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Acciones QPM: Establecer como borrador | Mover a la papelera | Forzar el borrado | Editar | Gestionar | Configuraciones QPM
Ya os lo comenté el otro día con la llegada (de nuevo) de las bombers a nuestra vida: en el mundo de la moda todo acaba volviendo. Las tendencias son como ex mal curados que cuando mejor te lo pasas ¡zas! aparecen otra vez en tu vida y la ponen patas arriba. Y tú ya no guardas ni un recuerdo de él, pero de repente y sin saber cómo lo necesitas en tu día a día.
Pues bien, he aquí un nuevo ex que aparecerá esta temporada Otoño-Invierno 2014/2015: las zapatillas blancas. Estilo las Stan Smith de adidas Originals (que levante la mano quien no tuvo un par en su armario y las tiró hace unos años), el año pasado ya empezamos a ver como se ponían de moda (de nuevo). Y Saint Laurent Paris así lo confirmó al crear una nueva versión.
Para todos los gustos y bolsillos
Ahora son muchas las firmas que presentan su particular versión, añadiendo toques de color o pespuntes para hacerlas distintas al resto. Y los precios también varían mucho. ¿Vas a terminar por darle una segunda tercera oportunidad?
Con detalle de velcro de Bimba y Lola, 115 euros. Con la talonera de color negro de Saint Laurent Paris, 395 euros. Con franja roja en los laterales de Pony, 55 dólares. Blancas con detalles troquelados y piel camel en el talón de Stradivarius, 29,95 euros. Con la talonera en rojo brillante de Étoile Isabel Marant, 280 euros. Totalmente lisas de Mango, 39,99 euros. Zapatilla deportiva blanca de piel troquelada de Zara, 45,95 euros. Con detalles en coral de Bershka, 39,99 euros. Zapatillas de deporte de cuero blanco de Lacoste, 92,86 euros. Con la talonera verde de adidas Originals, 95 euros. Zapatillas deportivas con elástico en la parte delantera de H&M, 59,99 euros. Con piel grabada de Topshop, 88 euros.
Fotos | We wore what, Collage Vintage
Más calzado en Trendencias Tus botas subirán hasta el infinito y más allá ¡Señor, sí señor! Nuestros pies mandarán esta temporada con botas militares ¿Se sumarán tus pies a la moda bling bling? Ojo en Otoño, nuestros pies vestirán en blanco y negro Las sandalias si se presentan en flatform… Son mejores Dulceida x Krack: la historia continúa ¿Te animas a lucir zapatos en color nude? Quiero unas zapatillas, aunque no sean de Alta Costura [Los 50 flechazos del verano] Sorprende a tus pies y a tus looks con las Elenovari La colorida colaboración de Orla Kiely para Clarks: pies modernos
– La noticia No me pises que llevo zapatillas… Blancas fue publicada originalmente en Trendencias por Charlie.
Acciones QPM: Establecer como borrador | Mover a la papelera | Forzar el borrado | Editar | Gestionar | Configuraciones QPM - www.diariototal.com/2014/09/25/no-me-pises-que-llevo-zapa...
http://www.diariototal.com/2014/09/25/no-me-pises-que-llevo-zapatillas-blancas/
tendencia
#tendencia
At 8 PM Monday, December 3, 1837 William Lyon Mackenzie set out by horse down Yonge Street to scout the route for his attack on Toronto. At the top of Gallows Hill (below St Clair) he met Tory alderman John Powell, himself on patrol from the city. Mackenzie and his men took Powell prisoner. "Do you have a gun?" Mackenzie asked Powell. "No", Powell replied. Mackenzie took his word as a gentleman and sent him back towards the rebel headquarters at Montgomery's Tavern.
Powell lied about having a gun. He drew out two pistols and shot one of his guards in the back of the neck, killing him. Mackenzie heard the shot, headed back, saw Powell, fired a shot at him but missed. Powell closed range and fired at Mackenzie point blank but his gun flashed in the pan. Powell rode on to warn Toronto that the rebels were coming.
Trouble had been brewing in Upper Canada for some time and always at its centre was the fiery Scot William Lyon Mackenzie. Always a critic and self-proclaimed voice of the people, Mackenzie got elected to the Upper Canada Assembly and raised such hell that he was expelled three times, each time to be re-elected by his constituents. His primary targets in his newspaper articles and his diatribes were the lieutenant-governor and the colonial elite, dubbed the "Family Compact."
While moderate reformers such as Robert Baldwin tried to find a middle ground, things were made worse with the arrival of a new governor, Sir Francis Bond Head, an adventurer with no political experience. The governor got the reform Assembly dissolved and led a campaign based on fear and "loyalty." Mackenzie responded by issuing a Toronto Declaration, closely modeled on the American Declaration of Independence.
Historians have made note of the extenuating circumstances in the colony that made fertile ground for Mackenzie's agitation. There was an economic squeeze, crops were bad and the banks were foreclosing on farms. But in the final analysis the uprising in Toronto was uniquely the creation of Mackenzie's outrage. His ability to win over intelligent and cautious men was one of his strengths. But organization was one of his weaknesses. After haranguing some crowds in scattered meetings, he rode off to Toronto secure in the belief that thousands would rise to his cause.
The failure of the revolt was not necessarily a foregone conclusion. Confusion reigned in Toronto. The garrison was off quelling the insurrection in Lower Canada. The militia were a laughable lot, armed with some guns along with whips, hoes, canes and umbrellas.
Nevertheless, once surprise was lost, so was the enterprise. Mackenzie took the unfortunate decision of leading the rebels himself. He marched them off on Tuesday morning, December 4, riding at their head and wearing several overcoats to protect against bullets. Though the route seemed clear, the erratic Mackenzie seemed more interested in diversions. By the time the battle occurred, near College Street, a small picket under Sheriff William Jarvis had been organized.
The picket opened fire and being but 20 men, turned and ran. The front rank of rebels fired back and, as they were trained to do, dropped to the ground so that the next rank could fire over them. The back ranks thought the front rank had all been mowed down, panicked and ran away.
Now the initiative was with the loyalist forces, who got reinforcements from Hamilton, Niagara and as far away as Peel County. Militia chief James FitzGibbon organized three impressive columns, totaling 1500 men and on Wednesday marched up Yonge Street. The skirmish was an anticlimax. Only about 200 rebels stood their ground near Gallows Hill and they were quickly routed.
Many of the rebels fled or went into hiding or, like Mackenzie, bolted to the United States. Several prisoners were charged with treason. Twelve stood trial in Toronto. Six were convicted and Peter Matthews and Samuel Lount were hanged.
Historians have had a field day debating the consequences of the Rebellion of 1837. Obviously, as a revolution it was an abject failure. There was a time when Mackenzie's supporters, notably his grandson William Lyon Mackenzie King, argued that the Rebellion hastened the advent of responsible government, but few accept that idea today.
As for Mackenzie, he continued to agitate from a base on Navy Island. He started a newspaper in New York. But he was indicted under the "neutrality laws" and spent a year in prison. The more he saw of his beloved American-style democracy, the less he liked it and the more he repented his attempt at revolution. He returned to Toronto in 1850 after a general amnesty, re-entered politics, got elected and continued his campaign against hypocrisy and corruption. However much historians may denigrate his contribution, there are still many who see him as a unique voice of the people.
James H. Marsh is editor in chief of The Canadian Encyclopedia.
