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.

Copyright © Kevin Cooper Photoline NUJ: Seamus McKee (BBC Radio Ulster) opened the conference and give context to the debate as chairperson of Business Rates Conference 2016 which took place on Tuesday, 12 January 2016 in Riddel Hall at Queen's University Belfast. Speakers included: Richard Johnston - Associate Director, NI Centre for Economic Policy, UU; David Sterling - Permanent Secretary, Department of Finance & Personnel; Stephen Kelly, Chief Executive, Manufacturing NI; Aodhán Connolly, Director, NI Retail Consortium, Seamus McAleavey â Chief Executive, NICVA, Derek McCallan â Chief Executive, NILGA, Followed by a panel discussion with David Sterling â DFP, Stephen Kelly â Manufacturing NI, Aodhán Connolly â NI Retail Consortium, Seamus McAleavey â NICVA, Derek McCallan â NILGA. After a short break the discussion continued with A system that it is fit for purpose: the practicalities involved: Brian McClure â Head of Rating Policy Division, Department of Finance & Personnel, Funding local services: a new system for securing businesses contributions: Martin McTague â Chairman, Local Government Committee, Federation of Small Businesses, Getting it right: the UK and international perspective:

David Magor OBE - Chief Executive, Institute of Revenues, Rating and Valuation. Finishing the final panel discussion was with: Brian McClure â Department of Finance & Personnel, Martin McTague â FSB and David Magor â IRRV. Seamus McKee, Chairperson of the conference made some concluding remarks before breaking for lunch. Business Rates Conference 2016, which was part of the Chambré Public Affairs âEye on the Hillâ series of policy events, provided participants with a unique insight into an important programme of reform. The conference offered context and analysis from the Minister, senior officials, sector leaders and noted experts, the conference is perfectly timed to inform responses to the consultation, which closes a fortnight later. On 26 October 2015, Finance Minister Arlene Foster launched a public consultation on a wide-ranging Review of Northern Ireland's Non-Domestic Rating System. The consultation asks questions that touch upon every sector in Northern Ireland, giving respondents the chance to provide imaginative suggestions to improve how revenue is raised locally. Key questions include whether the 100% exemption for charities should be maintained, and how the system could be changed to better suit the demands of local business. Because of the Departmentâs willingness to engage creatively with the business community and other stakeholders, this consultation represents a rare opportunity to influence major change. Business rating is a vital form of taxation, raising some £592m of revenue for regional and local Government in Northern Ireland. However, it is also a significant expense for the businesses that are the lifeblood of the local economy, and can act as a particular disincentive to smaller enterprises who want to invest and expand. At the other end of the spectrum, charities in Northern Ireland benefit significantly from the current rating system, enjoying a 100% rates exemption.

For the stylish parent who does not want to compromise on practicalities. Lots and lots of pockets, key fob, adjustable strap, zipper closure

Cinemateum Victoria - Ashkenaz - Director: Rachel Leah Jones, Israel 2007, 72min, Chinese and English Subtitles, A film about Aszkenazim – Jews of European origin – and the paradox of "whiteness" in Israel in comparison to Europe.

 

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.

 

A UNESCO site.

 

From the Inn’s website:

 

The Inn’s foundation is the creative genius of architect Robert C. Reamer, combined with the business savvy of hotelier Harry W. Child. Constructed between June 1903 and June 1904, the builders used raw materials harvested from the local area. Adapting sixteenth-century technology they produced a modern wilderness log cabin with electricity, steam heat, and indoor plumbing.

 

There was risk – borrowing money from a railroad, inviting wealthy railroad travelers to engage in a multi-day stagecoach tour to marvel at the wonders of Yellowstone, and offering a rustic hostelry at the end of the day. The design drew inspiration from nature, but departed from the norms of the time. From its five-hundred ton massive rhyolite chimney to the whimsical tree house at its 76½ foot peak, the Inn both charms and welcomes.

 

A few years after it opened railroads and early automobilists embraced the idea to “See America First” – a campaign that successfully turned the tourist tide from Europe to our nation’s scenic wonders. The Inn’s first addition, known as the East Wing (1913-1914), grew out of this increasing interest. Its plain exterior and more generic plaster-walled interior, also the work of R. C. Reamer, reflect the practicality and speed in which rooms were added.

 

Soon the gasoline-burners replaced the horse-drawn stages. The independence-loving automobilists embraced the privacy of cabins, and the park’s lodges grew in popularity. But five railroads still served Yellowstone. So the park’s transportation company, also under H. W. Child, motorized. Child again engaged Reamer to adapt the Inn with a new auto-centered front entrance and more additional guest rooms (West Wing, 1927).

 

Adapting to increased visitation was not the only thing the Inn has endured in its 116 years. The ups and downs of tourist numbers during both World Wars and the Great Depression meant temporary closures. Physical threats from the 1959 Hebgen Lake Earthquake, the 1988 fire season, and dozens of harsh winters and heavy snow-loading have all been met. In the 1950s, and again in the 1970s, human decisions threatened the Inn’s future.

 

Since 1979, within the existing partnership between government ownership/oversight and concessioner financial commitments, the Inn has undergone three major periods of restoration/renovation – 1979-1988, 1992-1995, and 2004-2012. These included fire safety upgrades, two complete kitchen remodels, addition of bathrooms to guestrooms (except the original Old House), exterior re-shingling and re-roofing, and seismic stabilization. These necessary upgrades insure that we will enjoy this National Historic Landmark for decades to come.

 

With its wild wings, futuristic curves, and total lack of practicality, the Ferrari Dino 206 Competizione was the quintessential concept car. A radically designed prototype, the Competizione combined typical Ferrari values of charm, charisma, and technically advanced engineering prowess.

 

The Dino name in the Competizione's title is in reference to Enzo Ferrari's son, Dino. When Ferrari first developed a V6 engine for the 1957 Formula 2 series, he named it Dino. After that, the name of Enzo's son was used to designate six-cylinder and lower-cost Ferraris. The 206 nomenclature used on Ferrari's 1967 prototype indicates that it was built on a 206 S chassis. The 206 S was a capable racing car, with a body that resembled that of the V12-powered 330 P3. Using 206 S chassis #10523 to underpin the Competizione gave the car racer roots that were rarely seen on concept cars. The Dino 206 Competizione distinguished itself as a concept that was not just functional, but built on a thoroughly race-proven chassis.

 

That proven chassis was endowed with four wheel disc brakes, front and rear independent suspension, and an advanced steel space frame design that gave high strength in a lightweight package. The total weight of the 206 Competizione was just 1,400lbs, making even its small engine more than enough to create an unquestionably fast car.

 

The Dino V6 used in the Competizione displaced just 2.0-liters, but was able to generate 218bhp. Peak power was reached at redline, which was 9,000rpm. The lower rotational inertial of the small V6 gave an even higher redline than the V12 mounted in the 330 P series. The V6 was constructed of aluminum and mounted amidships within the space frame of the prototype, as it was in the standard 206 S. A 5-speed transaxle directed the engine's power to the rear wheels.

 

Despite its racing car foundation, the Dino 206 Competizione was not created to compete. As a dedicated concept car, it was created to showcase excellent design and possible styling cues for Ferrari's future. The Competizione had an advanced appearance that flaunted the talents of a young designer named Paolo Martin. Only 23 when he designed the car, the Competizione came very early in Martin's career. He later would admit he felt 'a very strong emotion' as he watched his project unfold into a true supercar.

 

Paolo Martin was working under Pininfarina when he developed the Competizione's styling, so the car wears Pininfarina 'f' badges. Pininfarina was also responsible for the construction of the prototype's body. Martin's shape was free of hard edges, with abundant curves and a large glass area with a circular cross-section. Viewed from some angles, the odd shape of the car's glass lends the greenhouse a bubble-like appearance. This is particularly evident from the front, where the vast windshield sweeps up and to the sides like a bulbous take on a jetfighter's canopy.

 

The Competizione had exaggerated mid-engined proportions, with a short, low nose and a long, high tail. The front lighting fit the shape perfectly, with transparent, aerodynamic coverings over clusters of three lights. The light clusters were angled down towards the center of the car's nose. The lighting's covers blended seamlessly with the unusually round curve at the front of the car, and combined with front vents ahead of the large windshield to create a design that looked organic, but not earthly. From the front, the design had a cartoonish look that was exotic and alien, as if the Competizione was designed on a different planet to resemble some distant species.

 

Distinctive spoilers added to the effect. Though the strange spoilers didn't seem out of place on the car, they almost looked as if they were tacked on as an afterthought. This was not surprising, as Paolo Martin himself admitted that the spoilers 'were added only at the last minute, since the Management thought the design had to be enriched.' The spoilers used black wings attached to the body by metal arms that looked too much like pieces from an Erector Set to match the rest of the design.

