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«Être homme, c'est précisément être responsable. C'est connaître la honte en face d'une misère qui ne semblait pas dépendre de soi. C'est être fier d'une victoire que les camarades ont remportée. C'est sentir, en posant sa pierre, que l'on contribue à bâtir le monde.»
(Antoine de Saint-Exupéry "Terre des hommes")
«To be a human is, precisely, to be responsible. It is to feel shame at the sight of what seems to be unmerited misery. It is to take pride in a victory won by one's comrades. It is to feel, when setting one's stone, that one is contributing to the building of the world»
(Antoine de Saint-Exupéry "Wind, Sand and Stars")
«Να είσαι άνθρωπος, σημαίνει ακριβώς να είσαι υπεύθυνος. Να γνωρίσεις την ντροπή απέναντι σε μια δυστυχία που δε μοιάζει να έρχεται από σένα. Να νιώθεις περηφάνια για μια νίκη που πέτυχαν οι συνάδελφοί σου. Να αισθάνεσαι, βάζοντας κι εσύ το λιθαράκι σου, πως συντελείς στο κτίσιμο του κόσμου»
(Antoine de Saint-Exupéry "Γη των ανθρώπων")
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
The Hubble Space Telescope has spotted a UFO — well, the UFO Galaxy, to be precise. NGC 2683 is a spiral galaxy seen almost edge-on, giving it the shape of a classic science fiction spaceship. This is why the astronomers at the Astronaut Memorial Planetarium and Observatory gave it this attention-grabbing nickname. While a bird’s eye view lets us see the detailed structure of a galaxy (such as this Hubble image of a barred spiral), a side-on view has its own perks. In particular, it gives astronomers a great opportunity to see the delicate dusty lanes of the spiral arms silhouetted against the golden haze of the galaxy’s core. In addition, brilliant clusters of young blue stars shine scattered throughout the disc, mapping the galaxy’s star-forming regions. Perhaps surprisingly, side-on views of galaxies like this one do not prevent astronomers from deducing their structures. Studies of the properties of the light coming from NGC 2683 suggest that this is a barred spiral galaxy, even though the angle we see it at does not let us see this directly. NGC 2683, discovered on 5 February 1788 by the famous astronomer William Herschel, lies in the Northern constellation of Lynx. A constellation named not because of its resemblance to the feline animal, but because it is fairly faint, requiring the “sensitive eyes of a cat” to discern it. And when you manage to get a look at it, you’ll find treasures like this, making it well worth the effort. This image is produced from two adjacent fields observed in visible and infrared light by Hubble’s Advanced Camera for Surveys. A narrow strip which appears slightly blurred and crosses most the image horizontally is a result of a gap between Hubble’s detectors. This strip has been patched using images from observations of the galaxy made by ground-based telescopes, which show significantly less detail. The field of view is approximately 6.5 by 3.3 arcminutes.
Credit: ESA/Hubble & NASA
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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The precise moment that the guy in the turban and the woman with the camera engaged. Priceless encounter for the woman. India.
No matter how precise the manufacture of a mechanical instrument, proper servicing and regular use is necessary to keep it running smoothly. This is certainly the case with my vintage Leica IIf from 1952.
It is more than likely that this old camera has not been used to take photographs in decades. So what could go wrong?
Recently our fully mechanical Dugena clock manufactured in East Germany in 1960 simply stopped working. It is now undergoing a proper service. It appears the problem is simply one of lubrication. Over time the lubricants wear out and need to be replaced. Mechanically the clock is fine.
There are two problems with the camera that you can see in these samples: (1) One of the shutter curtains appears to be closing fractionally late and shows up "ghosting" in the sky. (2) Those little spots of light on the dark wood panels are telltale signs of pinholes that have formed in the cloth shutter curtains allowing light leaks onto the negative.
Another without a precise date but it must be late 1963. Class 85 E3090 was built at Doncaster Works and is seen here sitting outside soon afterwards. Her official date to traffic was 29th October 1963.