We zijn aangekomen in Buka. Dit is een eilandje ietsje ten noorden van Bougainville, een buurprovincie van de Solomon eilanden in de stille zuidzee, en je merkt hier dan ook invloeden van dit land in de gebruiken en tradities. De mensen zijn donker van huidskleur.
Vrouwen zijn heel fier op hun halskettingen van geslepen schelpjes. Dit is een huwelijkscadeau. Lichaamsbeschilderingen worden zelden toegepast. Bij speciale gelegenheden dragen ze fel gekleurde borststukjes en rokjes van een soort raffia, gedroogde bladeren.
We worden ontvangen door een lokale stam. Er volgt een aangename begroeting, en onze voeten worden besprenkeld. Dit is hun welkomstgroet.
ook:
nl.wikipedia.org/wiki/Bougainville_(eiland)
Buka Island is the second largest island in the Papua New Guinean province of Bougainville.
Buka is situated on Buka Island, Bougainville Province, Papua New Guinea. It has been the capital of the province during the Bougainville civil war. The former, or proper capital of Bougainville, Arawa was all but destroyed in 1990 as tensions reached a critical level in a civil uprising.
Buka today is a bustling, peaceful town, detached by water from the main island Bougainville, and the much publicized tension there.
I met my dad for bagels this morning. He and my mom have made some rather major decisions without even mentioning them to me.....I hate that. I don't need to be consulted, but it's weird to be out of the loop entirely.
He and I got into an intense discussion, no win really. ....He was asking me to bear the burden of my mother's anxiety. I can't do it. Right now I am hunting for a job, searching for an apartment despite my lack of income, trying to make some very major decisions about where my life is heading and with whom, and grappling with some pretty heavy heartache.
My mother is inventing reasons to be concerned and to lecture me, and then getting hurt when I can't handle it and choose to avoid her. At this point, I don't even consider avoidance immature - it's a lifesaving measure that I need to take on my own behalf.
I can't focus on my own needs, my own, job, apartment, choices and heartaches, if I'm weighed down by her constant worries. I can't carry my mother's burdens on top of my own. I just can't.
I've talked to her time and again about how damaging our relationship has become to my well-being. I've told her outright that if our relationship can't improve I have to walk away.
I know my dad means well. But he's asking something of me that I honestly can't give.
Mary Bogdan participating in the current exhibition at the Pace/MacGill Gallery in NYC.
Pace/MacGill Gallery Exhibition
PACE/MACGILL GALLERY
32 EAST 57TH ST NEW YORK NY 10022 / PHONE 212.759.7999 / FAX 212.759.8964 / EMAIL info@pacemacgill.com
SELF-PORTRAITR: AN INTERACTIVE EXHIBITION CURATING THE FLICKR.COM
COMMUNITY
June 30 through August 25, 2006
Pace/MacGill Gallery and the School of Visual Arts’ graduate photography department are pleased to present an interactive exhibition of self-portraits drawn from Flickr.com, the online digital photo-sharing network. Flickr’s user base consists of over one million members who share images and image-related information. Two leading forces in the New York art world—-a major photography gallery and a top art school—-have joined together to observe this online conversation of image making.
The mining and showcasing of this material strives to engage and expand a rapidly growing virtual arts community. The exhibition will be accessible to both viewers and contributors alike via the Pace/MacGill website www.pacemacgill.com. Pace/MacGill’s gallery space will house ten computers on which visitors can peruse the pictures gathered from numerous global photographers as they would online. A few monitors will display slideshows of images specifically collected via the gallery website.
The exhibition will not only rely on the Flickr community for content, but will also depend upon the activity of the site’s users for the organization and editing of what is anticipated to be thousands of images from the age-old genre of self-portraiture. Whether the image is taken by a professional photographer overseas or by an amateur experimenting with a camera phone in New York City, each image posted on Flickr and “tagged” as a self-portrait will automatically be filtered and directed into the exhibition.
The Pace/MacGill Flickr interface, created by SVA’s Jeremy Chien and Stephen Jablonsky and programmed by Kelvin Luck, allows users to vote for favorites, track the most viewed image, and create categories. Sorting options or subcategories (self portrait “with mirror” or at “beach,” for example) within the virtual exhibition will enable further definition and refinement.
The work in the exhibition will perpetually expand with the proliferation of users until the popularity of each category aids in its editing. As more images are collected and more users are interacting with the site to make selections, the work will become more discerning and interesting. One can choose the role they wish to assume: curator, artist, etcetera. With every click of the mouse, viewers become participants; the interactive community defines the exhibition. The hope is that the final result will be a 50 print exhibition of images chosen by the community.
The School of Visual Arts is widely recognized as one of the finest art schools in the country for its innovative and experimental program philosophies, its participation in the cultural life of New York City, and its unparalleled faculty comprised of professional artists. The MFA Photography, Video and Related Media department has been a leader in the implementation of photography in the digital world. The exhibition has been assembled by Pace/MacGill Gallery, Jeremy Chien, and Stephen Jablonsky. Chien and Jablonsky are both alumni and faculty members at the School of Visual Arts’ MFA program in Photography, Video and Related Media. UK web developer Kelvin Luck programmed the exhibition software to search, filter and explore Flickr.com.
Gallery summer hours are: Monday-Thursday, 9:30-5:30, and Friday, 9:30-4:00. The gallery will be closed on Saturdays and Sundays. Summer hours begin on June 20 and continue through Labor Day.
Thanks, BILLY Q...
Tondo - Smokey Mountain - Manila - Philippine
Tondo - Smoky Mountain - Manila - Philippine
De 'Smoky Mountain' van weleer is nu een grote rokende puinhoop. In de nabije omgeving zijn er op en rond de rivier kleine houten optrekjes ... de Filippijnse overheid is volop 'low cost houses' aan het inrichten ... maar dit kan nog enige jaren duren ...
Smokey Mountain is a large landfill in Manila, Philippines. Consisting of over two million tonnes of waste, it has operated for more than 40 years and is known for decomposing at such high temperatures that it will catch fire, a fact from which the location derives its name. Indeed, fires at Smokey Mountain have caused many deaths.
Smokey Mountain has a large squatter community, and it is estimated that 30,000 people live near the site, and make their living from picking through the rubbish at Smokey Mountain. In 1993, a joint venture agreement between the National Housing Authority (NHA) and R-II Builders Inc. (RBI) was made to build a low-cost housing project at Smokey Mountain. On 15 August 2007, this agreement was declared valid by the Philippine Supreme Court.
Projects have been enforced by the Government and non-government organizations to allow urban resettlement sites for the slum dwellers. According to a UN-Habitat report, over 20 million people in the Philippines live in slums, and in the city of Manila alone, 50% of the over 11 million inhabitants live in slum areas.
from:
en.wikipedia.org/wiki/Smokey_Mountain
slideshow:
高雄市玩美攝影協會 / 拍攝
『玩美是人生追求完美境界的過程，完美是生活過程中的成果，攝影人在乎過程中的進行。因此，玩美幾乎是攝影人所追求的程序，意即尚在進行中，永無止息，故取名之。』
協會會址:台灣 高雄市新興區尚信街29號
捷運O7文化站 1號出口(步行約1分鐘)
協會服務電話：07-2231345
E-mail：wm2231345@gmail.com
Weltkrieg 1914-1918
Frauenkirchen- serbenfriedhof (cemetery)
www.frauenkirchen.net/webapp/post.php?post=118210
Serben lager 1914-1918
derstandard.at/2000007511539/Allerheiligen-am-pannonische...