 

All of the vents and air intakes found on the Dino 206 Competizione—and there were plenty—blended gracefully with the smooth curves on which they were placed. They looked like gills, and they enhanced the car's alien image. A single windshield wiper protruded like a tentacle reaching towards the windshield. Gullwing doors with a huge glass area contributed to the otherworldly effect, as did the jarring, bright yellow paint that covered the prototype's aluminum skin.

 

James Glickenhaus, a wealthy car collector with a special interest in Ferraris, recently became the first private owner of the Dino 206 Competizione. The car had been kept in Pininfarina's museum for over thirty years until a purchase was agreed upon in 2007 and Glickenhaus bought the stunning vehicle. Since Glickenhaus purchased the car, it has been shown with success and driven regularly.

 

[Text from Conceptcarz.com]

 

www.conceptcarz.com/vehicle/z17222/Ferrari-Dino-206-Compe...

 

This Lego miniland-scale Ferrari Dino 206 Competizione (s/n 10523 - Carrozzeria Pininfarina - 1967) has been created for Flickr LUGNuts' 94th Build Challenge, - "Appease the Elves Summer Automobile Build-off (Part 2)", - a design challenge combining the resources of LUGNuts, TheLegoCarBlog (TLCB) and Head Turnerz.

A circling of friends

 

First President

 

After a meeting period of over a year, nine women at the Virginia State Female Normal School formed a fraternity of sisters. Several social forces acted upon their gathering and their formation of a Greek-letter organization.

 

During this difficult post-war era, childhoods were characterized by a lack of money and very close family relationships. Because Virginia was one of the principle battlegrounds of the Civil War, youth faced a complete turnaround from previous years. The tight finances of times caused drastic social changes to families--an upheaval in educational traditions and a more realistic approach to the education of women.

 

When most families decided where their daughters should attend school and what type of education they should pursue, finances and close family relationships dictated they should stay close to home. Most women realized the practicality of the teaching profession, which was not strongly in conflict with their pasts and backgrounds. The fraternity founders chose the teaching profession, and they attended the Virginia State Female Normal School.

 

This group of women, once at school and among many other students, gathered together because they had similar beliefs and backgrounds. Each young woman travelled away from home for the first time and longed for close companionship of special friends. They tended to be a lively bunch of inquisitive and fun yet earnest students. Most were 15 to 16 years old. Yet this group showed a great deal of foresight. The nine young women knew the "something special" they shared would be lost if some means of continuing their group was not found. For the first school term, the women contemplated the special relationships of the group.

  

nationalhistory_mystefpic.gif

 

One member, Maud Jones, wrote:

 

"For the whole year before our sorority was established, the need of such an organization was strongly felt. There wer six or seven of us who used to frequently meet together and talk over and try to devise some way by which we could unite into a helpful and congenial band. We knew we sadly needed something, but we had no idea just how that something was to be found. The beginning of session 1898-1899 found our little crowd again at the Normal (School) and just as eager as before, if not more so to find somthing to satisfy our desires."

 

The group formed a Greek-letter organization to perpetuate the friendships they found so important. The nine friends and Founders of Zeta Tau Alpha Fraternity are: The nine founders and first three pledges pose for their first official picture in 1899

 

Maud Jones (Horner)

Alice Bland Coleman

Ethel Coleman (Van Name)

Ruby Leigh (Orgain)

Frances Yancey Smith

Della Lewis (Hundley)

Helen M. Crafford

Alice Grey Welsh

Mary Jones (Batte)

 

The names in parenthesis indicate later appellations after marriage. They organized the Fraternity on October 15, 1898 at the Virginia State Female Normal School (which later became Longwood College in Farmville, Virginia). What began as a small group of friends desiring to add more permanence to their friendship in some deep and significant way surely has prospered and grown. Over the years, thousands of women of all ages have shared a common bond created by these nine innovative students.

 

Taken from the National New Member Manual.

  

founders.jpg

 

The beginnings of a greek world...

 

Invariably, those who have much in common find each other and develop friendships. This always has been so, but today involves a much more detailed process. Today, many such groups from all over the country are developing fraternal organizations as the United States has gained a vast American fraternity system.

 

At the State Female Normal School, a group of women formed one of the Greek organizations. While Maud Jones and some of her friends were attempting to "unite into a helpful, congenial band," another similar group formed a new organization with a Greek name. This new group, Kappa Delta, and Sigma Sigma Sigma, which followed shortly, undoubtedly spurred the young women to greater action.

 

The organizing women explain the greatest source of inspiration to form a fraternity came when one of the group's closest friends, Alice Coleman, was asked to join another forming organization. Although the State Female Normal School Students met informally for over a year, and might have easily considered those meetings official, they did not. First Rush

 

Thus the formal Greek organization began in earnest, and all meetings were secret night-time affairs by candlelight as the group tried to maintain anonymity. Virtually, it was impossible to keep the existence of their organization a secret. A gift tub of oysters from the father of the two members, Ethel and Alice Coleman, inspired the idea for an Oyster Stew Announcement Party, but the group needed a name.

 

The idea for a temporary name came from a member of one of the other groups who met the girls on campus one day. The story goes she raised her brows and, forming a question mark with her fingers, inquired, "Who are you?". Together the girls responded, "Yes, Who?, Who?, Who?" That is how the temporary name of the three question marks and the temporary signature "???" came to be.

 

As the group searched for a permanent name, the women took their first three pledges. They were Odelle Warren (Bonham), Ellen Baxter Armstrong, and Grace Elcan (Garnett).

 

Deciding not to rush the formation of the new organization, the women of Zeta Tau Alpha let a year follow before the Greek name and badge were chosen. The women realized the time necessary to explore Greek lore and to find the proper symbols to express their outlined ideals. The founders were very conservative in the developing stages of the fraternity's formation; this care is reflected in the size and strength of the organization.

 

The preamble of the first minute book of regular fraternity meetings stated clearly that Zeta Tau Alpha Fraternity was organized October 15, 1898, at the State Female Normal School. This minute book sets forth definitely for the first time the colors, flower, and the motto, which was written in Greek and then translated.

forming sorority finds help from brothers

  

crest3.jpg

 

A group of young women forming a fraternity found help from two members' brothers. Nine women from Virginia State Female Normal School attempted to begin a Greek-letter organization. Because much planning goes into this type of endeavor, the enterprising women asked someone with experience for help as other women's groups did. Two of the women turned to their brothers, who were members of established men's groups, for guidance and assistance.

 

Maud Jones's brother was Plummer Jones. He was a member of Kappa Alpha and Phi Beta Kappa at the College of William and Mary. Giles Mebane Smith, Phi Theta Psi, and also a Phi Beta Kappa at William and Mary was the brother of Frances Yancey Smith. Both young men were completely familiar with the fraternity system and both were outstanding students with a great knowledge of Greek lore.

 

Our Nine Founders The two men decided to labor long and hard for the development of this women's fraternity. Mebane Smith, as he preferred to be called, suggested the name Zeta Tau Alpha Fraternity, from the initial letters of the Greek motto upon which the organization was built. Mebane also provided information for the selection of the badge, the motto, and the patron goddess. Plummer Jones was responsible for the first revised and complete constitution. (The original was written by his sister during a period when the young women called their group ???.) Most important of all, Plummer Jones developed the ritual, including the initiation ceremony, the oath, and the opening and closing of the meetings.

 

With help from two brothers, the women were able to continue their group's gatherings. Maud Jones was the first elected president of Zeta Tau Alpha since the selection of the Greek name. Maud was acknowledged leader of the group and past president during the ??? period. She was a special leader whose strength lay in gentleness and kindness and who ruled through love and consideration. It was a tribute to the thoughtfulness of the group that Maud Jones was recognized and appreciated.

 

With such a president and finalized organization, the Fraternity had a new beginning. Maintaining high principles and an unquestionable integrity, the president remained above conflict in times of differing opinions and pronounced just decisions. Zeta Tau Alpha Fraternity was fortunate to have leadership like this; her actions have set an example for succeeding generations.

 

Taken from the National New Member Manual.

a first in virginia

 

Zeta Tau Alpha was the first women's fraternity to be chartered in the state of Virginia as of March 15, 1902. The Fraternity holds the only charter ever granted by a special act of the state legislature. The story behind the political activity is intriguing and fascinating.

 

For the most part, Grace Elcan, Zeta's third pledge, is responsible for securing the charter. Several attempts were made to secure a charter before Grace decided to make it her personal project. Previously, the busy judges and legislators wouldn't be bothered with what they considered a trivial matter.

 

However, Grace was quite adept at political maneuvering for a young woman her age. She chose to meet the politicians on their home ground. Through a close friend of her father, she arranged to meet with Mr. Frank Moon, a young man with senatorial ambition.