The loco became 85035 and 85109 in later life and was withdrawn in July 1991, she was cut up at MC Metals around July 1992.
Image from a slide in my collection by an unknown photographer.
Don't have a more precise date than February 1968 for this one and the location is Welwyn Garden City thanks to the Gents below.
The class 15's hauling the train of coal wagons are D8233 in green and the one with the double arrows was given as D8231 but I can not make out the number. They were both allocated to Finsbury Park at this time.
D8233 was new to Stratford in August 1960 and withdrawn in February 1969, it then moved into departmental service which happily lead to it now being preserved. D8231 was not so lucky, being withdrawn in March 1971 and cut up at Crewe within a year.
Image from a slide in my collection by an unknown photographer.
“We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.” [Ray Bradbury, Fahrenheit 451]
It was momentous to leave North Saanich this time, knowing what we do. The beauty of friendship is often tinged with sadness. And that in itself is a far more beautiful thing than indifference.
looking at the back of Evelyn and Andrew's house
Excerpt from Wikipedia:
The Church of Our Lady is a historical building in Kalundborg, northwestern Zealand, Denmark. The precise date of construction is not known with any certainty, though its architecture indicates the early part of the 13th century. With its five distinctive towers, it stands on a hill above the harbour, making it the town's most imposing landmark.
The church is built of red brick, indicating that it was constructed no earlier than 1170 when brick was first used in Denmark.
At the time when the church was built, a small medieval town stood on the hill. It was originally fortified by Snare's castle but this was replaced in the 14th century by Kalundborg Castle, now in ruins, with its ring walls and ditches. Much of this has now disappeared but the old churchyard walls are still intact. Two brick houses from 1500 form part of the boundary walls and a few brick houses near the church are evidence of the prosperity the town enjoyed in the 15th century.
The central tower of the church collapsed in 1827 due to structural flaws and incautious repairs inside the church. Collapse did not cause any injuries but many medieval furnishings were destroyed .
As the church had fallen into a state of disrepair by the beginning of the 19th century, restoration work was carried out first from 1867 to 1871 under the leadership of Vilhelm Tvedes when the central tower was rebuilt, and later from 1917 to 1921 when the three entrances and the windows were reconstructed under architects Andreas and Mogens Clemmensen. From the square nave, four arms of equal length stretch out to a polygon terminal. These proportions have been compared to the description of the New Jerusalem in the Book of Revelation. While the original barrel vaults of the transepts are still in place, the columns in the nave and the vaults have been reconstructed.
The medieval sacristy (1400) along the north wall of the chancel is well preserved. In about 1500 it was given an upper storey.
The plan is in the form of a Greek cross with four arms of equal length. The window arches as well as the pilasters and sunken columns inside the church suggest the involvement of Lombard builders from northern Italy. It is said to be Denmark's most important contribution to architecture during the Middle Ages.
The church's central tower, known as Mary's tower (after the Virgin Mary), is 44 m tall and square-shaped while the four lateral towers, each 34 m tall, are octagonal. The other towers are also named after saints: St. Anne's to the east, St. Gertrude's to the west, St. Mary Magdalene's to the south and St. Catherine's to the north. The four columns supporting the central tower are made of granite, providing additional strength. With five towers in all, the church is unique.
The architecture reveals similarities with the Church of the Holy Sepulchre, as well as with grouped towers in the great churches of France and the Rhineland. In particular, both the church's age and its architectural style have much in common with Tournai Cathedral in the south of Belgium. The masonry, on the other hand, is comparable to that of other early brick buildings in the area such as St. Bendt's Church in Ringsted.
...Have you ever tried to force a flower of magnolia to open its petals?
It is wonderful in early morning, when its sweetness is stronger.
Do not cut the flower, it is strong on the plant, but if you cut it away, it will die in a little time.
By the way: try to open its heart: a strong fragrance of lemon will be everywhere; close your eyes and touch those petals with a soft caress and the lemon sweetness will remain on your fingers as the most sensual sensation of freshness and beauty.