На плочи пише :
"На овом и околним пољима леже посмртни остаци хиљада српских интернираца заточених у аустрија за време првог светског рата "
"Од заборава их чува српски народ"
Auf der Speicherkarte geschrieben wird :
"Für diese und Umgebung liegen die Überreste von Tausenden von serbischen Internierten in Österreich festgenommen während des Ersten Weltkriegs"
"Vergessen sie hält serbische Volk"
On the memory boards is written :
"For this and surrounding areas lie the remains of thousands of Serbian internees detained in Austria during the First World War"
"Of forgetting them keeps Serbian people"
www.frauenkirchen.net/Spiritualit%C3%A4t+%7C+F%C3%BChlen/...
www.brettl.at/brettl/homepage/frame_buecher.htm
" Sie leben nicht mehr der Gegenwart, sondern der Zukunft zuliebe."
Das Kriegsgefangenenlager in Frauenkirchen ist eines der ältesten Lager der Monarchie, das bereits im September 1914 aufgebaut wurde. Waren zunächst russische Gefangene darin inhaftiert, so wurde das Lager zunehmend zu einem sog. "Serbenlager". Neben Kriegsgefangenen, ab 1916 waren auch italienische Offiziere untergebracht, hielt man von Beginn an auch verschleppte Zivilinternierte aus Serbien und Montenegro im Lager fest. Im Jänner 1915 befanden sich bereits 12.905 Gefangene im Lager Boldogasszony. Wegen des massiven Zustromes an Kriegsgefangenen musste das Lager zweimal erweitert werden und hatte ab 1916 einen Lagerstand von rund 30.000 Gefangenen, wobei sich rund 2/3 der Gefangenen außerhalb des Lagers auf Arbeitseinsatz befanden.
Die Errichtung der Lager erfolgte unter massivem Zeitdruck und finanziellen Einschränkungen, sodass es zu erheblichen Missständen kam. Mangelhafte hygienische Vorkehrungen und die massive Konzentration von Personen auf engstem Raum führten im Winter 1914/15 dazu, dass sich eine Flecktyphusepidemie rasch ausbreiten konnte, die in Frauenkirchen rund 4.000 Personen, beinahe 40% der Inhaftierten, das Leben kostete. Der Friedhof in Frauenkirchen ist bis heute erhalten geblieben und ist das letzte sichtbare Zeichen des Kriegsgefangenlagers
www.brettl.at/brettl/homepage/frame_buecher.htm
"They no longer live the present, but for the sake of the future."
The prisoner of war camp in churches woman is one of the oldest stock of the monarchy, which was already established in September 1914. While at first Russian prisoners detained therein, as the camp "Serbs camp" was increasingly called to a.. In addition to prisoners of war in 1916 Italian officers were housed, was held from the beginning also displaced civilian internees from Serbia and Montenegro in the camp established. In January 1915, there were already 12,905 prisoners in the camp Boldogasszony. Due to the massive influx of prisoners of war, the camp had to be extended twice and had since 1916 a stock level of around 30,000 prisoners, with about 2/3 of the prisoners were to work outside the camp.
The establishment of the camp took place under massive pressure of time and financial constraints, so that there was substantial adversities. Poor hygiene measures and the massive concentration of people in a confined space in the winter of 1914-15 led to the fact that a typhus epidemic could spread rapidly to around 4,000 people, nearly 40% of the prison, cost the lives of women in churches. The cemetery in women's churches is still preserved and is the last visible sign of the PoW camp
Best on black
Monday 4th was dedicated to defend immigration rights. The main actions yere in the morning in front of the immigration center of Rostock (where a protester was injured and a couple detained) and in the afternoon, a rally at a refugee camp. This was followed by a large unauthorized demonstration, resulting in hours of waiting until the authorities allowed the protesters to go to to the harbor.
Here, one of the numerous clowns during the demonstration.
Please read the explanation at the beginning of the set and view the pictures in chronological order.
Part of " G8 summit 2007"
Adrenaline Fight Network, Clash at the Waterfront, 4th September, Arbroath, Scotland (Body Academy, Team Raw, Jigoku, Jan-Shi, Griphouse)
An Ancestral Home in Saint-Lambert - Une maison ancestrale à Saint-Lambert
- Saint-Lambert
- May 6, 2008 / Le 6 mai, 2008
- This is a Spring version when the leaves are starting to grow. In the Summer, the house is more hidden by the leaves.
- Ceci est la version du printemps lorsque les feuilles commencent à pousser. En été, la maison est plus cachée par les feuilles.
This ancestral home is on Riverside in Saint-Lambert. It faces the Seaway Park, the St-Lawrence River, Parc Jean-Drapeau on two islands, and downtown Montréal with the Mont-Royal on the island of Montréal. The house and the large tree on the left are on the corner where my former street ends (seen behind the tree).
Cette maison ancestrale est située sur Riverside à Saint-Lambert. Elle fait face au parc de la Voie-Maritime, du parc Jean-Drapeau sur deux îles, et du centre-ville de Montréal avec le Mont-Royal sur l'île de Montréal.. La maison et le gros arbre à la gauche, sont au coin où termine mon ancienne rue (vue derrière l'arbre).
Crimson-Fronted Barbet
Scientific Name : Megalaima rubricapilla rubricapilla (Xantholaema rubricapilla)
(Ceylon Small Barbet / Ceylon Coppersmith/ Crimson-throated Barbet)
Identification :
(16 cm) Smaller than the Brown Headed Barbet and Yellow-fronted Barbet. Has red forehead, yellow face patches and black bill. Distinguish from the Coppersmith by blue patch below cheek, small red spot on breast, unstreaked breast, and its fast call. Sexes similar. Direct flight with steady wingbeats (beware of confusion with Lorikeet). Some times sings from bare branch at top of tree. Solitary, in pair or, out of breeding season, in flocks.
Voice : A brisk "pop-pop-pop....." (Faster than Coppersmith) in burst of up to six, also a slower "wonk, wonk, wonk"
Status and Distribution : Endemic race (considered by some authorities as separate species) Common in open wood, cultivated land with trees and gardens in the wet zone up to 1000m and parts of the dry zone.
Nesting : In tree hole; January-June
Ref. 21001 / 20-03021. (?)
Audi A8 (2002).
Escala 1/44.
Power Series Racer.
Maisto.
Made in China.
Produced by Maisto from:
2005 to 2006 (?)
2010 to 2015 (?)
More info:
modelcars.mbeck.ch/model.php?lang=e----&mode=show&...
www.hobbydb.com/catalog_items/audi-a8-cb9e56a2-29f3-4358-...
www.hobbydb.com/catalog_items/audi-a8-b3b27821-2d34-452d-...
www.hobbydb.com/variant_definitions/51639
www.hobbydb.com/subjects/power-racer-series
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Maisto
Brand
"Founded in 1967, Maisto first rose to prominence as a diecast manufacturer in the 1980s with models in 1/18, 1/24 and 1/64 scales. Their models depict a variety of vehicles including cars, trucks and motorcycles. Maisto's 1/18 models raised levels of detail and features to new heights for their resaonable price point.
Models are available in a number of different ranges, both ready-built and as kits. They also manufacture radio controlled models.
All Miasto products since 2007 will have a tool identification number that can be found on the chassis., it’s a 5-digit number, such as 11809. This is to fulfill Consumer Product Safety Improvement Act (CPSIA)'s (US) requirement tracing the date and place of production. The 1st digit is to identify whether it is produced in Manda / May Tat, 2nd and 3rd digit are production year, 4th and 5th digit indicate production week."