 

Mr. Moon needed an opportunity to meet the people of Buckingham County where Grace lived, and Grace needed a friend in the legislature. The two reached an agreement--Grace and her family prepared a large barbecue to introduce Mr. Moon to his electorate. Mr. Moon made his speech, and of course, got elected. True to his word, the first bill he sponsored and piloted through special session of the state legislature was the act to incorporate Zeta Tau Alpha Fraternity of the State Female Normal School of Farmville, Virginia. The event caused a great stirring in the Virginia press services.

 

One had only to read the following, recorded in Alpha Chapter's early minutes, to imagine the happiness and excitement the chapter must have felt:

 

"Let it be known that we received our charter from the legislature March 15, 1902, and have established two new chapters, one at Hanna More Academy, Reistertown, Maryland, and one [secretly] at Woman's College, Richmond. Truly this has been the crowning year of Zeta Tau Alpha."

 

Taken from the National New Member Manual.

 

Mary Campbell Jones Batte

 

Mary Campbell was never called anything but Cammie. She was the only daughter and her childhood was a merry one with five devoted brothers in attendance. She never knew the meaning of the word lonesome. Why she was not spoiled no one knew, but she wasn't. It was Cammie who was sent the famous strawberries by her admirer. She married S. Basset Batte and lived in Norfolk, Va. She had two sons. Mary Jones was the fourth Founder to die-December 3, 1957.

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.

This Exhibit Runs Feb 15, 2017 — Sep 10, 2017

 

A native of the South Carolina lowcountry, Carew Rice (1899 – 1971) was the son of James Henry Rice, Jr., a noted conservationist and newspaper columnist. As a student in Chattanooga, Tennessee, Carew Rice discovered the art of cutting silhouettes and worked from the Depression era up until 1970, when he cut silhouettes for South Carolina’s Tricentennial celebration.

 

Rice subtly challenged viewers with reductive renditions of Old South nostalgia. His cautionary tales were grounded in conservative values, but he liberally embraced the field hands, chain gangs, and working-class lifestyles of marginalized minorities. His black subjects, sometimes peppered with Gullah dialect, were love letters to people he lived among and respected.

 

Being an artist of practicality as well as of principles, Rice also cut picturesque lowcountry landscapes, church architecture, wildfowl, and Charleston’s intricate wrought iron gates to produce commercially viable merchandise. Some of these scenes were applied to drinking glasses and stationery; some of his characters became templates for stuffed dolls for children. He traveled the world creating silhouettes of politicians, royalty, and ordinary folks, and he became well known throughout the South for portraiture, landscapes, and scenes of everyday life meticulously rendered in this unusual and exacting medium.

Wardop's Court: Situated to the east of Lady Stair’s Court formed in the 1890’s by the demolition of two small closes ( (Wardrop's to the NW and Paterson's to the SE) by Patrick Geddes (1892) is a clever evocation of its timber framed predecessor. The carved dragon brackets at the entrance and exit of the Court were restored in 2013. Two of the dragons were carved by Geddes’ 16 year old son Arthur, guided by the sculptor Alec Miller, who was with the Guild of Handicrafts, a key part of the Arts and Crafts movement.

 

Sir Patrick Geddes FRSE (2 October 1854 – 17 April 1932) was a Scottish biologist, sociologist, geographer, philanthropist and pioneering town planner. He is known for his innovative thinking in the fields of urban planning and sociology. He introduced the concept of "region" to architecture and planning and coined the term "conurbation".

Very early on in his career Geddes demonstrated the practicality of his ideas and approach. In 1886 Geddes and his newly married wife purchased a row of slum tenements in James Court, Edinburgh, making it into a single dwelling. In and around this area Geddes commenced upon a project of "conservative surgery": "weeding out the worst of the houses that surrounded them…widening the narrow closes into courtyards" and thus improving sunlight and airflow. The best of the houses were kept and restored. Geddes believed that this approach was both more economical and more humane.

Caviar

Potato, gravlax, dill. (Decoded: Gravlax under a layer of potato-leek puree with a touch of dill oil. A bagel chip raft bearing American sturgeon caviar, quail egg, and pickled onion and a sprig of fresh dill.)

 

Notes: Other than being a little difficult to eat (neatly, that is), this was a great dish for me. It's "lox and bagels" on a more creative (and colourful) level.

 

The difficult part was that the cured salmon was underneath all of the potato-leek puree. Given the odd shape of the dish, it was hard to cut and arrange a bite that contained all of the elements. I was so afraid of wasting any of the caviar that I was tempted to scoop them up in one bite (by the way, that quenelle of caviar was *perfectly* shaped). Practicality aside, the flavors were spot on - I especially enjoyed the pickled onion, which I wish there was more of, or more evenly distributed; I think it was meant to sub-in for the cream cheese/sour cream element (the potato-leek gave lent its smooth, creaminess to that effect).

 

The quail egg was nicely boiled - the yolk was just shy of being set. The bagel chip was nominal, yet essential, for me, for texture. And, of course, it wouldn't have been lox and bagel without the bagel.

 

Read about this meal at the ulterior epicure.

The Fishtail Parka was first used by the United States Army in 1951 to help protect soldiers from the elements in the Korean War.

There are two main styles of fishtail parkas; the M-51 fishtail parka; and the M-65. The M stands for military, and the number is the year it was standardized. The name fishtail comes from the fact that the coat is longer at the back than it is at the front. This was so the coat could be tied around the upper legs, much like a Knochensack for added wind proofing as they are not, as some think, waterproof. The hood of the M-51 Fishtail Parka is integral to the jacket and folds down inside the jacket collar when not in use. The M-65 Fishtail parka has a detachable hood. Both types feature a removable liner. Designed primarily for combat arms forces such as infantry, they are to be worn over other layers of clothing; alone, the fishtail parka is insufficient to protect against "dry cold" (as used in the US military; see FM 31-70, Cold Weather Field Manual) conditions (i.e., below 14 deg. F.). On the other hand, the N-3B parka has more integral insulation and can be worn alone in colder temperatures than the fishtail parka. Because it has less insulation but is designed to fit loosely, it allows infantry more latitude to add or subtract layers underneath to adapt to changing weather or situational conditions than that allowed by the N-3B parka, which was designed for aircrews who typically worked under more static weather and geographic conditions. With proper additional insulating garments in the US military inventory, one can remain warm with the fishtail parka in -60 deg. F. temperatures. The fishtail parka has been replaced in the US military by the Extended Cold Weather Clothing System (ECWCS).

In the 1960s UK, the fishtail parka became a symbol of the mod subculture. Due to their practicality, cheapness and availability from army surplus shops, the parka was seen as the ideal garment for fending off the elements when on the mod's vehicle of choice, the scooter. Its place in popular culture was assured by newspaper pictures of parka-clad mods during the Bank Holiday riots of the 1960s (Wikipedia)

Furniture designed for comfort, practicality and portability is located around the building providing variety for users.

  

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

For the stylish parent who does not want to compromise on practicalities. Lots and lots of pockets, key fob, adjustable strap, zipper closure

Trying to achieve minimal that's comfortable, not cold? The sophistication of the Michael Living Room reflects a rustic, masculine approach to modern living, combined with luxurious textures. This design style can travel easily throughout the entire home, whether yours is an urban condominium, or a traditional single-family residence. The environment includes all of the design elements that represent nature, including glass, metal, leather, and wood. Every detail of this living room design will complement your desire for simplicity, practicality, and a mature sense of style. So grab your glass of cognac, put on your favorite jazz album, and enjoy!

 

Get the Michael Living Room Design in your home today!

 

www.onlinehomedecorating.com/michael

celebrations with 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)

bevrijdende vreugde bij de studenten van 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)

Australia, Adelaide, 25-10-2015.

Bij de World Solar Challenge zijn wederom de teams van Eindhoven en Delft beide eerste geworden. Zonnewagens uit veel landen streden tijdens een tocht van 3000 km. midden door Australie.

Stella Lux, de energie-positieve familie zonnewagen van Solar Team Eindhoven heeft gewonnen in de Cruiser klasse, waarin snelheid niet de enige factor is, ook het aantal meegereden passagiers en jury-oordeel over bv comfort, besturingsgemak en innovatie tellen mee. Ondanks de snellere tijd van het Japanse team van Kogakuin wint Eindhoven dus alsnog.

In de Challenger klasse was al bekend dat Nuon Solar Team uit Delft de winnaar was. Solar Team Twente werd nipt tweede.

foto: TU Eindhoven / Bart van Overbeeke.

 

At the World Solar Challenge the Dutch teams from Eindhoven and Delft have both won first place again. Solar Cars from many countries competed during a 3000 km. drive through Australia.

