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As a confirmed bibliophile, I am fascinated by the Little Free Library boxes folks put up outside of their homes. This program where you can take and/or leave a book dates back to 2009 and there are now more than 100,000 of these boxes sprinkled across 108 countries.
There’s usually a pretty diverse array of kids’ titles, bestsellers, and curious older Americana selections. I’ve never taken a book for myself from one of these libraries, but I enjoy rooting around in them looking for gems as well as leaving treasures for others.
I recently noticed two Little Free Library boxes in Geneva, Illinois that stand apart from others I’ve seen in that each is a miniature version of the owner’s home. This is an enchanting symbol to display in that this mini-home is pared down to contain a single object of powerful symbolism: the book.
The sanctity of the real home is dynamic: it can be divided up across multiple family members; it can contain internal contradictions of philosophy or practicality; there are usually multiple task-specific spaces; however, and perhaps most importantly, everyone’s home remains off limits to the public. It is a private space.
To create a miniature version of your home that anyone walking down the street can metaphorically enter is an inspiring act of generosity and sends a message that the owner of the Library values some combination of the dissemination of knowledge, the joy of reading, and the fellowship of community.
Patriarch of Jerusalem Theophilos leads the Orthodox Christmas procession inside the Church of the Nativity in the West Bank town of Bethlehem January 6, 2011.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Located at number 4. Murray Street, Colac's former post office is in a prime location at the gateway into the historical centre of the town.
Built in 1876 by the Public Works Department, it was extended in 1888 to reflect the Victorian Free Classical building that is seen today. It features a classical colonnade entrance, windows with attenuated vertical proportions, aedicules using prominent pillar detailing and a classically inspired clock over the entranceway.
The building has seen many changes over the years, as has its usage. The Colac telephone exchange commenced on the premises in 1904 with twenty-five subscribers.
Times have changed in Twentieth Century Colac, and the post office with a capacious dwelling for the postmaster became too large for the practicalities of the modern day business that Australia Post is, and they relocated to smaller, more modern and more central promises. Now the former Colac post office has found new life as a Chinese restaurant. However, because it is protected by the National Heritage Committee, no exterior advertising is permitted to be attached to the classical facade, which is why there are discreet signs in the upper floor windows and dainty Chinese lanterns hanging from the colonnade's arches. At night the clock, which still keeps good time, is illuminated by a violet coloured neon light that encircles the face.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
1-12-13 Wyndham Street Races
The Multistrada 1200 is a motorcycle manufactured by Ducati since 2010. The engine is a retuned version of the Testastretta from the 1198 superbike, now called the Testastretta 11° for its 11° valve overlap (reduced from 41°). All models include throttle by wire, selectable engine mapping (full power with sensitive or relaxed throttle response, and reduced power with relaxed throttle response) and traction control adjustable through eight levels, called DTC (Ducati Traction Control).
The bike comes in three equipment levels, the base, the S-Sport and the S-Touring. The S models include ABS (optional on standard model) and electronically adjustable suspension, called DES (Ducati Electronic Suspension). The S Sport model features carbon fiber air intakes, cam belt covers and rear hugger, while the S Touring model comes with heated grips, hard luggage and a center stand.
Over 10,000 units were sold in the first year.
The Multistrada 1200 won the 1205 Division of the Pikes Peak International Hill Climb in 2010, 2011 and in 2012. In 2012 a Spider Grips Ducati Team Multistrada ridden by Carlin Dunne achieved the first sub 10 minute time for a motorcycle with a 9:52.819, only a bit over a second slower than the 2011 overall record.
Source: Wikipedia
Staff Bikes: Ducati Multistrada - What a year!
That’s it. Time to send my Multistrada 1200S back. And I’ve never been sadder to see a bike go. It fits into my life perfectly and that’s saying something as I’ve owned, run and tested just about every single bike built in the last 17 years.
Even after running two Multistrada 1200s (the first one was written off by a colleague) in the last two years, it never ceases to amaze me how quickly this bike gets you from A-to-B if you’re in a hurry.
And, as road bikes go, there are few finer and even fewer that would transport you 100 miles with such ease and grace, whether flying solo or fully-laden, two-up.
With 150bhp on tap there’s always enough power to wake you up, but the way it delivers it smoothly and progressively with just a little hit of extra power at the top end to make the front wheel lift is special.
But more than that it’s about the package. The comfort, the near perfect riding position, the wind protection (as long as you have an £80 Ducati higher screen), and the feeling you get from the rear tyre as the electronic traction control kicks in…
We’ve done loads of track days (running at the front of the fast group in a shower of sparks and rear wheel slides at some of them), toured Ireland, commuted, ridden through a winter together, had weekends away in the Lakes two-up and away with the boys to places like Weston’s beach race.
It’s been spanked round our test track, run flat out on the dyno, speed tested and still it comes back for more. I fail to think of any bike that I would like more. I just hope one day I can find the money for another one in my garage.
WHAT WE LIKE:
First proper GS rival, but braking and power are in another league.
Tank after tank of comfort.
Handling can be adjusted at the touch of a button, and enough for track days if required. Just.
Engine modes allow you to calm your day, or liven it up.
Styling still looks futuristic two years on.
Practicality, all-round, do-anything quality.
Electronic suspension means no more fiddling with screwdrivers.
WHAT WE DON’T LIKE:
Slight furring around brake pedal, gear lever.
Pannier catches are simply not good enough.
Fuel economy drops rapidly when fitted with full exhaust system.
Headlight can never be adjusted down enough.
Holes in handguards need taping up in winter.
THE FACTS
Ducati Multistrada 1200S, £14,995
Value now: £10,250
Mileage: 9250
Fuel economy: 41mpg
Power (claimed): 150bhp
Dry weight: 199kg
-->> Press his head .. tiger growls,revs,growls,laughs, revs and goes..