Source: www.hobbydb.com/subjects/maisto-brand
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Audi A8
From Wikipedia, the free encyclopedia
"The Audi A8 is a four-door, full-size, luxury sedan manufactured and marketed by the German automaker Audi since 1994.
Succeeding the Audi V8, and now in its fourth generation, the A8 has been offered with both front- or permanent all-wheel drive—and in short- and long-wheelbase variants.
The first two generations employed the Volkswagen Group D platform, with the current generation deriving from the MLB platform.
After the original model's 1994 release, Audi released the second generation in late 2002, the third in late 2009, and the fourth and current iteration in 2017.
Notable for being the first mass-market car with an aluminium chassis, all A8 models have used this construction method co-developed with Alcoa and marketed as the Audi Space Frame.
A mechanically-upgraded, high-performance version of the A8 debuted in 1996 as the Audi S8. Produced exclusively at Audi's Neckarsulm plant, unlike the donor A8 model, the S8 has been available only in short-wheelbase form and is fitted standard with Audi's quattro all-wheel drive system."
(...)
Second generation (D3, Typ 4E; 2002–2009)
"The second-generation Audi A8 (Typ 4E) built on the Volkswagen Group D3 platform was unveiled via press release in July 2002 and introduced in November 2002 in Europe and in June 2003 (as a 2004 model) in the United States.
The model was longer than the previous generation, with room for four or five large adult occupants in the cabin, depending on rear seat configuration.
The D3 development program began in 1996, with the design process commencing in Ingolstadt in 1997."
(...)
"The A8 was previewed 2001 Frankfurt Motor Show by the Audi Avantissimo concept car. This concept introduced much of the technology later available on the series production A8 D3, including: Multi Media Interface, 6-speed automatic transmission with shift paddles, V8 biturbo engine (RS6), self-levelling adaptive air suspension with continuously controlled damping, electric park brake, bi-xenon headlights with static Adaptive Front Lighting System (AFS) curve headlights, dashboard, driver identification systems with fingerprint scanner.
As with the previous version, two body variants of the second generation A8 are offered, the A8 (standard, or short wheelbase), and the long-wheelbase (LWB) A8 L. The A8 L adds 120 mm (4.7 inches) to the rear legroom and 11 mm (0.43 in) to the overall height of the car."
(...)
"In 2005, new internal combustion engines became available."
(...)
2007 facelift
"Changes include:
- Updated Front Fascia incorporating Audi's signature single frame full-nose grill. Complimenting the pronounced styling of the nose, designers tossed the understated round fog lights, opting for larger rectangular fog Light housings- inside a set of 'Side-View illuminators' have been integrated into the housing; aiding drivers in low-light or poor visibility conditions by automatically illuminating depending on speed and steering angle. Side-View Illuminators operate independent of fog lights.
- Updated Tail-light Assembly featuring much brighter and more efficient LED bulbs. Dual rear fog lights are still standard."
(...)
-------------------------------------
Second generation (D3/4E)
Production
August 2002 – November 2009
Assembly
Germany: Neckarsulm
Designer
Miklós Kovács, Imre Hasanic, Dany Garand (1999)
Platform
Volkswagen Group D3
Engine
V6 petrol engine
V8 petrol engine
V10 petrol engine
W12 engine
V6 diesel engine
V8 diesel engine
Transmission
Automatic transmission
Continuously variable transmission
Dimensions
Wheelbase
SWB: 2,944 mm (115.9 in)
LWB: 3,074 mm (121.0 in)
Length
SWB:
pre 2007: 5,051 mm (198.9 in),
post 2007: 5,062 mm (199.3 in)
LWB:
pre 2007: 5,181 mm (204.0 in),
post 2007: 5,192 mm (204.4 in)
Width
1,894 mm (74.6 in)
Height
SWB: 1,444 mm (56.9 in)
LWB: 1,455 mm (57.3 in)
Kerb weight
1,670–1,990 kg (3,682–4,387 lb)
Source: en.wikipedia.org/wiki/Audi_A8
Hilo de la Fotohistoria en Pullip .es: LIVING ROOM (2 of 7): Toilet /
LA SALA DE ESTAR (2 de 7): El Baño
(Read in order, this is: SHOT/FOTO 15 of 106) 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.
FOTOSTORY: In English / En Español
Lenn: - whistling - ...phy, phy-phy, phyyyy...
/
Lenn: - silvando - ...Fi,fi-if, fiiii...
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
Php 1,600.00 (set)
-uses the new "Ventilare" fabric
-"Lycra "Bands sleeves and cuffs
-fully sublimated print
Explore # 126
Processing: just a b/w filter in alien skin exposure + some textures and tonemapping in lucisart.
Info:
Exposure: 1/ 320 Sec.
Aperture: f/ 1.4
ISO-Speed: 100
Focal Length: 30mm
Lens: SIGMA 30mm 1.4 DC HSM
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Limited editon Mini #Ringdoll,http://www.ringdoll.com/goods.php?id=607.Gift for Event(2016.02.01-2016.02.28).
A 'typical' design on a 'typical' street corner in downtown Prague, Czech Republic.
Here we see the symbol of the Roman 'god' Mercury, also known Hermes to the Greeks. Mercury was the 'god' of trade, commerce, merchants, profit and travel. His characteristics include his winged sandals (talaria) but also, as can be seen here, his winged hat (petasos).
Mercury had a temple in Rome near the Circus Maximus on the Aventine Hill which dates back to 495 BC. His main festival, the Mercuralia, was celebrated on May 15 and on this day the merchants sprinkled their heads and their merchandise with water from his well. The month of May was named after his mother, Maia.
In the Roman calendar, Wednesday was a sacred day for Mercury and it was called dies Mercurii (Mercury's Day) in Latin. It was later changed to Wednesday (Wodan's day), after Mercury's Germanic counterpart, Wodan.
fr: Un dimanche Soir au Loft, Downtown Montreal, Quebec, Canada
See it LARGE On Black
More of the set Discovering Montreal | More of the set Night Scenes
See my most interesting pictures here or take some time to view the slideshow .
[ email | website | alamy | facebook | model mayhem | twitter ]
Taken using three Vivitar flashguns two left and right (bare) on 1/2 power. The main light was shot through a small scrim diffuser which was placed low and to the right on full power. All flashguns on manual fired with wireless Cactus triggers.
BTW: Adrian is wearing a gumshield which changes the shape of his mouth a bit. It does make people look a bit different.
I think next time I will get the fighter with wraps on his hands and have his gum shield showing. I have also ordered some small light modifier snoots that open out to act as a small directional reflector to kill any unwanted light spill. I will also probably try shooting on a longer focal length as well.
Camera: Canon EOS 5D Mark II
Exposure: 0.008 sec (1/125)
Aperture: f/16.0
Focal Length: 17 mm
ISO Speed: 100
桃園縣推廣動物保護協會↓
www.tyacad.org/phpbb2/viewforum.php?f=38
流浪動物花園-新屋收容所↓
www.doghome.org.tw/phpbb2/viewforum.php?f=172
（BC區單隻介紹他們的故事，請看莊稚庭的FB塗鴉牆或潘貢丸的相簿）
www.facebook.com/profile.php?id=100000793554233
（C區單隻介紹他們的故事，請看以下的FB塗鴉牆）
（C區幼犬區介紹他們的故事，請看以下的FB塗鴉牆）
www.facebook.com/profile.php?id=100000133872571
www.facebook.com/profile.php?id=100000218148647
（桃園濫捕多，一週殺兩次，籠位變動快，現場看最準）
桃園縣每日捕捉公告
我家沒事別來↓
Worms, anyone? I've got plenty to go 'round.