Stella Lux, the energy-positive family solar car from Dutch Solar Team Eindhoven won in the Cruiser Class, where speed is not the only winning factor also number of passengers and practicality judgement also count. Cars are judged for space, driving comfort, innovation, etc. Despite the faster time by the Japanese team from Kogakuin, Eindhoven still wins.

In the Challenger Class it was already known that Nuon Solar Team from Delft won with Solar Team Twente (also Dutch) as a close second.

Cinemateum Victoria - Ashkenaz - Director: Rachel Leah Jones, Israel 2007, 72min, Chinese and English Subtitles, A film about Aszkenazim – Jews of European origin – and the paradox of "whiteness" in Israel in comparison to Europe.

 

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.

 

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

The Hilton Cincinnati Netherland Plaza hotel opened in 1931 and is a National Historic Landmark and charter member of Historic Hotels of America. This Cincinnati hotel features breathtaking French Art Deco that has been restored to its 1930's grandeur. With rare Brazilian rosewood paneling, indirect German silver-nickel light fixtures and soaring ceiling murals, our historic Cincinnati hotel is one of the world's finest examples of French Art Deco.

 

History

The plans for the Carew Tower and Netherland Plaza Hotel were announced in August 1929 and the project was completed in January 1931. The financing for the buildings came from the Emery family, which had made its fortune in processing the by-products of Cincinnati’s stockyards. John Emery hired Walter W. Ahlschlager and Colonel William Starrett for the construction. Starrett was known as the builder of the Lincoln Memorial and the Empire State Building. Ahlschlager designed the Peabody Hotel in Memphis, Tennessee and the Hotel Intercontinental in Chicago.

 

The Carew Tower and Netherland Plaza Hotel were designed to be a “city within a city.” The concept was new in 1929 but Cincinnati were willing to gamble that the combination of shops, department stores, offices and hotel would work. The practicality was made apparent again in 1990 when the Belvedere Corporation invested in the re-development of the Carew Tower Shopping Arcade and Office Tower, featuring a collection of shops, restaurants, a 13,000 square feet fitness center complete with lap pool, and 500,000 square feet of office space.

 

Emery’s vision of the Carew Tower led him to make some bold financial moves - which worked in his favor. Emery had approached the bank to underwrite financing for the “city within a city” project. The bank did not share the vision of the multi-purpose facility and declined the loan. Emery sold all of his stocks and securities, despite advice from his financial advisors. The plans and financing for the Carew Tower were in place, and then the stock market crashed. Had Emery left his stocks and securities tied up in the stock market, he would have lost everything. But instead, with his money going toward the building of Carew Tower, the project could continue as planned. In fact, the construction project became one of the city’s largest employers.

 

As the construction on the hotel came to a close, the name St. Nicholas Plaza was selected. Just before the grand opening, the Cincinnati Realty Company (operators of the Hotel Sinton) filed an injunction against the new hotel’s name claiming that it had purchased the rights to the St. Nicholas name when the old St. Nicholas Hotel closed years before. Having invested heavily into the monogramming of linens, china, silverware and stationery, the new hotel’s name was quickly changed to St. Netherland Plaza. The St. came from Starrett’s (for the builder), the Netherland came from the thought that the hotel occupied the space between the Ohio River and the hills, and Plaza was from the original choice. The name was abbreviated to “St. NP.” Eventually, the “St.” was dropped and “Netherland Plaza” is the name that is now famous.

 

When the hotel opened in January 1931, it boasted the very latest in technology and comfort. The 800 guestrooms featured ultra-modern baths, high-speed automatic elevators, an internal broadcast system both for convenience and safety, and an automatic electric garage. The eleven kitchens that served the hotel’s dining and banquet rooms were specified, ordered and installed in only five weeks. The finest Van Range equipment was so exactingly chosen that the kitchens were able to produce a seven-course meal for 1,800 guests on opening night.

 

Chassis n° ZA9EC1012HTM09001(01)

 

- One of only five coupés made

- Chassis n° 001

- An icon of exclusivity and performance

- Only 1,238 kilometres recorded from new

- Belgian registration

 

Bonhams : The Zoute Sale

Important Collectors' Motor Cars

The Zoute Grand Prix Gallery

Estimated : € 800.000 - 1.200.000

Not sold

 

Zoute Grand Prix Car Week 2025

Knokke - Zoute

België - Belgium

October 2025

 

"The Zerouno project, developed by Italdesign Automobili Speciali, is a prime example of the division's focus on limited edition vehicles for collectors and visionary enthusiasts. With only five units produced, Zerouno blends race car performance with road-legal practicality, featuring lightweight materials and a powerful V10 engine. Designed for ultimate customization, it offers unparalleled driving experience." - Italdesign Automobili Speciali.

 

The sensation of the 2017 Geneva Motor Show, Italdesign's Zerouno 'concept car' still looks futuristic today. One of the most influential carrozzeria of recent decades, although the company is far more than a mere coachbuilder, Giorgetto Giugiaro's Italdesign had made its name designing volume-selling production cars such as the Volkswagen Golf and Sirocco, Citroën BX and Lancia Delta. Giugiaro had founded Italdesign in 1968 in partnership with ex-FIAT design engineer, Aldo Mantovani, and remained at the helm until Volkswagen took control in 2010. In 2015 he left to set up the GFG Style design studio in Turin with his son, Fabrizio Giugiaro, where he works to this day.

 

Italdesign's formidable reputation had been funded on its work for mainstream manufacturers, which makes the Zerouno historically significant as the first supercar to be launched under the company's own brand: Italdesign Automobili Speciali. Designed by Italdesign's Filippo Perini, the Zerouno is an ultra-limited-production supercar powered by the 5.2-litre Audi Sport V10 engine found in the Lamborghini Huracán and Audi R8 Plus. According to Perini, the brief "was to design a car not overlapping with anybody else's, with a look that was sexy and mean."

 

The Zerouno features an aggressive-looking carbon-fibre body and a modular carbon-fibre and aluminium chassis. The mid-mounted, naturally aspirated V10 engine produced 602bhp and 413lb/ft of torque, outputs good enough for a top speed of 205mph (330km/h) and a 0-60mph (0-100km/h) acceleration time of 3.2 seconds. Power reached the ground via a seven-speed dual-clutch gearbox and Audi quattro all-wheel drive transmission.

 

Autocar magazine got to test a Zerouno in November 2018: "It's eruptively fast, of course, dramatically noisy, unhesitatingly responsive and rich with physical communication. It also feels terrifically well developed – its handling, grip, drivability and aura of rigidity confirming the results of extensive testing that included the necessary homologation with the super-strict German TUV."

 

As is the case with the current generation of super/hypercars, their outward appearance is largely determined by the need to generate enormous downforce. In the Zerouno's case this is achieved by means of a double-decker venturi system at the rear, plus sill extensions and ventilation slats in the wing tops, exhausting air from the brakes, while at the front there is a titanium diffuser, carbon sill extensions, and a Y-shaped duct channelling air from under the bonnet.

 

According to Autocar: "You can feel the results on the road too, the car feeling wonderfully secure at speed, and not without delicacy either. This manifests itself in the ride, which while firm remains supple enough to provide satisfying feedback over rougher roads, and ensures decent comfort too... the result is a whole heap of addictive entertainment."

 

Only five Zerouno coupés and five Zerouno Duerta roadsters were produced. Despite them being priced at €1.5 million +taxes each at launch, Italdesign had no trouble in selling every last one.

 

This pristine example of one of the most exclusive automobiles ever made has covered a mere 1,238 kilometres from new and is presented effectively in 'as new' condition. Belgian registered, it represents a possibly once-in-a-lifetime opportunity to acquire a car more exclusive than almost any Ferrari and more attention grabbing than a Bugatti Veyron.

The Piaggio Ape (pronounced "ah-peh" - Italian for bee ) is a three-wheeled light commercial vehicle first produced in 1948 by Piaggio.

At the end of WWII, most Italians, badly affected by the war, lacked modes of transport, and more importantly, the financial means to acquire full-sized four-wheeled vehicles. In 1947 the inventor of the Vespa, aircraft designer Corradino D'Ascanio, came up with the idea of building a light three wheeled commercial vehicle to power Italy's economical reconstruction, an idea which found favour with Enrico Piaggio, the son of the firm's founder, Rinaldo. The very first Ape model and the mark immediately following it were mechanically a Vespa with two wheels added to the rear, with a flat-bed structure on top of the rear axle. In the early sale brochures and adverts the vehicle was referred to as the VespaCar or TriVespa and cost 170.000 liras. The first Apes featured 50cc, 125cc or 150cc and more recently 175cc engines. By the time of the 1964 Ape D a cab was added to protect the driver from the elements. The Ape has been in continuous production since its inception and has been produced in a variety of different body styles in Italy and India.