Good Morning,Mr.Wong..
** ** **
..seemed like i was used by someone.. ..
..thought a plane blew up before it left the hangar..
No one will read this..those that do fail to understand.
But i'd just run my my mouth off and blow my a hole in my head .. then maybe .. after that they'd try.
Maybe this is a chakra ..but it also is a madness.
Why am i trying to face this sh6t anymore ?? Why do i fight ??
At least i try.. but no matter what i struggle with or how hard i face it.. it's not good enough ever f8cking EVER.
Tigers tigers tigers.. sometimes i don't care about the tigers, i need the chaotix to cease and the pain to roll back sevear.
But there is no one to talk to.. No one to relate. Sorry.. just popping more pills and going to the bar,shooting illegal sh6t, just doesn't do it for me. Good on you for those it works..
.. but with the madness of this third eye .. and the continued clichés; i don't need delusion and of these things as i'm already far to lost in this cycle.
Are the clichés they drown me in really meant with good intent ..or is it just systematic and false ?? I don't know anymore.
..growin' numb again.
F6ckin' awesome. Maybe i'll drive the soldering iron right thru' my eyes instead of just lashing myself on the back like i usually do.
**
I've had a difficult time placing words for what just happened., prolly cuz nothing like this had ever happened to me before.
So as i take those steps.. the volcano erupts again as it spews out thoughts that none relates to.
And pain on has no 'meter' ..
.. there is no limit to the amount of damage it can inflict.. mind, body and soul ..i can be relative.
Sometimes it is i guess.
.. as usual i am confused by the individuals who are against ideology of me destroying myself and gaining the peace i need.
What's even more confusing is those that would be against me killing me.. yet they'd soon be ready to inflict that limitless pain themselves.
.. small number of people knew of what was happening. Really no one to turn to for advice.. i had noone to confide in for how to approach this situation.
As it goes here for Snapper .. and has been. Can't complain too much . for the situation is what it is..still i have noone i can entrust with this info without it turning on my head and it turnin' into something that would be used against me.
While i have support in some instance. It is limited.
The times i've needed downright help in crisis.. that help isn't ever there. Well really hasn't been..there are always exceptions. And so-called help by third parties usually turned into something violent or sent me on a track of wasted energy dealing with institutions and wards of some for or another.
..
Perhaps i choose not to discuss it with some anyway ..
.. i've been aware that i am too much for anyone to love..appears i am too much for anyone to handle.
Do i deserve to be treated the way i was was/am ??
Sometimes .. i don't know what it's like to want to live.. but i have tried to work out the ends of achieving 'happiness'. That itself becomes rather another compulsive ride. Where "trying" and "thinking positive" and doing things,tolerating things that i hope will lead to better futures and paths..many times fall flat on the dusty ground like cardboard dragons and paper tigers. Disappointment,mania,confusion and anger can also take one into the area of disillusionment. A cornerstone of alot of the stances i take on existence in general.
While i confided my heart into someone new ..i was well aware of the risk..was afraid to epic proportions.
The practicality of this relationship was thrown out the window from day one. But i wasn't about to let that stop me.
"Think positive" .. ok fine.. i did .. i did.. i fought.
I try .. i tried ..i struggled.
Ok ..as usual. But there's always something isn't there to add a bit of an extra edge to the knife. Mistakes had been made by me. I deny none of my faults.
A di had been cast..and i was willing to face it with someone new.. and who i was growing to trust.
'Delusion' ..tho' .. i think it's power is underestimated by even me somedays. Communication too.. as in everyday i do all i can to keep 'Communicatin' with those i care about and work for. I beg ..i pleed.. i convulse to "PLEASE CONTACT ME."
I call,email,message ,Text.. whatever it takes.. but in my drive ..because i care and worry, this becomes compulsion. I am labeled : Obsessed and crazy.
Because i am not clairvoyant (durr).. or not mentally hooked up to the governments' tracking satellite, because i don't know where or what people that expect things out of me are thinking and doing at all times ..
..because there was no plan..
..because there was no 'talk' ..
just a lopsided notion on both sides that it would somehow "come together".
I am as much to share the blame i am sure. But i did try.
I suppose the people that choose not even to think even just a little bit of the plan..would soon build a house on top of a tissue-paper bridge over a river of quicksand.
You have to think .. you have to plan.. and when someone claims to know me..or wants to get to know me.. they have to work with me. The distance traveled by this person was vast.
For them to come see .. was something i was looking forward to all year. This was more important to me than even my San Diego trip..which in some regards feels like a 'Mecca' of sorts every year.
As the anxiety mounted .. from outside factors, those factors always amalgamize into much more monstrous struggles.
More than 5 nervous breakdowns ..3 in one week since mid-August left me so incredibly dark again. The suicidal monster is always there..and i do many things that near severe this 'life line' and allow me that "Forever peace" that is just moments away ..yet an eternity from my grasp.
Death..again is not a bad word to me. and the more those that claim they don't wish to hurt me ..DO ..
..the more rational and clear it becomes. This mind relaxes not. I am so glad for those who can obtain a relative state of contentment. More power to your means. I mean that. Good for you .. to find comfort in whatever it is you do to unwind.
Satisfaction and release. Relaxed conscience and security ..at least on moderate levels.
O well.. i handle it right ?? I destroy myself literally.. that's how. That sets my self up ..
burning myself and drawing my own blood is my real drug.
.. magic pills .. don't cut and something meaningful was meaningless.
In a nervous breakdown ..communication is even more imperative.. for you see i am not coherent.
Simple yes and no answers in text may have to do lest i say something i do not mean and hurt someone.