So much for a break from silly self portraits, haha. From my last 52 week entry:
I figure I could use a break from the more fun and silly self's for this 52 week'r.
Growing up I used to love those gummy candies that are available at Walgreens and other corner convenience stores. My favorites were the gummy candies that were lathered and coated in sugar. More particularly the peach rings, and the sugar battered creepy crawlies.
It's been a while since I've indulged in the gummy goodness. Until today at least. I went to Safeway and swooped up a bag of non-sugar coated worms. They were great tasting ... at first. on nom nom nom
While taking this series of self portraits I repeatedly found myself chewing and eating the gummy worms. I downed so many that they tasted absolutely horrendous by the time I got the shot I wanted.
For the record, that is indeed a real jumbo sized creepy crawly slimey squirming live wriggling pulsing night crawling earthworm in my left hand!
Who said worms aren't cute? Earthworms are cool. And tapeworms are cute.
In any case, with Happy Hallow right around the corner -stay safe, and have fun out there everyone!
Lighting: Canon 430EX camera left shoot thru @ 1/2 triggered via poverty wizards.
- large -
Where: Sweden, Östergötland, Bjärka säby. google maps
When: 20100224
How and why: The light in the snow... and sky. A shallow depth of field to focus on the snow more, and adding some mood to the scene. Just let the light do the work.
Editing: Minor.
*** View Large on Black *** bighugelabs.com/onblack.php?id=6270021494&posted=1&am...
Exif data auto added by theGOOD Uploadr
File Size : 6.5 mb
Camera Make : NIKON CORPORATION
Camera Model : NIKON D1X
Software : Adobe Photoshop : Bibble Pro 4 RAW NEF File : Alien Skin Exposure Film Emulation :
Exposure : 0.003 sec (1/320)
Aperture : f/9.5
Focal Length : 105 mm
ISO Speed : 400
Exposure Bias : +1/3 EV
Lens : Nikon AF Nikkor 70-210mm f/4 (constant aperture) Zoom : photozone.de/Reviews/248-nikkor-af-70-210mm-f4-review--la...
www.dantestella.com/technical/70210.html
Could a more expensive lens do it better? Probably not.
Hilo de la Fotohistoria en Pullip .es:
LENN AND SAWL SNEEK OUT(1 of 1) /
LA ESCAPADA DE LENN Y SAWL (1 de 1)
(Read in order, this is: SHOT/FOTO 03 of 49) 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.
FOTOSTORY: In English / En Español
Lenn: Hey you! Let's get outta here! Let's do something before we rot by disgust here encased... Let's see what does Sheryl has set in her workshop table! XD Just to kill the time... Being here it's so fucking boring. - imitating Sheryl – Since “miss Sheryl” decided to “work really hard” and “has no time” to assembly a simple little diorama with a videogames station because “you can't imagine the amount of work I have to do because I have to blahblahblah I'm don't care a piece of shit what you say...” then, well... that's it, I'm just freaking bored... I won't stay in this fucking armchair any longer, which is deforming my pastic ass, even being this hard. So what, are you coming or not?
/
Lenn: Eh tu! Vámonos a dar una vuelta! Hagamos algo antes de que nos pudramos de asco aquí encerraos, vamos a investigar que tiene Sheryl montado en el taller! XD por hacer algo... que estar aquí es un puto aburrimiento. - imitando a Sheryl - Ya que a la “señorita Sheryl” le ha dado por “trabajar a destajo” y “no tiene tiempo” de montarnos un triste diorama con consola porque “tu sabes lo ocupada que estoy que si blablabla no me interesa una puta mierda...” pues eso, que me abro un rato... No pienso quedarme en esta mierda de sillón que se me está deformado el plástico del culo y mira que lo tengo duro. Que, te vienes o no?
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
In English:
So here is the second installment of my monthly self portrait series. I am a little late in taking the shot and posting it, but that's because I was waiting on my new light stands and shoot-through umbrellas that were shipped to me here in France.
Now, the philosophic part:
During November, the frantic pace of school in France has become even more frantic. Each week I have had a different "contrôle continu" (read: quiz worth a sixth of my grade or thereabouts) in one of my classes. And each week, I have felt more or less like I am improving on each one. However, my scores are still not anywhere near where I would like them to be. The grading system in France is very different than in the United States. Everything that we do is scored out of 20. On my first "contrôle continu" in dynamics, I received a 1 out of 20. Ouch. On my first Stress contrôle I got 6 out of 20. Vibrations was maybe 4 and I just took my second contrôle in dynamics which will probably be around 4 or 5 as well. However, the average passing grade in these classes is MUCH lower. For a class of normal difficulty as low as a 10 or 8 is a passing grade and for very difficult classes like dynamics, a 5 is sometimes a passing grade (based on the curve). My study habits are starting to be refined and I am for the first time in my life going to a weekly tutor, which has helped loads with understanding all the things that go on that the professors assume the French students know, but that us international students don't. I'm still fearful of failing classes, but I feel like I can scrape by this semester and will be a-ok for next semester.
Now the photographical part:
The title of this picture also applies to my photography. Now that I have my light stands, flashes, and umbrellas and the various other pieces, I feel like I can start taking this portrait thing seriously. The above photo has barely been photoshopped, The only thing I did was darken the shadows on the ground and on my face a little bit. There is a flash through an umbrella camera right, and a bare flash behind the rhino, both at half power. Which, of course, brings me to the rhino. This guy is just sitting over by the humanities building on our campus and from time to time people paint him different colors. I don't know why and I don't think it can be explained, except by saying that this is France. Things are different here. The generally odd proportionality in the photo is created, for all you non-photographically technically inclined, by using an ultrawide angle lens. My left hand in this shot is about 2 inches from the lens in this shot, which means that from the cameras perspective, it is a lot larger than the rest of my body. The same thing goes for the head of the rhino. It is a proportionally correct (in terms of the sizes of all the parts) in real life but here the head, and especially the horn look a lot bigger. Pretty cool stuff, eh?
Anywho, there's the update on school and photography, I hope all of you people back home are doing well. Thanks for reading this and keeping tabs on me, as I am not the best at keeping in touch with people.
En français: (et un peu plus court parce que ce n'est pas vraiment obligatoire d'expliquer le system des notes françaises pour les francophones)
C'est le deuxième realisation de mon serie des portraits-autonômes. Elle a été prise un peu en retard parce que j'attendais pour la livraison des Etats-Unis des materiaux comme les pieds lumières, les parapluies photographiques, et des autres choses comme ça.
La partie philosophique;
Pout ce mois-là. le titre de ma photographie est "Saisir la bête et ne pas le lâcher!" En novembre, j'ai commencé d'assez reussir dans mes cours. Chaque semaine, je passait un contrôle continu dans un de mes sujets et chaque semaine je me sens que je me suis amélioré. J'ai pas encore recevoir des vrais bonnes notes, mais je suis assez sûr maintenant que j'ai la capacité de passer mes cours cette semêstre. C'est bizarre pour moi ici avec les notes encore. Aux Etats-Unis, il faut recevoir plus que 70% dans un cours pour le passer (imaginez: plus que 14 et normalement une note moyen est comme 85 vers 100% (17-20)) Alors c'est assez déprimé quand je reçoit un 4 ou 5 ou moins ici en France. Mais ça va, j'ai commencé d'être étudiant français, Je vais le faire.