Controlled with scooter style handlebars, the original Ape was designed to sit one, but can accommodate a passenger (with a tight fit) in its cab. A door on each side is provided, making it quicker to get out of the vehicle when making deliveries to different sides of the road. Performance is suited to the job of light delivery, with good torque for hills but a low top speed, which is irrelevant in the urban settings for it was designed. Outside of towns Apes are customarily driven as close as possible to the curb to allow traffic to pass.

The vehicles comes in various configurations such as vans and pickups for load carrying and autorickshaw (Tuk-tuk) for human transportation. More recently Piaggio have made lifestyle models such as the Ape Cross Country and the Ape Web aimed at the young.

Ape Calessino Electric Lithium Values of environmental awareness and respect, which are key in the strategy of the Piaggio Group and in its research and development activities, have now led to the creation of a new zero environmental impact version of the Ape Calessino.The idea of being in touch with nature and with the surrounding environment inspired an evolution in the concept of mobility embodied by Ape Calessino better than any other vehicle. Introducing the electric Ape Calessino Electric Lithium.Ape Calessino Electric Lithium offers the same features and elegance as the conventional engine version. The electric version gains its own unique livery, with an elegant blue and white two-tone color scheme for the bodywork and canvas elements. The same two-tone scheme is echoed in the interior, with cream colored upholstery trimmed with blue piping.Since its launch, Ape Calessino has been met with a genuine fondness and a reputation as a mobility solution that breaks free of the frenetic rhythms of modern life to rediscover values of friendship and conviviality. Exclusive and elegant, yet practical and sturdy just like every other Ape; the bodywork of the new Ape Calessino Electric Lithium is given a double cataphoresis painting treatment, making it even more resistant to the corrosive action typical of the humid, saline conditions of a seaside environment.Ape Calessino Electric Lithium is the perfect vehicle for anyone who wants to stand out from the crowd with original elegance and in complete harmony with the surrounding environment.The new electric Ape Calessino combines the practicality, elegance and agility that have made the Ape Calessino such a hit with capability of accessing zones usually prohibited to vehicles with conventional internal combustion engines, such as areas of particular natural and environmental importance, historical town centers and restricted traffic areas.This makes Ape Calessino Electric Lithium an indispensable tool, for instance, for resorts, hotels and tourism operators intending to offer their guests a fun and distinctive shuttle service that can reach the centre of a cultural city, fend for itself in the hustle and bustle of a medieval town centre or wind its way along the panoramic routes of a beautiful Mediterranean island with equal ease. With a range of 75 Km, all of these destinations and more are easily within reach of the Ape Calessino Electric Lithium, in total respect for the environment and cocooned in silence: electric drive means that Ape Calessino is not just a zero emissions vehicle, it is also completely silent, so that its occupants can enjoy the beauty of a nature to the full or travel through densely populated centers without causing even the slightest disturbance.The Aenerbox system also offers another advantage: the battery does not discharge while the vehicle is not in use, even if left for prolonged periods. This is a significant benefit, especially considering the typically seasonal nature of the tourism industry, for example, and goes hand in hand with remarkable longevity. The life cycle of these batteries is an incredible 15 years (or more than 800 recharge cycles for a total of approximately 60,000 Km), compared with the 7-10 years of a conventional battery system.Built in a series of just 100 examples, the most exclusive Ape of all time is destined for a design-conscious clientele that appreciates Italian style. But this is not just an extremely functional vehicle; it is also a true collector's piece, as highlighted by the numbered plate making it even more exclusive. Ape Calessino Electric Lithium is on sale, on Italian market, at € 19,900 (VAT not included).

 

Scotland baked in the sun today 25/5/2018, with the sun beating down it felt like a day to get out and about, I decided to revisit one of my favourite sites

Dunnottar Castle as it is located

40 minutes drive from my home in Aberdeen,a piper played as visitors and tourists arrived , what a magnificent sight.

 

I wandered along the base of the castle and enjoyed the bay with its calm waters and great views, after an hour or so it was time to leave and climb the numerous stairs back up the hill to the car park.

 

Castles History.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

Visit to the North American International Auto Show at the Cobo Center in Detroit, Michigan on January 25, 2019. Hyundai Kona

 

View my collections on flickr here: Collections

 

Press L for a larger image on black.

The beginnings of Oliver's xmas 2011 suprise layout. Testing Scales and practicalities. for planned scale layout.

 

Salty marshalls a trip goods in the down goods yard; James and Gordon double head a seaside express through the down platform road; Spencer rushes through on the down main with the non stop elizabethan; james 2 acts as station pilot; Percy has a mixed goods with brakevan backed under the cranky crane by the signalbox and the thomas twins are sat on the loco shed road headshunt awaiting their workings. :-)

In September 1977 Mercedes-Benz introduced their first factory-built wagon model as part of the W123 range.

 

The T-Series was available with the same engine range as the saloon, but featured the extra practicality of the wagon body form, frequently supplemented by the fitment of a 3rd row of rearward facing seats.

 

The model shown here the 300 TD Wagon, was fitted with a 3.0 L 5-cylinder Diesel engine, and is based on the car owned by the parent of one of my friends in the 1980s. They had a large family, and the 7-seat wagon was a very sensible proposition for carrying some of the family in one go (eight kids, so there was a second car as well).

 

Power output of the diesel engine was limited, based on numbers alone the car seems woefully under-powered by today's standards. But having driven a similar W123 sedan 300 D, the car moved along well enough.

 

The W123 reange was replaced by the W124 in 1985, and the new model range also included a high-capable wagon model.

Armenian Orthodox Christmas mass and procession inside the Church of the Nativity in the West Bank town of Bethlehem January 18, 2011. Church services and ceremonies are conducted in the Cathedral of Nativity all night long and until the next 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.

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

The Armory Center for the Arts is pleased to present a collection of hand-carved, hand-painted birds and other animals, made by Japanese national Masato Wayne Sumida while interned at Poston War Relocation Center in La Paz County, Arizona. The exhibition, in the Armory’s Mezzanine Galleries, opens on Sunday, October 13, 2013 and runs through Sunday, January 26, 2014. A reception, free and open to the public, will take place on Saturday, October 12, from 7-9pm. A Far Country: Gaman Birds of Masato Wayne Sumida has been organized by Armory’s Gallery Director / Chief Curator Irene Tsatsos.

 

Poston War Relocation Center was located on a reservation three miles east of the Colorado River, was the largest Japanese internment camp, and was known for its poor sanitation and the unsettling relations between the interned Japanese and Japanese-Americans and the Colorado Native Americans who remained on the land after its repurposing. Masato Wayne Sumida lived at Poston for nearly 4 and a half years, from May 27, 1941 to November 20, 1945.

 

Sumida’s exquisite carvings – between 1” and 5” – depict a variety of brightly colored small animals, including fish and squirrels, but most are ornately painted birds. He made numerous carvings of mallards, cardinals, swans, owls, and more – each similar, yet with its own unique personality.

 

Sumida’s practice was associated with gaman, the Japanese Zen Buddhist term that refers to the idea of bearing through suffering with dignity and patience. During WWII, it also became synonymous with the objects made by the men and women who were held in the internment camps. Following the Pearl Harbor attack, ethnic Japanese were notified that they would be relocated within a week and that they were to carry everything they would need with them. Upon arrival at the camps, men, women, and children were housed in small rooms scantily furnished with a single light bulb, a wood burning stove, and cots. At first, people met their basic needs making chairs, knives, and posts on which to hang laundry. As their internment persisted, their production turned away from everyday practicalities and developed into an art form that symbolized their resilience and composure.

 

Masato Wayne Sumida’s beautiful carved and painted objects had been in safekeeping by his granddaughter Wendy Al and her husband, the artist Billy Al Bengston, after being found stored in a large trash can in her grandparents’ garage. Many Japanese-Americans of the era neglected to speak of the period, and the gaman made during internment were often given away, some sold at garage sales, or forgotten in storage spaces waiting to be rediscovered by the artists’ descendants decades later. Sumida’s son, Paul, recalls giving the birds, which were fashioned into earrings, brooches, and lapel pins, to his teachers as gifts.

 

Masato Wayne Sumida was born in Hiroshima Prefecture on October 13, 1903 and was orphaned at an early age. When he was 14 years old he took a boat to Mexico, arriving there illegally. He later swam across the Rio Grande River to enter the US. Before being interred Sumida lived in Boyle Heights, CA, where he worked as a gardener. After his release, he settled in Gardena, CA and took work as a sign painter. He was married to Hisako Sumida, who survived him. Masato Wayne Sumida died on September 12, 1995. The Sumida family members rediscovered the objects following Hisako’s death in 1999. Billy Al, seeing the objects for the first time, was overwhelmed by their creativity and beauty and launched the family’s efforts to preserve the collection.