The person misunderstood me and seemes to refused to get it thru' his head that i was planning for his arrival all this time. Calls from his cell were regulated to less than 2 minutes and just as i'd get to the point, i was cut off. Or there would be a given a 'game show' in the background and the person would barely be able to understand me just short of me getting a bullhorn to scream into the phone with.
Technology is great ..cell phones are great .. let the whole f6cking world in on your phone call !~! Privacy is dead.. why the f7ck you think people calling people in te middle of traffic.. screaming at their kids on the phone in the middle of the mall.
Don't f7ckin' walk into the middle of a crowded restaurant or airport and whip your 'Razor' out and expect a magic seclusion bubble to cover you up and suddenly you call is 'PRIVATE'.
Whatever.
He said he'd call me back ..waiting and waiting. One call ..less than 2 minutes every other week isn't enough time to plan to take your dog to the park. Let alone pick someone up from outside the country,give them a place to stay and take them sight-seeing. Uh ok ..
The Titanic people are still so well known for their planning ahead aren't they.
Makin' it short here.. miscommunication and then no communication .. said person chose to have a 3rd part come down from Denver, pick them up.. a few days later, he discoverd :: Colorado = high altitude.
He developed athema and got very sick. I called him and messaged him. Worried as hell. Frustrated as hell. Hurt and confused.
Another short phone call ..the one discovered he was ill,i was trying to even let the whole miscommunication thing go.. trying to be forgiving and let the fact that :: ' He wouldn't be able to see me on this trip."
Even tho' he diverted his travel plans to colorado specifically to see me. All his friends all over North America got to see him except the one who he claimed mattered the most.
The one who led me on all these months and had my heart in a paper bag all this time.. just doing whatever the f7ck he wanted with it.
The way it goes ,tOkKa .. just how it goes. No reason or explanation .. just how it goes.
He's soon throw me under a passing bus. No rhyme or reason. He'd just do it.
It wasn't ever clear what the hell was going on in the end .. and i'm not sure if he was doing this out of hatred for me or what.
I freek out.. and people get upset me at this. But why do they tell me they will keep touch, call me,write..
.. and then they expect me to help them and bend over backwards,run myself weary, and snap myself in two to help them ..and they kill the communication ?!
I don't get that at all.
YOU WANT MY F*CK ING HELP ?! THEN YOU HAVE TO HELP ME HELP YOU ..
and if you can't stay on the phone longer than a minute .. then don't be a moron.
TELL ME !! I'm schizophrenic but not inept !!
EVERYONE THINKS I AM A MADMAN !! NOONE ..NOONE EVER EVER F8KCING EVER LOOKS AT ME HUMAN !@!
NOW EVEN I DON'T SEE ME AS HUMSAN !!
JESUS ..FUCK ME AGAIN !!
.. .. the was supposed to be here from September 11 ..and stay for three days.
.. again my short chat with him lead to knowledge of his illness. His time in Colorado apparently was extended.
I emailed him telling him i was worried. I called left messages. Someone did pick up once then hung up on me.
This point i am so confused and beyond hurt, Yeh ..'disillusioned'.
Literally ..this person may be alive or dead. And i just don't know.
That's a great portion of the anxiety i am dealt with now. Not the only thing ..but a major part of this tiger stew in my brain.
Times like this i walk a line where i so dream and and want to be normal. Then i see the illogic of what some 'normal' people pass off as communication.
Times like that .. i don't see how being 'normal' and 'healthy-minded' is a good thing. They may as well all be schizophrenic.
.. the tiger stripes i have on my body and the ones i inflict on myself are very much cause for continued struggle and are on my own accord. I understand that ..
Again ..that will be my struggle no matter if i use the gun on me or not.
.. but miscommunication and running me ragged. Thru' nervous breakdowns ..and you smash my heart up.
And you expect me to not be 'frustrated' ??
It's pretty simple to tell me what's up. I speak English. I do know how to drive and dress myself. I am not Quasimodo.
But i am also not a Gypsy mind-reader.
I emphasised the point .. i overemphasized the point til' i was smashing my skull on the wall over and over !!
TALK TO ME.. .. JUST TELL ME WHAT YOU WANT !!
If you can only talk to me for a minute. FINE .. TELL ME THAT ON THE ONSET !!
.. no no ..
it's to hard ain' it.
I'm the babbling idiot .. who talks to tigers. But everyone gets lost,dazed and confused.. misunderstands,misdirects ..and throws talking and comprimise out the window.
I'm the rambling moron..
.. and i look around me ..and see the never-ending state of war and entropy.
Yeh ok,folks.. i may be time-bomb.. but at least i try to understand things and the people around me. Least i try to communicate.
.. still no word from the person that stole my heart.
.. i don't know where that's at now.
..holding pattern.
Wish ..like that bands' name ..my 'Third eye was blind'.
Then again .. i'd be a miscommunicating mass of a 'normality' like the rest of 'em.
..
..my problem .. all of it ..
..sometimes i want to hate all of them back , the same way i am hated..
..sometimes..
.. they see my tiger stripes and they fail to understand because they choose to.
Tigers devour me .. while the world devours itself.
We struggle..
..open the eye (s) ..
..grr. -
.. >v<
Here’s some more pics of my Generation Girl Mari custom. In the back of my mind I’ve wanted to a modern take on all the characters but that’s far too much money to spend on dolls with sculpts that’s barely been used just for me to strip and reroot.
But here’s what a taste of that might be. I really wanted to lean into Mari still having two toned hair like her original doll, but since fashion trends have changed, her original look NOW is a bit…. expected for “the asian” character in a doll line and that it probably wouldn’t be something an American corporation would market to girls.
So Mari still has dyed hair but in softer colours to take into consideration of the counterculture looks of Japanese fashion but also something you might find in a modern fashion doll while her make up is also inspired by such trends.
And I tried to find her clothes that still has a bit of fun and practicality to it like her original look but underscored with a black crop tank top to still give it some edge too.