La partie photographique;
La titre de ma photo signifie aussi le début de mes photographies portraits. J'ai maintenant des flashs, des pieds pour les flashs et les parapluies, alors je peux commencer joeur avec l'éclairage pour bien améliorer mes photos. Cette photo-là a été prise avec flash avec parapluie à la droite du appareil et un flash derrière le rhino, les deux à demi-puissance. La perspective (avec la grosse main et tête du rhino) a été realisé avec un objectif grand-angle. Ma main est seulement quelques centimètres du objectif ici. Et le rhinocéros? Il est juste ici au campus d'INSA. De temps en temps il est repeint. Je ne comprends pas, mais c'est cool.
Merci pour le lire! C'est ma vie en France pour le mois de novembre. A plus!
Strboist:
Flash through shoot-through umbrella camera right at 1/2 power.
Bare flash on top of waste bin behine the rhino at 1/2 power.
To view this picture large: click the "L" key on your keyboard
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高雄市玩美攝影協會 / 拍攝
『玩美是人生追求完美境界的過程，完美是生活過程中的成果，攝影人在乎過程中的進行。因此，玩美幾乎是攝影人所追求的程序，意即尚在進行中，永無止息，故取名之。』
協會會址:台灣 高雄市新興區尚信街29號
捷運O7文化站 1號出口(步行約1分鐘)
協會服務電話：07-2231345
E-mail：wm2231345@gmail.com
Mozia Museo e Necropoli www.guidavacanzesicilia.com
www.youtube.com/watch?v=6tZzzaa-P8s
In esposizione presso il Museo Whitaker a Mozia (Marsala – TP)
Ritrovato nell’isola di Mozia, nel 1979, sotto un cumulo di detriti.
Marmo bianco a grana grossa cristallina di presumibile origine anatolica con tracce di policromia.
Il corpo è privo dei piedi e delle braccia, ma conserva parte della mano sinistra. Presenta abrasioni e scheggiature dovute al trascinamento dal luogo dell’originaria collocazione ed al contatto con il materiale detritico che lo ricopriva.
Si tratta di un personaggio maschile , di altezza complessiva stimata di m. 1,94, vestito di una lunga tunica pieghettata trattenuta al petto da una larga fascia con fori centrali per l’applicazione di elementi decorativi. La calotta cranica, parzialmente lavorata presenta dei fori per il fissaggio di un copricapo di altro materiale
La resa dei muscoli della spalla suggerisce la posizione delle braccia mancanti: il destro proteso in avanti, il sinistro piegato del quale si conserva la mano sul fianco.
La gamba destra flessa in avanti, la sinistra diritta sostiene il peso del corpo.
Datazione tra il secondo e il quarto secolo a.c.
Probabile committenza punica e bottega siciliota.
Hilo de la Fotohistoria en Pullip .es: SHIN VISITS NOIREL (1 of 1) /
SHIN VISITA A NOIREL (1 de 1)
(Read in order, this is: SHOT/FOTO 15 of 55) 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.
FOTOHISTORY: In English / En Español
Noirel: (Talk with him? How could I talk to him after the show I made? I'm blushed, my God!... Furthermore, he knows and didn't tell me a thing, and that's for a reason...)
/
Noirel: (Hablar con él? Cómo voy a hablar con él después del numerito que monté? Que corte dios!... Además, si el lo sabe y no me ha dicho nada tampoco, por algo será...)
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
Processed as HDR from single RAW to 3 exposures (-2/0/+2), orton effect and vignette, then desaturated.
This photo means a lot to me.
It was taken 21th of September 2008 in Trollhättan, Sweden, in the surrounding woods of NÄL (a large hospital).
From left to right, the picture holds one of my brothers, my mother, her man and our dog.
The reason I hold this photo dear is because this is the day the struggle began, both for my mom and for our family and friends. The doctors found a tumor in my mothers stomach. A week later she was diagnosed with cancer.
*** UPDATED ***
My mother has undergone a large surgical operation. She is recovering fine right now, but she still awaits chemotherapy and radation-therapy.
*** UPDATED **
Complications. She had another surgery. Trying to fight an infection at the same time.
*** UPDATE February 2009 ***
Progress! She has woken up from 7 weeks of coma. Has been in recovery after that for a couple of weeks and had her first day of permission from the hospital! Hope!
*** UPDATE March 2009***
She's home! A nurse visits her 2 times per day, but she's managing just fine. I couldn't have wished for anything better!
© Luxgnos Photography / Brian Callahan 2011 All rights reserved.
John R. St. John, who visited the Keweenaw region in 1845, cited the need for a lighthouse, or at least a beacon, at Copper Harbor in A True Description of the Lake Superior Country... published in 1846.
Reverend John H. Pitezel, a Methodist missionary to the Keweenaw during the late 1840’s recalled that “we had once before entered [Copper Harbor] in the night...when our only beacon was a globe lamp, sent out in a yawl, and placed upon a lone rock in the channel.” (Presumably Gull Rock)
Action providing improved navigational aids at Copper Harbor followed closely upon the Keweenaw copper rush. The shipwreck of the John Jacob Astor in 1844 and rapidly expanding Lake Superior shipping traffic influenced President Polk and Congress to authorize construction of the Copper Harbor Lighthouse in 1847. For $4,800, Charles Rude built the original 65-foot-tall split stone, whitewashed tower on Hays Point between 1848-1849 about of the steel tower.
A new lighthouse (the present one) was built in 1866, incorporating the light towers and keeper’s dwelling in the same building. We can only speculate why the present lighthouse was constructed. According to the building specifications, the original lighthouse was--at least in theory--imposingly structurally sound. Some lake lighthouses of the period were built too near the shoreline and suffered from the eroding action of the waves, but the local terrain does not lend itself well to this theory. It’s quite possible that poor construction methods and material by the original contractor led to a rapid structural decay. It is interesting that little, if any, trace of the original lighthouse remains at ground level, which may indicate that its building materials were used in the construction of the 1866 lighthouse and/or the repair of outbuildings. The 1866 dwelling’s attached up to fifteen miles. While briefly burning sperm oil, the light used lard oil up to 1887, when mineral oil was introduced. In 1919, as the light was converted to acetylene gas, the station became non-attendant. The range lightkeeper, Charles T. Davis, assumed maintenance responsibilities for the main light.
The present 62-foot steel tower was erected in 1933, with the light being converted to electricity in 1937. The current light is visible up to twenty-two miles. The light was described in 1907 as “a fixed white light, light, the 1st order light being the largest in use and the 6th order the smallest. The Fresnel lens was common throughout the Lighthouse Service. When the station became non-attendant, the lighthouse was leased to Dr. Roger T. Vaughan (assistant warden, Cook Co. Hospital, Illinois) in 1927 and was used by Dr. Vaughan and a number of his colleagues as a summer cottage. Their five-year lease was renewed in 1932 and again in 1937. Plans were made by the Government to sell the buildings at an appropriate time to avoid continued maintenance expenses.
STOP THE GENOCIDE www.SaveDarfur.org
The Save Darfur Coalition is an alliance of over 180 faith-based, advocacy and humanitarian organizations whose mission is to raise public awareness about the ongoing genocide in Darfur and to mobilize a unified response to the atrocities that threaten the lives of more than two million people in the Darfur region. To learn more, please visit www.SaveDarfur.org.