 

The title of this show, A Far Country: Gaman Birds of Masato Wayne Sumida, quotes a line of haiku from Yajin Nakao, a poet interned at Rohwer War Relocation Center in Desha County, Arkansas:

 

Autumn foliage

California has now become

a far country

 

The tradition of haiku and other forms of poetry and writing persevered in the camps, where writers were able meet to discuss their works.

 

A Far Country: Gaman Birds of Masato Wayne Sumida runs in conjunction with the group exhibition Home Away, organized by Los Angeles-based independent curator Kris Kuramitsu, which highlights and contextualizes a group of artists that work in Los Angeles as well as other locations in Asia and Latin America, among them Ho Chi Minh City, Tokyo, Mumbai, Tijuana, Guadalajara, and Mexico City.

 

The Piaggio Ape (pronounced "ah-peh" - Italian for bee ) is a three-wheeled light commercial vehicle first produced in 1948 by Piaggio.

At the end of WWII, most Italians, badly affected by the war, lacked modes of transport, and more importantly, the financial means to acquire full-sized four-wheeled vehicles. In 1947 the inventor of the Vespa, aircraft designer Corradino D'Ascanio, came up with the idea of building a light three wheeled commercial vehicle to power Italy's economical reconstruction, an idea which found favour with Enrico Piaggio, the son of the firm's founder, Rinaldo. The very first Ape model and the mark immediately following it were mechanically a Vespa with two wheels added to the rear, with a flat-bed structure on top of the rear axle. In the early sale brochures and adverts the vehicle was referred to as the VespaCar or TriVespa and cost 170.000 liras. The first Apes featured 50cc, 125cc or 150cc and more recently 175cc engines. By the time of the 1964 Ape D a cab was added to protect the driver from the elements. The Ape has been in continuous production since its inception and has been produced in a variety of different body styles in Italy and India.

Controlled with scooter style handlebars, the original Ape was designed to sit one, but can accommodate a passenger (with a tight fit) in its cab. A door on each side is provided, making it quicker to get out of the vehicle when making deliveries to different sides of the road. Performance is suited to the job of light delivery, with good torque for hills but a low top speed, which is irrelevant in the urban settings for it was designed. Outside of towns Apes are customarily driven as close as possible to the curb to allow traffic to pass.

The vehicles comes in various configurations such as vans and pickups for load carrying and autorickshaw (Tuk-tuk) for human transportation. More recently Piaggio have made lifestyle models such as the Ape Cross Country and the Ape Web aimed at the young.

Ape Calessino Electric Lithium Values of environmental awareness and respect, which are key in the strategy of the Piaggio Group and in its research and development activities, have now led to the creation of a new zero environmental impact version of the Ape Calessino.The idea of being in touch with nature and with the surrounding environment inspired an evolution in the concept of mobility embodied by Ape Calessino better than any other vehicle. Introducing the electric Ape Calessino Electric Lithium.Ape Calessino Electric Lithium offers the same features and elegance as the conventional engine version. The electric version gains its own unique livery, with an elegant blue and white two-tone color scheme for the bodywork and canvas elements. The same two-tone scheme is echoed in the interior, with cream colored upholstery trimmed with blue piping.Since its launch, Ape Calessino has been met with a genuine fondness and a reputation as a mobility solution that breaks free of the frenetic rhythms of modern life to rediscover values of friendship and conviviality. Exclusive and elegant, yet practical and sturdy just like every other Ape; the bodywork of the new Ape Calessino Electric Lithium is given a double cataphoresis painting treatment, making it even more resistant to the corrosive action typical of the humid, saline conditions of a seaside environment.Ape Calessino Electric Lithium is the perfect vehicle for anyone who wants to stand out from the crowd with original elegance and in complete harmony with the surrounding environment.The new electric Ape Calessino combines the practicality, elegance and agility that have made the Ape Calessino such a hit with capability of accessing zones usually prohibited to vehicles with conventional internal combustion engines, such as areas of particular natural and environmental importance, historical town centers and restricted traffic areas.This makes Ape Calessino Electric Lithium an indispensable tool, for instance, for resorts, hotels and tourism operators intending to offer their guests a fun and distinctive shuttle service that can reach the centre of a cultural city, fend for itself in the hustle and bustle of a medieval town centre or wind its way along the panoramic routes of a beautiful Mediterranean island with equal ease. With a range of 75 Km, all of these destinations and more are easily within reach of the Ape Calessino Electric Lithium, in total respect for the environment and cocooned in silence: electric drive means that Ape Calessino is not just a zero emissions vehicle, it is also completely silent, so that its occupants can enjoy the beauty of a nature to the full or travel through densely populated centers without causing even the slightest disturbance.The Aenerbox system also offers another advantage: the battery does not discharge while the vehicle is not in use, even if left for prolonged periods. This is a significant benefit, especially considering the typically seasonal nature of the tourism industry, for example, and goes hand in hand with remarkable longevity. The life cycle of these batteries is an incredible 15 years (or more than 800 recharge cycles for a total of approximately 60,000 Km), compared with the 7-10 years of a conventional battery system.Built in a series of just 100 examples, the most exclusive Ape of all time is destined for a design-conscious clientele that appreciates Italian style. But this is not just an extremely functional vehicle; it is also a true collector's piece, as highlighted by the numbered plate making it even more exclusive. Ape Calessino Electric Lithium is on sale, on Italian market, at € 19,900 (VAT not included).

 

celebrations with 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)

bevrijdende vreugde bij de studenten van 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)

A field test of vintage and vintage-styled equipment for an upcoming "expedition" planned for the summer.

 

Unlike the first field test, this second outing resulted in no equipment failures. I did, however, again have a problem with heel blisters, although less severe than during the initial hike in the "big boots." The second outing was of longer distance and duration -- about three miles in total -- with considerably more scrambling up and down slopes.

 

I have not yet repaired my leather whip holder, so for practicality I secured the whip with plastic zip ties. Not "period authentic," I know, but it worked.

 

I'm debating over "the look," or specifically, "the hat" to wear during the actual expedition: this safari-style fedora, or the pith helmet. Either one is appropriate circa-1910 style, so it really comes down to which hat the chicks think makes me look dreamier.

;-p

An unusual quad-walker churned forth from Imperial factories, this vehicle was inspired by the success and clear practicality of the mounted lookout towers often equipped to pedalships such as the Mark XLVII. Although seemingly ridiculous at first, these elevated vantage points proved invaluable for walkers traveling through forested, mountainous areas as the smoke trails of enemy vehicles could be seen from miles away from treetop level. Nicknamed the 'Perch' by the Imperial military, this walker can fulfill scouting, observation, and artillery spotting roles with ease. Because of its scouting and utility function, it is absent of the vibrant colors commonly seen on Imperial fighting machines. To maneuver itself over difficult terrain, it uses a leg design almost identical to that of the Mark LV. The telescopic lookout tower, once moved into the upright center position while the vehicle is stationary, is raised by a large hand-pumped hydraulic jack located at its base. The walker is equipped with an automatic stoker and coal is carried in barrels instead of a bunker to maximize space. Two crewmen.

 

(the legs walk when the boiler is spun)

I love cars, but I'm not about my car. I don't know if that makes sense, but there are a whole lot of things more important to me. I'm not worried about the ooo-ahhh, at this point, I'm practical. I have a safe, economical, very nice car that I love! It's a 2010 Mitsubishi Outlander.

 

That being said, oooo-ahhh, I love the classics. I love a big fat 40's or 50's classic beast, all Detroit steel and sex appeal, diamond pleat leather seats with a big huge steering wheel, LOL! =o) Hey, I think that could be a song in there somewhere, but I suppose the point is, if I could put aside practicality, I'd love and appreciate having a gorgeous classic car. I learned a lot about cars from my dad. He would like this one for sure. Dad will be 72 in 10 days, but you'd never guess it. He looks much younger. Dad is also a well loved classic, and hey Dad, happy birthday a little bit early!!! I'm really glad you were born! I love you so much!

 

Hugs and thanks for viewing! =o)

 

***All rights to my images are STRICTLY reserved. Please contact me if you are interested in purchasing my images or if you are an educator or non-profit interested in use. copyright KathleenJacksonPhotography 2010***

 

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.

  

Cinemateum Victoria - Ashkenaz - Director: Rachel Leah Jones, Israel 2007, 72min, Chinese and English Subtitles, A film about Aszkenazim – Jews of European origin – and the paradox of "whiteness" in Israel in comparison to Europe.

 

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.

 

Gabriel Lester works in a range of media, initially focusing on music and progressing to film, installations and constructed environments. Lester’s work originates from a desire to tell stories, and construct environments that support these stories and propose their own narrative interpretation.