Anyway it’d be nice if I could do more but of course my favourite characters have the least utilised sculpts….
Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
A freak snowstorm - and a very wet one at that - making a premature appearance in New York City even before Halloween.
I used to live in New York City, spending four winters here. Three of them were snowless. So this is a very nasty surprise for me, especially now that I am visiting from balmy California for the first time in years.
At least I got some great photo opportunities out of this! This is only the third ever October snowstorm in New York City since the 1860s, and the first ever recorded snowfall of one inch in Central Park in October. Also as this snowstorm is so early, temperatures are not that cold yet, translating to bigger, wetter snowflakes.
Here, visitors to Solomon R. Guggenheim Museum are caught in the snow. The line is stretching long outside, because the museum's famed rotunda is temporarily closed for installation of a new exhibit. Plus, much like other Frank Lloyd Wright buildings, this building is short on practicality and quite cramped inside.
The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".
It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.
The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Thru' meditation and practicality I am beginning to be more open and accepting that I can be retired and "GO WITH THE FLOW"... of life. I had not painted in a long time and so this was truly a magical exercise for me... I didn't think or plan it ... It just came from the depths of my being and was invigorating, healing and fun. I also like the 2nd title "Waves of Joy" as it does bring me such joy.. I will have to find a REAL
celebrations with solar car Stella from the Dutch Solar Team Eindhoven at the ceremonial finish in the herart of Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
bevrijdende vreugde bij de studenten van zonne-auto Stella van Solar Team Eindhoven bij de ceremoniële finish in het centrum van Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
Skoda is now a division under the Volkswagen group, but is has a long history, having been founded in the Czech Republic in 1895 as Laurin & Klement. In 1948 the company was nationalised as Skoda Auto during the Soviet occupation. A joint Venture with the Volkswagen group commenced in 1991.
The Octavia 1U, shown here, was launced in late 1996 as the marques return to larger family cars, though the model did in fact share its underpinnings (the PQ34 platform) with the Golf MkIV - the Skoda was noticeably larger.
At the time it was noted the values espoused by Skoda in their cars matched well with the traditional Volvo virtues of safety, practicality, conservative looks and efficiency.
The Octavia was produced with a range of four-cylinder petrol and diesel engines of 1.4L to 2.0L, producing between 60 PS and 193 PS (44 kW and 142 kW).
The Octavia Type 1U was replaced by the Type 1Z in 2004, again sharing a VW platform, this time the PQ35 underpinning the Golf MkV.
nrhp # 87000865- Fort Missoula Historic District- Fort Missoula was established by the United States Army in 1877 on land that is now part of the city of Missoula, Montana, to protect settlers in Western Montana from possible threats from the native American Indians, such as the Nez Perce.[2]
Beginning in 1888, the fort was home to the famous Buffalo Soldiers of the 25th Infantry Regiment (3rd Formation). While stationed at Fort Missoula, this unit tested the practicality of soldiers traveling by bicycles by conducting numerous training rides, with one ride all the way to St. Louis, Missouri. The Trans-America Bicycle Trail established in 1976 goes through Missoula, and covers some of the routes pedaled by the 25th Regiment.
During World War II Fort Missoula housed a prison camp for Italian POWs, who called the area Bella Vista.[3]
Fort Missoula was established as a permanent military post in 1877 and built in response to requests of local townspeople and settlers for protection in the event of conflict with western Montana Indian tribes. It was intended as a major outpost for the region; however, area residents also were quite aware of the payroll, contracts, and employment opportunities Fort Missoula would provide. Fort Missoula never had walls; rather, it was an "open fort," a design common for posts located west of the Mississippi. Open forts required troops to take the offensive and actively patrol the areas to which they were assigned.
Construction had barely begun when the Company Commander, Captain Charles Rawn, received orders to halt the advance of a group of non-treaty Nez Perce Indians. The Nez Perce, led by Chiefs Joseph, Looking Glass and others, simply went around the soldiers' hastily-constructed earth and log barricade in Lolo Canyon (later called "Fort Fizzle") and escaped up the Bitterroot Valley.
The 25th Infantry Regiment arrived at Fort Missoula in May 1888. The regiment was one of four created after the Civil War that were made up of black soldiers with white officers. In 1896, Lieutenant James Moss organized the 25th Infantry Bicycle Corps to test the military potential of bicycles.[4] The corps undertook several short journeys – up the Bitterroot Valley by bicycle to deliver dispatches, north to the St. Ignatius area, and through Yellowstone National Park – before making a 1,900-mile (3,100 km) trip from Fort Missoula to St. Louis in 1897. The Army concluded that while the bicycle offered limited military potential, it would never replace the horse. The 25th Infantry returned to Missoula by train. When the Spanish-American War broke out in 1898, the 25th was one of the first units called to fight. The regiment served bravely in Cuba and the Philippines, but was reassigned to other posts after the war's end.
The efforts of Congressman Joseph Dixon of Missoula led to the appropriation of $1 million in 1904 to remodel Fort Missoula. A modern complex of concrete buildings with red tile roofs was constructed between 1908 and 1914, including a new Officer's Row, barracks, and Post Hospital.
The fort was used as a military training center during World War I, but was almost abandoned by 1921. However, it was designated as the Northwest Regional Headquarters for the Civilian Conservation Corps in 1933.
Fort Missoula was turned over to the Department of Immigration and Naturalization in 1941 for use as an alien detention center for non-military Italian men (merchant seamen, World's Fair employees, and the crew of an Italian luxury liner seized in the Panama Canal).[5] Fort Missoula housed over 1,200 Italian internees, who referred to the fort as "Camp Bella Vista." The Italians worked on area farms, fought forest fires, and worked in Missoula until they were released in 1944. Following the bombing of Pearl Harbor, 650 Japanese-American men who were considered high risk were interned at the camp. These men were questioned and quickly transferred to other internment camps.