Now, open your eyes: look at the flower... its magic shape, its magic pure and simple shape: only few petals giving us all Love of Nature....
From a travelling English woman's vacations diary
IT WAS CAPTURED AS IT WAS ON THE PLANT
NO PHOTOSHOP; NO DIGITALLY CORRECTED: OBLIQUE NATURAL LIGHTED.
SEE ON BLACK, PLEASE, IT WOULD BE EVEN BETTER
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
Prompt: Use Image 1 as the Base image. Perform a precise, natural-looking edit while preserving all unmentioned elements exactly as in the original, including the child’s identity and likeness, facial features, clothing colors and style, pose, environment, props, lighting mood, painterly illustration style, composition, camera angle, and background setting. Replace the existing puppy on the left with a realistic West Highland White Terrier puppy (small, fluffy white coat, dark nose and eyes), positioned naturally on the same spot with correct scale, grounding, and soft contact shadows matching the scene lighting. Add an additional salt-and-pepper Schnauzer puppy (gray and white wiry coat, distinct eyebrows and beard) near the girl, integrated as a second puppy without crowding, with believable posture and eye line. Modify the little girl’s hair so it is long blonde hair flowing down naturally, maintaining her age, facial likeness, and pouting mood; pouting facial expression. Ensure seamless blending: consistent lighting direction, color harmony, texture fidelity, and painterly finish with no halos or cutout artifacts at 200% zoom.
This digital fine art was created using OpenAI Sora AI and Photoshop
I did a precise measurement and approximately 59 seconds out of every minute was spent visualizing myself slipping and falling into the water, then washed over the waterfall forever. The other 1 second was spent partially slipping and feeling intense panic that everything visualized in the previous 59 seconds was about to come true.
I have no idea where the precise figure of Euro 1269.74 comes from.
Hopefully people are suitably deterred by the specifics of the fine. Certainly i did not notice any dog poo there at all.
The Cardigans - Fine
Last Tuesday to be precise. They say wearing black is meant to be slimming but looking at this I'm not so sure. My eyes are unfortunately still quite bad so this was the last time I dressed, hopefully they'll have cleared up (or at least improved) so I can go out on Thursday. I spent most of Monday playing golf and am now most definitely paying the price from an eczema perspective, as grass and I don't really don't get along. Oh well back to work 💋
My New Novel:
B♭ (B-flat)
This is the third time I'm sharing it. (^^;;
It's a rough sketch from the beginning, more like notes.
Hope you enjoy reading it. :)
I've added quite a bit.
I won’t be uploading any more. (^_^;)
Note: I gave a brief explanation of this novel in the following video:
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
Set in New York City.
www.flickr.com/photos/stealaway/54599616429/in/dateposted...
Red, yellow, blue—
Light rain began to fall on East 52nd Street just after 7 p.m.
Anaya Patel leaned against the wall of the building next to Tot Ramen, where she was supposed to meet someone, and absentmindedly stared at the traffic light at the intersection to her right. Though it was already July, it felt like a cooler summer than last year, and she regretted stepping out in just a T-shirt.
When the light turned green, Anaya squinted and stared intently. Kana, her former classmate, was smiling and waving as she ran toward her—
The flat ceiling of Madison Square Garden looked as if it were swelling from the heat of the crowd to Jack. Cheers welcoming the presidential candidate mingled with angry shouts, shaking the air like a wave.
Jack surveyed the arena briefly before returning his gaze to his iPhone. Several social media feeds scrolled simultaneously on the screen, overflowing with rapid posts.
One post in the Meta feed caught his eye. A death threat.
Republican presidential candidate Justin Bradford was about to take the stage with his fiancée, Eleanor Blake.
As the red lights symbolizing the Republican Party lit up the center stage, the two appeared together.
Then came the gunshots.
Jack recognized it instantly—two shots.
While chaos erupted inside the arena, Jack calmly closed his eyes and visualized the scene. He traced the sound of each shot to its possible source.