 

For Folkestone Triennial 2014, Gabriel Lester has created a sculpture sitting against and on top of the Harbour Railway Viaduct, at the point where it leaves the land and reaches across the harbour to the former Harbour Station. This ensemble of infrastructure is at the heart of Folkestone’s history as a place of embarkation, and its future remains a matter of contested speculation.

 

The sculpture provides steps on which people can sit and look at the harbour or eat their shellfish snacks, looking out across the harbour; or they can climb to the ‘observation platform’ and look along the length of the viaduct and experience the connection it creates between the old harbour residential neighbourhood and the sea front. In this way, the sculpture can contribute a positive experience to the discussions needed concerning the viaduct’s future.

 

The use of bamboo was inspired by the bamboo scaffolding Lester saw while he was living in China – he was not only impressed by its physical strength and practicality, but loved its material qualities (sound, smell, colour etc). And the bamboo also reminds us, of course, that the ‘Chinese Century’ is starting, which will no doubt have its effect on Folkestone’s economic future.

 

Lester was born in 1972 in Amsterdam, where he still lives and works. He has exhibited at: Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paolo Biennial, Sao Paolo; Performa 09 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MA CCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007; Documenta 13, Kassel; Stedelijk Museum Amsterdam among many others.

How is Personal Experience Depicted in Art?

 

Over time, the subject and contents of works of art has changed dramatically. In Ancient Greece, 600BC, they based their sculptures on the idealistic form with perfect proportions, both in figure and architecture. Much of the art was modelled on Greek Gods, so a lot of the content was mythological, based on belief rather than any direct experience. It was the work, not the artist, that was important, and most artists weren’t even acknowledged for their work.

2000 years later with the advent of Renaissance, all this changed. Suddenly the artist became important. As well as religious artefacts, paintings and sculptures began to depict real people, and the most skilful artists were revered and sought after, so the first celebrity artists were born. Today, successful contemporary artists enjoy considerable notoriety and have a great deal of autonomy in what they produce, many proving self-indulgent, strongly-autobiographical work with very little social responsibility.

 

TRACEY EMIN

 

Tracey Emin is one of those artists. She says that her work ‘is my way of trying to explore and understand life’ , and many of her artworks reflect and delve into the emotions that are personal to her, but which are also relevant to modern day society.

Almost anybody can relate to lust, love, anger and loss, which she regularly depicts in her work. Some of this addresses events in her life that some may find disturbing or frightening, such as rape and abortion; these taboo subjects are not often portrayed in works of arts, but the strong visual imagery and the text that accompanies much of her work give background and intense personal involvement to the situations portrayed. As a result, the very inner core of her emotions are on display, encouraging the viewer to engage, understand and related to the story.

Cliff Lauson, author of the essay Love Is What You Want says, ‘while much of her artwork insists upon a continuous encounter with the most intimate details of her life, the themes, stories and situations therein also relate to more generalised and everyday experiences’ . Many of the public won’t have had the same highly charged emotional experiences that Tracey Emin has had in her life. I think that it’s because of this that she depicts events as much more ‘everyday than one would expect, helping her audience to relate to the work but recognise its deeper significance.

In my work I would like to experiment with using my own life experiences as the basis for my creations. Although dissimilar to Emin’s encounters, mine will hopefully resonate with the viewers who will probably have had similar experiences to which they could relate, and may feel the love that I do, or otherwise, for similar objects or people in their own lives.

One piece of Tracey Emin’s work that illustrates her deeply personal subject matter is ‘How it Feels’, 1996, a film exploring her failed abortion in graphic detail. Watching this at her exhibition, Love Is What You Want, I was surprised at how easy it was to put aside the moral and social issues that accompany abortion, and instead focus entirely on Emin and how she dealt with it. The close ups of her awkward, writhing hands suggested the deeply emotional upheaval she was feeling and prompted me, the viewer, to feel a greater empathy for her. Although most of us in the room may have never, and would never have to go through what she had, she was giving us the opportunity to share in her experience and consider wider social implications outside of our own comfort zone. Almost all conscious, pre-conceived prejudices were left behind for at least the duration of the film, and on leaving I felt as though I knew the real Tracey Emin better for the experience, which I believe is what she’s trying to achieve.

However, not only does Emin dis-alienate the viewer from more harrowing events in her life, she also gives meaning to some that may appear more trivial. One area of the exhibition entitled Memorabilia pays homage to ‘everyday’ items of life. In this installation she uses seemingly everyday objects of no great significance to anyone by herself; China and plastic ornaments that were presents to her mother that she disregarded as such, an upholstered chair of her grandmother’s that she (Emin) travelled the world with, and tubes that were taken from the hospital after one of her abortions. The significance of these objects were only achieved after reading the accompanying text, all of which was hand-written, sometimes pages long. I think that by including text, Emin was able to ensure that the viewer couldn’t misinterpret her intention, and encouraged me to again share her experiences in order to fully understand her reasons for placing these artefacts in front of us. Although must of the text was descriptive, only touching occasionally on how she felt, being hand-written I felt a more intimate connection with her and her work, appreciating that some comment were viciously-scrawled whilst others were gentler, more subdued and understated.

This can also be seen in her appliques, particularly ‘Hotel International’, 1993, where scrawled anecdotes about her parents meeting each other and reminiscences of her home above the ‘KFC’ in Margate are sewn, graffiti-like onto the fabric. In this way, Tracey Emin could be described as a text-based artist. Another element of her appliquéd work that interested me was her use of traditional crafts, especially in her appliques. For me, the inclusion of a medium that’s relatively ‘homely’ portrays the events that she describes in a softer, more innocent light, creating juxtaposition between the subject matter and the media used.

Melanie McGrath says of Tracey Emin that ‘She challenges us to think of writing as a visual art, and visual art as a kind of text’ It’s this concept alongside her personal approach that I wish to explore in my own work. I have taken and gathered my own photographs on subjects that are personal to my own life, including memories and anecdotes. Some of these I have recorded inside my sketchbook which I intend to use as an accompaniment to image-based compositions.

 

ROBERT RAUSCHENBERG

 

Another such artist is Robert Rauschenberg, although he portrays the events in his life less explicitly than Emin. ‘His art always seeks to communicate directly with the audience’ , and his juxtaposition of text against images results in his presentation of work to the public in a visually interesting way. One example of this is the Sydney Symphony Orchestra.

Alongside word, dates have also been included in his artwork, shown in some more personal pieces of work like Roci Malaysia, which includes the date of the event, signifying that some of the understanding of the piece comes with knowing when it happened.

Many of Rauschenberg’s pieces from his ‘Posters’ series are collage-style, and printed, which has enabled him to use many different media to create the final outcome, including the use of offset and photomechanical printing. Image and objects are titled, mirrored and overlain on top of one another to produce complex compositions, which, similarly to Emin’s work, encourages the viewer to analyse his artworks from all angles to draw their own conclusion. In my work I would like to achieve a similar effect, possibly through the use of painted images with text and photographs.

In addition, I’ll adopt the ‘personal experience’ pathways that both Emin and Rauschenberg have communicated in their artwork, and incorporating the traditional-crafts medium that Tracey Emin has included in much of her work.

 

RESEARCH

 

Following my decision to base the project on my own experiences and after photographing subject matters personal to my own life, I’m looking at ways to present my research photos using varying mediums. These include drawings, machine embroidery, oil and acrylic painted pieces and painted overlays.

One of my main areas of interest is creating a composition with depth owing to a collection of layered images, similarly to Rauschenberg, so using a medium that would allow for the image beneath to still be seen clearly was an area of consideration. As a result of this I’m experimenting further with machine embroidery, which I’ll be able to ‘draw’ over the top of other painted images with. This would also fulfil my plans of using multiple media, in particular traditional crafts, within my artwork, so this technique seems ideal for inclusion within the project.

I’m currently following two main pathway subjects, one being my dad and the other being my dog, Madeline. These have become front-runners as they’re both family members, although in differing ways, and have therefore had a very strong impact on my life. My research regarding my dad was based at his clock shop, where he runs his own business of selling and repairing antique and reproduction clocks. My decision to base it here was drawn from that being the place where he spends much of his time, doing something that he has a passion for, and where I often see him myself. The clock shop, for me, has a very homely feel and is a place where I often see other family members as well as his colleagues, which I believe is quite rare in our society, where many work in large corporations with their children hardly knowing what their parents do at work. For this reason, and that I look up to him for his hard-working and resilient attitude, I wanted to show my dad in this setting, but have also included other aspects, like his MG classic car and his motorbike incorporate his leisure time, giving a more rounded view of him.