The camp was used as a prison for military personnel accused of military crimes and other personnel awaiting court-martial following World War II.[6] After the post was decommissioned in 1947, many of the buildings were sold, dismantled, and removed from the site. For a number of years, Fort Missoula was a subinstallation under the accountability of Fort Carson, Colorado. The majority of the land is now in the hands of non-military agencies, including the U.S. Forest Service, the Bureau of Land Management, and Missoula County (including the Historical Museum at Fort Missoula). Fort Missoula was formally decommissioned in April, 2001.[7]
from Wikipedia
This portrait would never have been possible had the iPad never been invented. I have practiced law for 17 years, yet always wanted to create art. Life, unfortunately, got in the way. When I bought my first iPad in July of 2010, I was instantly taken by it's portability and practicality for creating art. Fast forward to October, 2011, when I presented to a group of Mobile Artists from all over the world on creating IPad Art. I know that my life will never be the same, and though I never got to meet you, Mr. Jobs, you have impacted my life for the better like no one else. Thanks for everything you gave us.
iPad Junkie
Created on my iPad, totally freehand, with my finger, a Nomad Brush, and Brushes App
practicality judging for solar car Stella from the Dutch Solar Team Eindhoven the day after the finish in Adelaide, during the 2013 Bridgestone World Solar Challenge, Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted /
praktijk-beoordeling voor familie-zonne-auto Stella van Solar Team Eindhoven de dag na de finish in Adelaide tijdens de 2013 Bridgestone World Solar Challenge. Behalve reistijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld
Nine years after giving away my First trike Whymcycle bouncer, the pining gave way to practicality, and I simply am making another. The two side-headsets are saved from handcycle builds, and the tie-rod linkage is simply sawed-off trimmings/leftovers from my workbench. Blustery April winds on my seven mile homeward tallbike commute today had me cinch down the chin strap.. which I always sew onto my bucket hats for that purpose... The resulting Rip Van Winkle beard effect is something to behold..I generally get 'thumbs ups', or 'You're my hero, man!' when I ride tall, and today was no different..despite the fairy-tale whishkers effect... Sam was happy to try out the steering, which he no doubt will be bouncing & using soon enough!
celebrations with solar car Stella from the Dutch Solar Team Eindhoven at the ceremonial finish in the herart of Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
bevrijdende vreugde bij de studenten van zonne-auto Stella van Solar Team Eindhoven bij de ceremoniële finish in het centrum van Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
INAYAH's Dusk Abaya
features pleats, antique gold buttons and a drawstring belt ensuring
comfort and practicality, this abaya is absolutely ideal for everyday
wear. To transform our Dusk Abaya into a classic work-wear abaya, why
not pair it up with a smart printed hijab, such as our Clustered Garden Hijab or our Mink Soft Georgette Hijab for a touch of class!
Check out hijabs fashion at inayah website.
STREET LOOK
Skoda is now a division under the Volkswagen group, but is has a long history, having been founded in the Czech Republic in 1895 as Laurin & Klement. In 1948 the company was nationalised as Skoda Auto during the Soviet occupation. A joint Venture with the Volkswagen group commenced in 1991.
The Octavia 1U, shown here, was launced in late 1996 as the marques return to larger family cars, though the model did in fact share its underpinnings (the PQ34 platform) with the Golf MkIV - the Skoda was noticeably larger.
At the time it was noted the values espoused by Skoda in their cars matched well with the traditional Volvo virtues of safety, practicality, conservative looks and efficiency.
The Octavia was produced with a range of four-cylinder petrol and diesel engines of 1.4L to 2.0L, producing between 60 PS and 193 PS (44 kW and 142 kW).
The Octavia Type 1U was replaced by the Type 1Z in 2004, again sharing a VW platform, this time the PQ35 underpinning the Golf MkV.
There's not much I can say about the Rolls Royce Silver Shadow that hasn't already been said, a car that was styled and homed to perfection, a vehicle that took 3 months to build, comprised of 3 cow hides, 12 square feet of wood and laden with the finest Wilton carpets. If you owned a brand new one of these back in the 1960's and 70's, then you truly were someone special.
The Silver Shadow however, unlike its predecessors, was the most radical Rolls ever built, primarily due to the fact that unlike previous cars such as the Phantom and Silver Cloud, the car was built on a monocoque, with the body being built with the chassis, rather than in earlier instances where Rolls would provide the chassis, and then it was up to the owner to hire a coachbuilder such as Hoopers or HJ Muliner Park Ward, to build the body.
The Silver Shadow was also the first Rolls to be built with the idea of the owner being sat in the front rather than the back. The Silver Cloud was very much a passenger's car, being ferried from stately banquet to stately banquet by a chauffeur. This Silver Shadow on the other hand was a driver's car, powered by Rolls Royce's magnificent V8 engine it smoothly glided across the countryside with the grace and elegance of a stately home on wheels, and so popular was this chemistry of luxury and practicality, that they sold by the thousand. In total, 25,000 examples were built, and the design was incorporated into many other variations, including the Rolls Royce Corniche (a direct descendant of the Silver Shadow 2-door Coupe built by HJ Muliner Park Ward), the controversial Camargue (which was built on the same chassis as a Shadow), and the Bentley T series (basically a Shadow with Bentley badging and radiator grille).
Eventually, the Shadow ended production in 1980, being replaced by the simpler Silver Spirit and Silver Spur range, but the magnificent design of this classic British pedigree has kept it one of the most popular owner's cars in the world, now available for ownership at less that £10,000 in some instances!
The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".
It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.
The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".
It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.