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☻ VIEW / SIEHE:► Large on black ► Place Map ► Title Infos
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siehe auch / view also that Original Photo: experimentation: swimming.fireberg
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☻ Ort: ♦ Svalbard / Spitzbergen Inselgruppe im Arktischen Ozean
♦ Territorium Norwegens nach Spitzbergenvertrag von 1920
♦ entmilitarisierte Zone, dient heute der Internationalen Arktisforschung
♦ hier vor der russischen Enklave Barentsburg
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☻ Place.: ♦ Svalbard / Spitsbergen archipelagoe in Arctic Ocean
♦ Region of Norway according Svalbard Treaty from 1920 demilitarized zone
♦ it now serves primarily the International Arctic research
♦ here befor the russian Enclave Barentsburg
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☻ KOMMENTAR ► Klick "Links" ( oben ▲) =Wikiepedia- Info:
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☻ COMMENT: ► Click "Link" ( above ▲) = Wikiepedia- Info
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Poroiba - Akau - Wigschool - Pruikenschool
The wigmen of the Huli people aren't like Western toupee manufacturers. They are wizards who only work with people who have fine heads of hair.
What a traditional wigman does is use ancient magic to make hair grow faster than normal so it can be cut off and turned into a wig. Evidently, magic - like hair restorer - doesn't work if the hair is long gone.
This singular way of making hairpieces is found in the Tari Valley, 2000m up in the Highlands of PNG, an area just starting to make the transition from the old ways of centuries past to the new ideas which have begun to flow from the outside world.
When I explored the villages and roadside markets around the lodge, most of the men I met were wearing caps, but a good number still went about their daily business dressed in the traditional wigs.
In fact many had not one but two wigs - a plain day wig shaped like an upturned bowl, and an ornate ceremonial wig decorated with bird feathers - possession of which, like ownership of many pigs or having more than one wife, is a sign of wealth and status.
As a result the wigmen are still much in demand. And, this being a place where magic is taken very seriously, they are deeply respected. The sign welcoming visitors to Tari Airport highlights the fact that the area is "Home to the Huli wigman."
uit:
www.nzherald.co.nz/papua-new-guinea/news/article.cfm?l_id...
and:
www.papuanewguinea.net/Wigmen.html
The Huli are an indigenous people that live in the Southern Highlands of Papua New Guinea. They number over 65,000 and have been living in the area for at least 600 years. They speak Huli, Tok Pisin, and English.
From:
en.wikipedia.org/wiki/Huli_people
We bezoeken de pruikenschool van de Huli in het heel afgelegen en geïsoleerd dorpje Poroiba.
Dit is een 'school' met leerlingen en leraren dus. Eerst moeten de jongens toegelaten worden. De jongens moeten bevestigen dat ze nog geen sex gehad hebben met het andere geslacht. Dan worden ze ingewijd in de rituelen om het haar te laten groeien. Ten vroegste na 9 maand intens 'voeden' van de haren met gezang en hoofd besproeien, kan de leeraar oordelen of het haar klaar is voor een pruik. Dan volgt een eerste knipping. Genoeg haar dan voor een gewone pruik. Een volledige cyclus is 18 maand. De jongens blijven al die maanden ter plaatse en ze moeten maagd blijven. Sommige laten de haren groeien zo dat ze 2 pruiken hebben. Genoeg voor een ceremoniële pruik. Het is een statuussymbool.
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Hilo de la Fotohistoria en Pullip .es: AFTER THE CONCERT (5 of 9): Shin askes for Yas /
DESPUÉS DEL CONCIERTO (5 de 9): Shin pregunta por Yas
(Read in order, this is: SHOT/FOTO 77 of 184) 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.
FOTOSTORY: In English / En Español
Shin: (^_^uuuuuuuuu Reallyyy? Damn, I need to talk seiously to Sheryl to stop publishing my private life... ¬¬)
/
Shin: (^_^uuuuuuuuu A sí? Joer, voy a tener que hablar seriamente con Sheryl para que deje de publicar mi vida privada...¬¬)
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
This weekend, there was a house in our city, (about five minutes walking distance), that was having an open house yard sell.
Their house was built in 1904. (My house was built in 1890.) I'm in LOVE with old, antique, vintage stuff. From houses, to clothing, to CAMERAS, to LIFESTYLES.
These people knew exactly how to live in that completely vintage, old-fashioned way. Their home wasn't ever air conditioned. And they've been living there since 1988. Well, little did I know, but the man living there is a WIDELY known photographer.
www.garygruby.com/ <--His website!
He does AMAZING things with his many cameras. He is selling SEVERAL vintage cameras, including some SUPER awesome collapsible Polaroid cameras. He was a very inspiring and very talented older man, and just speaking to him was such a pleasure. :]
I hope all of you get to have experiences like I had.
Math test Thursday. So I'll be studying hardcore. :[ Pray for me! I'm so nervous :[
ANYWAYS, on to five random things you may or may not know about me. (I've been tagged so many times for so many things, I can't even count. I tag everyone by the way ;])
1. My dreams are almost ALWAYS realistic. It's quite aggravating actually. I'd rather have trippy, yet awesome dreams, rather than waking up wondering if I ACTUALLY met Justin Bieber. :|
2. I'm a good friend. I'm not saying because I'm proud. I'm saying it because I strive to be by my friend's sides. I want them to be happy, to make good decisions, to remember who they are, to go for their goals, to love, to have fun, to explore, and to really be able to trust me as a friend. I'll hold in a secret until the day I die, and I love helping people with their problems, or just being there for them to talk to. I know I can't always hang out with people, but I'm always here if you need to talk. This means all you Flickrists as well!
3. I love SO many different types of music. Back in highschool, I was STRICTLY into heavier music. (Metal, hardcore, screamo, etc.) But lately, I've been digging mostly everything. I love reggae, mainstream, pop-punk, rap, hip hop, indie, techno, rock, classic rock, hardcore, metal. Everything except country mainly. :P
4. My favorite bands/singers lately are!: Katy Perry, The Noisettes, MGMT, B.O.B., Nicki Minaj, Avenged Sevenfold, and Lady Gaga. There are many more I just can't remember. :[
5. I've been drinking ONLY water, (and the occasional coffee) for the past two weeks! And I must say, I've had less acne, and more energy!
Hope you enjoyed, and learned a thing or two about me! Interact with me in the comments! :] What're some bands I should check out?
I quit smoking on Monday night. I think about having a cigarette probably every 5 minutes. It will just pop in my head "Oh, time for a smoke!!" Then I remember.
I watch that show Intervention, and I always think for an alcoholic, how sad and hard it would be to have an addiction to alcohol. To where you could NEVER have a drink for the rest of your life. I hardly ever drink, but if I want to drink I can, and I can not drink for another 8 months.
So, with cigarettes, I suppose I am like an alcoholic or any addict for that matter. I can never have another cigarette for the rest of my life.
Do you know this makes me cry inside? It isn't even that I'm addicted to the nicotine so much. I've never had a real strong "Oh my God I NEED a cigarette RIGHT NOW before I kill someone." feeling. I just truly enjoy smoking. So much so that I smoked nearly 2 packs within a 24 hour period. Yeah, I know. Crazy! I could out smoke probably anyone.
The thought of not going on a long drive on the weekend without smoking, makes me sad. What will I do??? Going and having a coffee, and not smoking? Seriously??? I've seen people do it, but I don't' know how?!