My dog’s inclusion in this project was due to her being an integral part of the family albeit an ageing one, and I want to capture her comfort-bringing nature within the family at her age. Initial research photographs were taken from a country walk with her as well as around the house, which give an overall impression of her. Initially I was planning to drop this pathway to focus on just my dad, but following the death of my dog during the project I wanted to include her jointly within the project as means of remembering her, and her death was another experience that impacted upon the whole family, as described in. The main focus of this project will be interpreting the warmth that these two characters bring to me and my family, and the application of Rauschenberg’s often bright colour schemes within my own work will hopefully produce this effect.

To create a composition with similar depth to Rauschenberg’s I’m incorporating images within my work that has relevance to the subjects being portrayed. I’ve taken photos of interesting features of clocks and their faces, which gave me the inspiration to use these types of images in a machine embroidery layer as there’s quite a lot of ‘white space’ within many of the clock faces which could be left blank for the image beneath to be able to be seen, and like Rauschenberg’s use of white space I could use this to highlight and link areas of my final composition.

 

FINAL COMPOSITION

 

My final composition draws inspiration from both Emin and Rauschenberg and combines subject matter from both my dad and Maddy. My dad situated as the background shows him as the backbone to the piece, as he is in our family, and painting his face in a tighter style than the other background areas emphasises his presence within the piece. Madeline in the bottom corner, but in a heavier, more expressive painting style isn’t situated in this position solely due to composition practicalities, but also implies her social standing; although she’s doesn’t give a rigid structure as such to the family, she’s always been dependable and holding her own among us.

Painting the background and foreground in different styles with different media also helps to separate the images and give them their own standing within the composition, helping to prevent the two from blending together. The use of strong vertical and horizontal lines from the left edge of the painted foreground, the clock in the background and the machine embroidered clock help to create a stronger composition too, breaking up the piece into geometrical shapes, ultimately leaving space for my dad in the background.

I’ve also included written text within the final piece, a phrase that’s related to my dad working at a clock shop – ‘My dad owns an antique clock shop, which means our house is filled with them. Hardly any of them tell the correct time.’ I’ve tried to form a phrase that would be reminiscent of Tracey Emin, so I’ve written it ‘short and sharp’ like much of the text on her appliqués, but trying to keep the handwriting soft and free-flowing to retain a warm feeling overall. This is also machine embroidered onto the piece along with the clock face, which draws influence from her use of traditional crafts within her work.

In my opinion this final piece does depict my personal experience, albeit in a fairly subdued style. It includes characters whose initial link won’t seem apparent, but the written text at the top of the page helps to hint to the links the piece with my own life, as is often the case with both Emin and Rauschenberg’s work.

 

The modern trash bins in the park were ordinary, dull plastic. I became fascinated with the practicality of the old trash bins - with roofs! Smart! Keeps the trash dry so it doesn't get yucky when it's collected. Of course, this was from the time when people didn't chuck out pizza boxes and other large items of trash. This model didn't scale.

Australia, Adelaide, 25-10-2015.

Bij de World Solar Challenge zijn wederom de teams van Eindhoven en Delft beide eerste geworden. Zonnewagens uit veel landen streden tijdens een tocht van 3000 km. midden door Australie.

Stella Lux, de energie-positieve familie zonnewagen van Solar Team Eindhoven heeft gewonnen in de Cruiser klasse, waarin snelheid niet de enige factor is, ook het aantal meegereden passagiers en jury-oordeel over bv comfort, besturingsgemak en innovatie tellen mee. Ondanks de snellere tijd van het Japanse team van Kogakuin wint Eindhoven dus alsnog.

In de Challenger klasse was al bekend dat Nuon Solar Team uit Delft de winnaar was. Solar Team Twente werd nipt tweede.

foto: TU Eindhoven / Bart van Overbeeke.

 

At the World Solar Challenge the Dutch teams from Eindhoven and Delft have both won first place again. Solar Cars from many countries competed during a 3000 km. drive through Australia.

Stella Lux, the energy-positive family solar car from Dutch Solar Team Eindhoven won in the Cruiser Class, where speed is not the only winning factor also number of passengers and practicality judgement also count. Cars are judged for space, driving comfort, innovation, etc. Despite the faster time by the Japanese team from Kogakuin, Eindhoven still wins.

In the Challenger Class it was already known that Nuon Solar Team from Delft won with Solar Team Twente (also Dutch) as a close second.

Australia, Adelaide, 25-10-2015.

Tom Selden van Solar Team Eindhoven bedankt:

Bij de World Solar Challenge zijn wederom de teams van Eindhoven en Delft beide eerste geworden. Zonnewagens uit veel landen streden tijdens een tocht van 3000 km. midden door Australie.

Stella Lux, de energie-positieve familie zonnewagen van Solar Team Eindhoven heeft gewonnen in de Cruiser klasse, waarin snelheid niet de enige factor is, ook het aantal meegereden passagiers en jury-oordeel over bv comfort, besturingsgemak en innovatie tellen mee. Ondanks de snellere tijd van het Japanse team van Kogakuin wint Eindhoven dus alsnog.

In de Challenger klasse was al bekend dat Nuon Solar Team uit Delft de winnaar was. Solar Team Twente werd nipt tweede.

foto: TU Eindhoven / Bart van Overbeeke.

 

At the World Solar Challenge the Dutch teams from Eindhoven and Delft have both won first place again. Solar Cars from many countries competed during a 3000 km. drive through Australia.

Stella Lux, the energy-positive family solar car from Dutch Solar Team Eindhoven won in the Cruiser Class, where speed is not the only winning factor also number of passengers and practicality judgement also count. Cars are judged for space, driving comfort, innovation, etc. Despite the faster time by the Japanese team from Kogakuin, Eindhoven still wins.

In the Challenger Class it was already known that Nuon Solar Team from Delft won with Solar Team Twente (also Dutch) as a close second.

Cinemateum Victoria - Men on the Edge - Fishermen’s Diary, a film by Avner Faingulernt & Macabit Abramson, 2005, 90 Min., Hebrew/Arabic (English sub.)

 

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.

 

Armenian Orthodox Christmas mass and procession inside the Church of the Nativity in the West Bank town of Bethlehem January 18, 2011. Church services and ceremonies are conducted in the Cathedral of Nativity all night long and until the next 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.

Concert and exhibition opening in the evangelical Lutheran church of Augusta Victoria on The Mount of Olives in Jerusalem, on Friday the 16th of December at 6 a clock pm. The exhibition is a complete Biblical cycle of both The Old- and The New Testament developed by the Norwegian, surrealist painter Håkon Gullvåg. The exhibition was in 2005 made as a temporary decoration for Nidaros Cathedral in Trondheim, which is the national sanctuary of Norway. The motifs will through this show “come home” to their historical context, and will be displayed in the church during both Christmas 2011 and Easter 2012.

Opening speeches will be held by H. E. the Norwegian Minister of Government Administration, Reform and Church affairs Rigmor Aasrud, and by the bishop of the Evangelical Lutheran Church in Jordan and the Holy Land the Rt. Rev. Dr. Munib A. Younan.

 

The concert that follows the exhibition opening will be held by the Norwegian chamber ensemble The Trondheim Soloists, the Norwegian musician and composer Henning Sommeroe, together with the Palestinian artist and composer Rim Banna.

 

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.

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

The Tesla Model X may be a large crossover utility vehicle (CUV) in development by Tesla Motors. Model X is intended from the bottom up to mix the area and practicality of a sport utility vehicle vehicle with seating for seven adults and therefore the uncompromised performance of a Tesla....

 

top10sportscars.com/2016-tesla-model-x-large-crossover-ut...

inspired by recent talks with jeff and eric.

  

rich people and theoretical art.

things that matter to rich people vs things that matter to everyone.

primitive arts like making a beautiful clay pot, or any clay pot at all.

the practicality of making bowls beautiful, bowls contain water

the practicality of making money which you can spend anywhere.

diamonds are beautiful things that carry varying amounts of money.

the art employed by business/marketing/law/govt/etc.

how strongly these systems have created a symbology that carries meaning.

 

the container.

a clay pot, a book, a journal paper, a computer, etc.

the creation of beautiful containers.

 

On Aphrodite's beach in South Cyprus, a number of pebbly hearts have been created by visitors. This one shows consideration and effort, I applauded it (internally, I should add).

 

Beaches have long been associated as places of love. Probably as they provide a legitimate excuse to hang around partially clad members of the opposite gender. But the practicalities of sand, cold water, rocks and pebbles provide considerable barriers to any physical acts of love. Regrettably I have no first hand experience but am told this is so.

 

However, the only other places that offer similar opportunities are swimming pools and perhaps saunas. But, unlike beaches, you tend to get kicked out of these places if you so much as waggle an eyebrow at anyone.

 

Again, I have no experience in being forcibly ejected from bathing facilities due to inappropriate behaviour. Nor do I want any, to be quite honest