The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
E36/8
Estimated : CHF 40.000 - 60.000
Sold for CHF 28.750 - € 26.191
The Bonmont Sale
Collectors' Motor Cars - Bonhams
Golf & Country Club de Bonmont
Chéserex
Switzerland - Suisse - Schweiz
September 2019
A brilliant exercise in 'retro' styling that recalled its fabulous '328' sports car of pre-war days, BMW's Z3 was introduced in 1996. The original four-cylinder 1.9-litre Z3 was more of a stylish boulevard cruiser than out-and-out sports car, a successful concept perhaps best exemplified by Mercedes-Benz's old 230/250/280SL family and would prove equally appealing to both men and women drivers. The arrival of the 2.8-litre six-cylinder engine in 1997 transformed the Z3, endowing it with a level of performance that at last matched the promise of its looks. Six-cylinder cars enjoyed a lengthier equipment list than the 'fours', which included an electric hood (roadster), leather upholstery, and 16" alloy wheels.
Commencing in the early 1980s with the limited edition 'homologation special' M3, BMW Motorsport GmbH went on to create its own distinctive 'M-Power' brand of performance-enhanced luxury models. The first M-Power Z3 appeared in January 1998. Built until February 2001 when the model was revised, the first-series Z3M Coupé and Roadster were powered by the 3.2-litre S50 engine producing 316bhp and 236lb/ft of torque - figures that translated into a tyre-smoking 0-60mph time of 5.2 seconds and a top speed of 155mph. The fastest-accelerating BMW ever at the time of its introduction, the Z3M Coupé boasted a generous specification that included electric windows, ABS, PAS, air conditioning, heated seats, driver/passenger air bags, six-speaker stereo system, alarm/immobiliser, heated exterior mirrors, 17" alloy wheels, and a limited-slip differential as standard. Combining outrageous looks and performance with impressive practicality, the Z3M Coupé was not replaced within BMW's line-up after its deletion in 2002 and is surely destined for 'highly collectible' status in the future.
Finished in black with matching interior, this manual transmission Z3M was purchased by the current owner in 2014 when it showed a credible total of only 78,000 kilometres on the odometer. Since its acquisition the car has been used only sparingly, so the odometer currently shows only some 81,700 kilometres. This Z3M is described by the owner as excellent in every respect, the only exception being a small scratch on the left rear side. All documents are present, and the car also comes with a Swiss Carte Grise, MFK document, and a copy of Auto Illustrierte magazine (October 2013 edition) featured it in a comprehensive article.
www.hatfieldseat.co.uk/new-leon-st.html
Beautiful from any angle, the new Leon ST combines the sharp, sleek style of the rest of the Leon range with stunning practicality.
trunkspace-test: practicality judging for solar car Stella from the Dutch Solar Team Eindhoven the day after the finish in Adelaide, during the 2013 Bridgestone World Solar Challenge, Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted /
koffer-ruimte-test: praktijk-beoordeling voor familie-zonne-auto Stella van Solar Team Eindhoven de dag na de finish in Adelaide tijdens de 2013 Bridgestone World Solar Challenge. Behalve reistijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld
An Israeli in Palestine, by Jeff Halper, Reading at the Educational Bookshop, Jerusalem, 25th February 2011
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".
It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.
The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Sun in Pisces, Moon in Capricorn
This astrological combination does not indicate harmony between conflicting forces of the self. Your inner individuality is likely to be overshadowed by your outer personality, which is entrapped in a material quest. The individuality remains highly receptive and attracted to insubstantial and fleeting things, but the materially motivated personality is ambitious and prudent in business and financial affairs.
Because of this internal warring of divergent tendencies, you would be well advised to lead an active life. As a matter of fact, you are more inclined toward public than private life. You are basically rather proud and ambitious. Most often you apply your diligent, reliable qualities to daily life. In love you are not likely to be overly demonstrative. Your personality is sober, quiet, and self-controlled. The key to a more harmonious existence lies in using your solid character and personal power to do good. You could benefit the public if you make proper use of your resources.
Ascendant in Virgo, Mercury in the Seventh House
At the time of your birth the zodiacal sign of Virgo was ascending in the horizon. Its ruler Mercury is located in the seventh house.
This indicates that throughout your life you will assume a reserved, quiet, analytical, critical, and receptive attitude.
Although you are not an individual with a very strong ambition, you possess the ability to persevere and exert ingenuity.
Some selfishness is noted. However, if you are able to counteract this trait with your natural helpful and sympathetic attitude and address your positive qualities to resolve the problems of others then you will accomplish your highest spiritual duties and your degree of consciousness and perception will be expanded.
You are not afraid to work but you like to do things where you can use intellectual resources rather than mechanical ones. There is some independence here but don't try to be forceful about it because Virgo's natural habitat is one in which the person is led by some powerful authority and where the important decisions are best made by others.
You are very attentive to detail and this makes you a good worker, especially so in those jobs that require a great deal of precision and observation. You have a desire for purity and though you don't mind relating to others there is something that you do dislike: continuous intrusion of your privacy. Business and practicality should be very important in your life. Although we are not advising you to turn against your natural traits, which make you slightly reserved, we would suggest that when in love you let yourself relax and respond so as to be able to return some of the affection you are receiving.
Life will find you in many situations in which you will function as advisor and counsellor; make use of these opportunities to project the power of your creativeness.
Your life will be geared to the acquisition of success through joining associations and uniting with people. Your partner may be too intelligent and clever for your own good as she may not always be sufficiently trustworthy. She may not only be active and progressive, but also slightly shrewd.
Moon in the Fourth House
The Moon was found in the fourth house at the time of your birth. Moon here will definitely influence events concerning your mother, places of residence and family matters.
Both your childhood and even your older age will be characterized by a love of romance, various journeys, and interesting adventures.
The liability of this astrological combination is that it gives you an uncertain position in life and a perpetual striving for material security that seems to be hard to come by. This may be relieved temporarily by your receiving a small inheritance and will be almost overcome by the final years of your life by excellent family care and assistance.