It's hard too when the dude at 7-11 knows what cigarettes I smoke, and immediatly goes for them. I went there yesterday, and had to stop him and tell him I quit.
I've had so many split second thoughts of running to 7-11 and just buying a pack. Screw it. Then I come back down to reality, and I realize the only good reason I have to continue smoking is: I like it.
I have a list of reason to not smoke. Mainly, I don't have the best genes out there. Since my Dad died at 29 years old from heart disease, dying has never been far from my mind. It's actually always been pretty much right there ever since I realized about death and dying. I want to live as long as I can, and be here to see my Grandchildren. I can't imagine anything worse then dying before my children are grown.
So, yeah. I've got quite the battle ahead of me. I'm not even 48 hours into this. I'm feeling pretty good though about it. I'm even taking out $10 a day, just to see how much money I actually throw away.
My hair still smells clean. I love that!
Exposición "SUBLIMINAL"
Giro lingüístico y paradoja visual
Consideraciones sobre las fotografías de Álvaro Pérez Mulas
(El texto completo)
En sus estudios sobre el inconsciente óptico Rosalind Krauss recordaba que el pintor norteamericano Frank Stella decía a menudo que la persona a quien más admiraba era el jugador de baseball Ted Williams, el cual presumía de tener una visión tan rápida que era capaz de ver las costuras de la pelota cuando ésta sobrevolaba la base. La excepcional mirada del deportista atraía al pintor por su capacidad de ampliar el espectro de lo visible y superar la mirada natural descubriendo detalles de un mundo que no podríamos percibir de otra manera y accediendo con ello a una suerte de “estado abstracto” de la visión.
La mirada fotográfica de Álvaro Pérez Mulas llega a capturar detalles en los objetos y las superficies urbanas que la vista humana no es capaz de detectar, pero no tanto porque sean invisibles como porque su “humilde objetualidad” los hace pasar desapercibidos. Queremos decir con ello que lo que se descubre en estas fotografías, nunca será lo visto por quien pasó cerca de esos objetos; y aquí radica el valor de las mismas; su capacidad de revelación y transfiguración, pues al final las imágenes resultantes son autónomas respecto al referente objetivo del que han sido seleccionadas. De este modo la fotografía recoge una vieja finalidad de la pintura: hacernos ver lo que de otro modo no veríamos; hacernos conocer lo que de otro modo no conoceríamos…
Como todos saben la fotografía nació con la ilusión de ser el medio que podía fijar más exacta y objetivamente que ningún otro la realidad, inmovilizándola y bidimensionándola. Pero los diferentes espacios discursivos desarrollados por este soporte en los últimos años han logrado dar ese giro de tuerca que hace que lo falso se convierta en verdadero, el engaño se perciba como certeza y la realidad –o más bien los indicios de lo real-: como abstracción.
Como ha señalado Jean Baudrillard, la técnica de la fotografía nos lleva más allá de la réplica y el trampantojo. A través de su juego irreal con la mirada, su inmovilidad, su silencio y su reducción fenomenológica de movimientos, la fotografía se reafirma a sí misma como la más pura y al tiempo, la más artificial exposición de la imagen. La visión fotográfica transforma la mirada y provoca un doble juego entre realidad y simulacro que amplifica el concepto de ilusión hasta el infinito.
En las fotos que Álvaro Pérez Mulas presentó hace dos años en la Galería Adora Calvo bajo el significativo título: “RECONFIGURACIONES”, de las cuales su nueva serie “SUBLIMINAL” son una continuación lógica; la abstracción –si así pudiera llamársele- aparecía casi como un enigma, pero también, -siguiendo a Baudrillard- “como una realidad más real que lo real”. Algunas imágenes se percibían -y se perciben todavía en la nueva serie- como “paisajes de la objetualidad cotidiana” que se transfiguran a través de la mirada fragmentaria del objetivo fotográfico; lo cual las convierte en autónomas, es decir: en fragmentos constitutivos de un universo que se aleja de lo real para constituirse, por encima de todo, en “espacio pos-pictórico”.
Pérez Mulas se ha ido moviendo en las series fotográficas que preceden a su nuevo trabajo en el territorio de la paradoja pues sus fotos revelan el universo radicalmente no objetivo que reside dentro de la estructura de los objetos –y ahora también de las palabras- . La imagen se enmascara en tanto que huella de lo real pues la fragmentación y el aumento de escala contribuyen a aislarla de su referente llevándola virtualmente, al territorio de la abstracción, pero nunca llega a perder del todo su capacidad descriptiva. En cada imagen queda evidenciada la inspiración objetual pero también su intercambiabilidad con los modos de la pintura entendiendo por tales el mantenimiento del formato, -de la lectura frontal- y sobre todo del lenguaje y los signos plásticos -las composiciones determinadas por dibujos lineales, texturas y campos cromáticos-, así como el espacio de representación, limitado por unos imaginarios márgenes cuadrangulares que incitan a la contemplación bidimensional. Cada una de estas fotos se postula de modo independiente como una “ficción objetiva” una “re-configuración fragmentaria de la realidad” que llegamos a percibir, -sin saberlo- como: “la imagen simulada por la apariencia de la imagen”.
Ahora bien, cuando las “formas del lenguaje” entran en colisión con el “lenguaje de las formas” como sucede en la nueva serie fotográfica, las reglas del juego interpretativo pueden llegar a variar…
En el proyecto que ahora presenta en el Espacio Emergente del DA2 bajo el título “SUBLIMINAL” Álvaro Pérez Mulas da una nueva vuelta de tuerca a su trabajo anterior y establece lo que podríamos denominar: un “giro lingüístico” de orden conceptual que transforma las imágenes en “fonemas” y las formas en “signos comunicativos” que interrogan -tautológicamente- al espectador sobre el verdadero significado de aquello que está viendo: ¿lo que miras es lo que ves?
En cada imagen siguen quedando evidenciadas como ya hemos visto: la inspiración objetual y la inspiración pictórica; pero también su intercambiabilidad con los modos del lenguaje y hasta cierto punto de la poesía visual. Este desdoblamiento provoca una tensión equidistante entre los tres vértices del triángulo: abstracción, representación y comunicación; pues en cada foto nos encontramos con la huella, el rastro, la disección y el referente; pero al mismo tiempo asistimos a una suerte de “asesinato simbólico del objeto” en favor -aparente- de los signos del lenguaje; lo que a buen seguro: hará sonreír a los conceptuales más recalcitrantes y provocará una cierto estado de perplejidad en el espectador.
La lógica de un uso sintáctico de las palabras transmite dudas y decisiones sobre el significado de los signos y las formas, lo que de algún modo sería comparable al análisis de las “condiciones de la verdad” tal y como fueron formuladas por Wittgenstein. Así pues, podemos concluir destacando que para Pérez Mulas la sintaxis lógica –tanto si nos referimos al lenguaje como a las formas- existe para ser pervertida desde dentro. Las “formas-fonema” son como un virus que se auto-duplica y que sólo puede ser destruido por otro virus más fuerte y resistente y está claro que en este caso sólo las paradojas visuales (y no los diccionarios) tienen la capacidad para hacernos dudar y en consecuencia “diseccionar” el “lenguaje de las formas” con la misma intensidad que las “formas del lenguaje”.
F. Javier Panera Cuevas
Director de Programación del Centro de Arte Contemporáneo Domus Artium 2002, DA2
Las demás fotografías de esta serie se pueden ver aquí
© Álvaro Pérez Mulas
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