The first shot had likely come from the PA area near his right side. But Secret Service agents were stationed there.
He recalculated the second shot—probably fired from the left side of the stage. The assailant must have known the couple's precise positions. A security leak, perhaps.
Then came the second report. Ben Holloway, his colleague, delivered it with practiced calm. The bullets had grazed Justin’s left shoulder and abdomen. No arteries were hit, but the bleeding was severe.
Jack replied with steady resolve:
"Justin has Bombay blood. I confirmed it three days ago with Bellevue Hospital. They have a reserve."
Ben acknowledged it calmly, as if nothing had happened.
Justin was rushed to Bellevue, the nearest hospital. Jack called Elijah Kane, who was already waiting there. Secret Service agents, of course, never used apps like WhatsApp.
Before the first ring ended, Elijah picked up.
"Jack, it’s bad. We don’t have the blood. The Bombay blood is gone."
Jack couldn’t believe it.
"I confirmed it personally three days ago with the staff. Saw the blood bags myself."
After a brief pause, Elijah answered:
"The person in charge of those bags died in a car accident yesterday."
Anaya waited for her husband Arjun at Tot Ramen. Her college friend Mika (Sato), a Japanese artist, was with her.
As the waiter placed her bowl in front of her, her phone rang.
It was Bellevue Hospital.
Without hesitation, Anaya answered. Mika watched her with concern.
"Ms. Anaya Patel? This is Sasha Wilson from the ER. You may have heard, but the Republican presidential candidate was shot. We need your blood immediately. A Secret Service vehicle will pick you up. Please do not move."
Anaya turned toward the display hanging over the counter. A male reporter was broadcasting live from MSG.
At the entrance, a well-dressed man in a blue suit approached quickly.
"I’m Rohan Shah with the Secret Service. Please come with me. The car is outside."
Just as he reached for her, Anaya's phone buzzed again. The caller ID was unknown.
"Hello?"
"Ms. Anaya Patel?"
"Yes, who is this?"
"Jack Vance, Secret Service. I'm almost there."
"How do you know my location?"
"We’re professionals. We have ways."
"But the agent is already here."
Jack’s urgent shout rang through the phone: "NO!"
The man before her drew a rifle from inside his suit and aimed it at her forehead.
A soft gunshot echoed inside the restaurant.
Anaya froze in shock, unable to speak. The man collapsed to the floor.
Then Arjun appeared—her husband, pointing a gun at her.
"Freeze! FBI!"
Several NYPD officers and suited FBI agents stormed in.
"Everyone down! Hands behind your heads!"
Classic movie dialogue. Anaya was trembling. So was Mika. But probably no one was shaking more than Arjun.
Moments later, Jack burst into the restaurant.
"Anaya Patel!"
Without looking up, she answered:
"Yes, that’s me."
Jack wiped sweat from his brow, lifted her up, and said:
"We’re going to the hospital."
At the hospital, Elijah sent Jack a message with a link.
Jack tossed his phone to Anaya in the passenger seat:
"Open the link!"
It was a live broadcast.
"Good evening, New York. And Los Angeles. My name is Zakaria Haddad. That’s my real name.
I used to live in Gaza. Now, I'm in a room modeled exactly after your President’s office."
Zakaria, a brown-skinned man with a beard, sat calmly in a chair identical to the Oval Office's.
He glanced at his watch, then back to the camera.
"There’s about to be breaking news. Watch your smartphone alerts."
Seconds later:
BREAKING: Former Democratic President Owen Reid shot at Los Angeles Convention Center.
Zakaria smirked and said:
"A sad alert, isn’t it, America? But don’t be too sad. What I went through in Gaza was 55,000 times worse. We lost more than 55,000 loved ones. And cried tears we couldn’t stop."
He bowed his head, clenched his fists, and pounded the desk.
When he looked up, his eyes were wet.
"We seek no money. No glory in death. We only ask that you cry as many tears as we did. Only tears can heal what we lost."