Venus in the Sixth House
Venus was found in your sixth house at the time of your birth. You can regard yourself as a lucky individual. Your health throughout life has been either very good or you have had the capability of quickly recovering from illness.
In dealing with others within your work environment, you may also obtain an increase in income. Your attitude to work is that it is a pleasurable thing to do. You are not a hard working individual; on the contrary, there is something of laziness in you. Destiny may put you into positions where you will work under the direction of extremely kind and attractive superiors. A love relationship could start due to this interaction.
Sun in the Seventh House
The Sun was found in the seventh house at the time of your birth. Among other things, this means that your individuality is required to accomplish certain important developments in connection with associations and marriage. It appears, that you will be married to a rather proud but dignified individual, and much of all the progress that you will make in life will be a derivation of your relationship.
In any instance, you can expect throughout life the origination of lasting attachments and noble friendships.
Note: The Sun is technically near the end of house 6 and is therefore interpreted in house 7.
Sun Opposition Ascendant
The Sun opposition the Ascendant shows that you are easily impressed by people you meet and hope that they will be similarly impressed with you. You attract powerful individuals with strong egos who always try to gain dominance over you. Without realizing it, you are showing that you doubt your own significance, in the hope that others will reassure you.
Before asserting your own opinion you always try to put yourself in the other person's place. This can be a definite asset if you decide to go into business or a profession, because you would give your clients the impression that they are the most important people in the world.
Saturn in the Tenth House
Saturn was found in the tenth house at the time of birth. This a very challenging position for a person who seeks worldly success. The inhibiting powers of Saturn are expressed in a heavy, cautious, and very serious personality. Many of the limitations that will arise throughout life result from your own psychological disposition which is oriented to narrow bounds. The key to a satisfactory solution of the various problems that will arise throughout life lies in your ability to endure difficulties with patience.
Inwardly there are ambitions, aspirations, and thrift; properly projected these psychological characteristics could yield power, an image of pride, and a perpetual craving for material objects and worldly wealth.
Astrological Data used for Short Report - Personal Portrait
for David Porter (male)
in Falkirk, SCOT (UK)
Planetary positions
planet sign degree motion
Sun Pisces 9°00'13 end of house 6 direct
Moon Capricorn 7°18'46 in house 4 direct
Mercury Pisces 26°48'35 in house 7 direct
Venus Aquarius 28°41'58 in house 6 direct
Mars Capricorn 10°50'34 end of house 4 direct
Jupiter Aquarius 0°54'57 in house 5 direct
Saturn Gemini 13°49'20 in house 10 direct
Uranus Libra 22°37'13 in house 2 retrograde
Neptune Sagittarius 7°24'38 in house 4 direct
Pluto Libra 3°42'59 in house 2 retrograde
True Node Capricorn 15°28'42 in house 5 direct
Planets at the end of a house are interpreted in the next house.
House positions (Placidus)
Ascendant Virgo 10°03'08
2nd House Virgo 29°53'48
3rd House Libra 26°35'59
Imum Coeli Sagittarius 1°57'39
5th House Capricorn 11°46'45
6th House Aquarius 14°41'00
Descendant Pisces 10°03'08
8th House Pisces 29°53'48
9th House Aries 26°35'59
Medium Coeli Gemini 1°57'39
11th House Cancer 11°46'45
12th House Leo 14°41'00
Major aspects
Sun Sextile Moon 1°41
Sun Sextile Mars 1°50
Sun Square Saturn 4°49
Sun Square Neptune 1°36
Sun Opposition Ascendant 1°03
Moon Conjunction Mars 3°32
Moon Square Pluto 3°36
Moon Trine Ascendant 2°44
Mercury Sextile Jupiter 4°06
Mars Quincunx Saturn 2°59
Mars Trine Ascendant 0°47
Jupiter Trine Pluto 2°48
Saturn Square Ascendant 3°46
Neptune Sextile Pluto 3°42
Neptune Square Ascendant 2°39
Numbers indicate orb (deviation from the exact aspect angle).
Two examples of the second generation of the C4 Picasso, which is marketed by Citroën as the C4 SpaceTourer since 2018. Despite the name change, the uniqueness of its design remains, as does its practicality. A larger Grand version adds 167 mm to the length, enough to increase passenger capacity to seven.
Given the options presented here I'd choose the blue car. Which colour would you choose?
celebrations with solar car Stella from the Dutch Solar Team Eindhoven at the ceremonial finish in the herart of Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
bevrijdende vreugde bij de studenten van zonne-auto Stella van Solar Team Eindhoven bij de ceremoniële finish in het centrum van Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".
It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.
The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.
In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.
But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!
From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.
In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.
Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!
Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.
Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.
However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!
parking test: practicality judging for solar car Stella from the Dutch Solar Team Eindhoven the day after the finish in Adelaide, during the 2013 Bridgestone World Solar Challenge, Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted /
pakeer-test: praktijk-beoordeling voor familie-zonne-auto Stella van Solar Team Eindhoven de dag na de finish in Adelaide tijdens de 2013 Bridgestone World Solar Challenge. Behalve reistijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld
solar car Stella from the Dutch Solar Team Eindhoven at the official time-finish just outside Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
zonne-auto Stella van Solar Team Eindhoven bij de officiële tijd-finish net buiten Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
celebrations with solar car Stella from the Dutch Solar Team Eindhoven at the ceremonial finish in the herart of Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
bevrijdende vreugde bij de studenten van zonne-auto Stella van Solar Team Eindhoven bij de ceremoniële finish in het centrum van Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
So, after a year give or take a few months, I have finally decided to join LCC. I would like to improve my building skill, and I believe that consistently building/participating in something such as LCC will enable me to do that.
