Mercy devotion, as the resting place of Saint Faustina Kowalska, canonized on April 30, 2000.

The new basilica was built between 1999–2002, and is located in the District of Łagiewniki at św. Faustyny street. Three Popes have visited the shrine and millions of pilgrims from around the world continue to visit it every year

The site of the building originally housed the neo-Gothic monastery complex of the Sisters of Our Lady of Mercy (founded in 1862), which was designed by Charles Zaremba and was built between 1889–1891. In 1966, the remains of Sister Faustina were moved to the church. In 1968 Cardinal Karol Wojtyła (later Pope John Paul II) designated the church as a shrine, thanks to the remains of Sister Faustina.

In 1985, Pope John Paul II called Lagiewniki the "capital of the Divine Mercy devotion". Since the beatification of Saint Faustina in 1993, her remains rest on the altar, below the image of Divine Mercy.

In 1999–2002, a modern two-story, ellipsoidal basilica, specifically devoted to the Divine Mercy was built.The building was designed to resemble a boat, and has a 77-meter high observation tower that resembles a mast.

The basilica can accommodate about 5,000 people and the main chapel has about 1,800 seats. The altar in the main sanctuary houses the Divine Mercy painting and relics of Saint Faustina. The image above the main altar was painted by Adolph Hyla in 1944, and replaces the first image Hyla painted in 1943 as a votive offering for surviving during World War II. The image and the basilica are a major pilgrimage site and in 2011 the basilica received around 2 million pilgrims from around the world.

The lower level of the church has a central a chapel dedicated to Saint Faustina, with four side chapels. The upper part of the basilica has free-standing post-modern Chapel of Perpetual Adoration of the Blessed Sacrament. On June 24, 2007, on the 60th anniversary of Operation Vistula, the Basilica opened a Greek Catholic chapel dedicated to reconciliation, and as a gift to the Greek Catholic Church.

In March 1981, while praying at the tomb of St. Faustina at the church, Maureen Digan of Massachusetts reported a healing. Digan had suffered from lymphedema for decades, and had undergone 10 operations, including a leg amputation. Digan reported that while praying at Faustina's tomb she heard a voice saying "ask for my help and I will help you" and her constant pain stopped.

Upon her return to the US, five Boston area physicians stated that she was healed (with no explanation). Digan's healing was declared miraculous by the Vatican in 1992, and paved the way for the beatification of Faustina Kowalska.

On June 17, 1997 Pope John Paul II visited the church to pray at the tomb of Saint Faustina - an event commemorated by a relief at the entrance to the chapel.

In May 2006, Benedict XVI visited the chapel, and a second relief commemorates that. During the 2006 pilgrimage by Pope Benedict XVI, he unveiled a statue of Pope John Paul II at the observation tower at the basilica, as the seventh sculpture of John Paul II in Kraków.

In July 2016, Pope Francis visited the Basilica as part of the Jubilee Year of Mercy and as part of the International World Youth Day celebrations taking place in Kraków.