My character here is Hans Zarkan. A Lenfel Mercenary, Hans is a grizzled, bitter veteran of many years of violent battles, and has witnessed more than his fair share of bloodshed. Though never, properly trained, Hans has become a formidable warrior through years of fighting, and countless near-death experiences. He wields a massive blade the like of which would trouble three ordinary men to even lift, though he can swing it with one hand as effortlessly as a child would practice swordplay with a twig. A man of practicality, and with greater allegiance to coin than any pompous lord, or overly entitled noble, Hans is loyal to the land of his birth, though he may not favor those who rule it. For Great Lenfald!
I wanted to make a character to tell a tale that will be quite a bit more grim and cynical than your typical LCC fare, so we'll how that turns out.
Benjamin Stein, Die Leinwand (The Canvas)
An Event of the DAAD
Reading
Wed, 29.12.2010, 19:00
Goethe-Institut Jerusalem
in German
Based on the scandal of Benjamin Wilkomirski's falsified Holocaust memoir, this novel deals with the unreliability of memory and the struggle for identity. Two stories are told from both ends of the book. In one of the stories Amnon Zichroni, an Orthodox Jew who grew up in Israel and becomes a psychoanalyst in Zürich, encourages Minsky, a supposed Holocaust survivor, to write down his memories. The other story is about East German journalist Jan Wechsler who tries to expose Minsky's memoirs as false. In the centre of the book a confrontation takes place when the two narrators, Amnon Zichroni and Jan Wechsler, meet one another.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
practicality judging for solar car Stella from the Dutch Solar Team Eindhoven the day after the finish in Adelaide, during the 2013 Bridgestone World Solar Challenge, Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted /
praktijk-beoordeling voor familie-zonne-auto Stella van Solar Team Eindhoven de dag na de finish in Adelaide tijdens de 2013 Bridgestone World Solar Challenge. Behalve reistijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld
celebrations with solar car Stella from the Dutch Solar Team Eindhoven at the ceremonial finish in the herart of Adelaide on day six of the 2013 Bridgestone World Solar Challenge, probably still leading in the Cruiser Class, although eVe Sunswift (UNSW) reached the finish earlier in total time count. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually took two to four people whereas Sunswift mostly one)
bevrijdende vreugde bij de studenten van zonne-auto Stella van Solar Team Eindhoven bij de ceremoniële finish in het centrum van Adelaide tijdens de 2013 Bridgestone World Solar Challenge, waarschijnlijk aan de leiding in de Cruiser Class, alhoewel eVe Sunswift (UNSW) de finish eerder haalde, ook in totale tijdstelling. Echter behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord, terwijl Sunswift meestal met één reed)
Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Ethiopian Orthodox Christmas Celebration at the Church of the Nativity, West Bank town of Bethlehem January 6, 2011. Ethiopia (and especially the Ethiopian Orthodox Church) still use the old Julian calendar, so the celebrate Christmas on January 7th. The Christmas celebration in the Ethiopian Orthodox Church is called Ganna. Most people go to Church on Christmas day.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.
GODDESS KALI
Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP AND MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stutē.)
YANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER AND RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot
on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda;
indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.
The waters of the ocean depths are the same; The infinite is always mysteriously dark.
This inebriating darkness is my beloved Kali.
—Sri Ramakrishna
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
Kali as the Symbol of Creation , Freedom , Preservation and Destruction
The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.
Kali as the Symbol of Mother Nature
The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
KALI IN NEOPAGAN AND NEW AGE PRACTICE
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
INCARNATIONS OF KALI
Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.
WIKIPEDIA
@kuteykat made a sexy dinner of Yorkshire puds, mashed spuds and gravy, but we were out of garbage bags.
This sums her up perfectly; looks and practicality in one sweet package ;)
Skoda is now a division under the Volkswagen group, but is has a long history, having been founded in the Czech Republic in 1895 as Laurin & Klement. In 1948 the company was nationalised as Skoda Auto during the Soviet occupation. A joint Venture with the Volkswagen group commenced in 1991.
The Octavia 1U, shown here, was launced in late 1996 as the marques return to larger family cars, though the model did in fact share its underpinnings (the PQ34 platform) with the Golf MkIV - the Skoda was noticeably larger.
At the time it was noted the values espoused by Skoda in their cars matched well with the traditional Volvo virtues of safety, practicality, conservative looks and efficiency.
The Octavia was produced with a range of four-cylinder petrol and diesel engines of 1.4L to 2.0L, producing between 60 PS and 193 PS (44 kW and 142 kW).
The Octavia Type 1U was replaced by the Type 1Z in 2004, again sharing a VW platform, this time the PQ35 underpinning the Golf MkV.
I have bought and sold a lot of camera gear over the last couple of years. The good news there is quality equipment doesn't depreciate.
After spending too much time in my camera bag, it finally came time to sell my 24-105L today. As good as it was at being the "workhorse" of my kit, I was never truly inspired by it. It never made me WANT to use it. I'm not in the photography game for the practicality or to make money, I'm in it for the fun and the passion. So off it goes to someone that will get more use out of it than I did.
One lens that I will never part with, on the other hand, captured this farewell image. ;)
What will I do with the funds from the sale? I'm looking strongly at two options.
1.) Pick up the 35L again.
2.) Add a Fuji X100 to my arsenal.
I'm leaning more towards the latter because I'd LOVE to have a camera that I can keep with me - whereas I typically wouldn't bring my SLR to anything but a pre-destined shooting opportunity. Plus, I'm old school, so a fixed, retro-style camera would fit me nicely.
Canon 5DmkII
135mm f/2L
Ayesha Al Quds cordially invited to participate in its launching event, the “Jerusalem Ka3ek Festival” on Sunday October 23rd 2011 at Dar il Tiffel School in Sheikh Jarrah.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.