He placed his elbows on the desk, rested his chin on clasped hands, and closed his eyes.
His eyelids trembled slightly.
"I'm just one of the 55,000. If I vanish, 50,000 more remain. Our will cannot be silenced. I'm here to declare it."
From the drawer, he pulled out a Glock 17, chambered a round, and aimed it at his temple.
As a Sunni Muslim, he looked into the camera and said dryly:
"God bless you, America."
He closed his eyes and pulled the trigger.
The screen went black.
The corridor to the ICU was tightly guarded.
Jack handed Anaya to Sasha.
Sasha had her sign a consent form and led her to a bed.
The bed next to hers was enclosed in vinyl sheets, a man inside, barely recognizable as the candidate.
Sasha gave detailed instructions to the staff.
Vital monitors, oxygen equipment, ventilators—every machine had someone watching it.
A nurse wiped Anaya's arm with disinfectant and inserted a needle.
Blood flowed into the tube.
Direct transfusion is usually avoided due to infection risk, but Bombay blood is an exception.
Anaya had signed, understanding the danger.
She didn’t feel it yet—that her blood was saving a life.
She stared up at the ceiling and breathed deeply.
She had only come to eat ramen with Mika.
What would happen to Arjun? Who had he shot?
As these thoughts swirled, sleep took her.
Justin's father, Cyrus Rajan Bradford, emigrated from Mumbai in 1971 and served five terms as a Democratic congressman from New Jersey's 6th District.
He was shot while giving a speech in Union Square.
Justin, then a child, couldn't grasp what had happened.
The shooter was a young Democrat—a white-collar idealist who demanded immediate healthcare reform. Cyrus’ gradual approach wasn’t fast enough for him.
Cyrus, himself an immigrant, believed real change took time.
But little Justin just wanted to hug his father.
Even as he stopped breathing.
He believed the hug might bring him back.
Justin never forgave that man.
Cyrus Rajan Bradford:
"We must dream big, but move forward step by step. Sudden change only divides society. Democracy means lifting the voices of the unheard and walking together."
Anaya and Mika drove from Paramus, New Jersey, to Williamsburg for the Artists & Freeze weekend event.
Mika had come from Japan to study at Montclair State University and admired Anaya's black-and-white drawings.
Anaya used pencils, pens, and everyday stationery to draw portraits and scenes.
Mika, who painted vivid oil works, was drawn to the simplicity of Anaya's work.
In the campus cafeteria, Anaya once told Mika:
"The place I grew up was barren. No green. No rivers. Just dry wind and sand. But I didn’t hate it."
She poked at her ham and eggs.
"There was nothing but paper and pencils. That’s all I had."
She smiled gently at Mika.
"But I felt I had to treasure it. Everyone on social media seemed so wealthy. But I didn’t envy them. I wanted to show the world my own everyday life. Isn’t it beautiful to share the place you love?"
Mika nodded deeply.
She had grown up in Kamiyama-cho, Shibuya, where the streets were quiet, lined with traditional homes, even as the rest of the district transformed with flashy ads and modern towers. That contrast shaped her art.
"The darkest hour is just before dawn."
Manhattan's dawn recalled that phrase.
When America fell into darkness, a trader once said it.
Amir had heard it from Zakaria, his professor at the Islamic University of Gaza.
Amir and Rafi Ghanem were both his students. They studied electrical engineering, electronics, and programming.
Understanding America’s weak IT networks was easy for them.
Zakaria helped scatter families of Gaza's 55,000 dead across the U.S., waiting.
Rafi and Amir were among them.
They had lost wives, lovers, families.
Those in darkness find no light.
Only those who gather at the bottom of the abyss, resolved, can rival true power—even the U.S. presidency.
Rafi had begun building a pirate radio two years earlier.
Using Caribbean and Hispanic immigrant communities as cover, he revived ancient communication: one-way broadcast.
They carried smartphones but used them only for idle talk. Nothing sensitive.
Rafi pressed the switch.
A tiny click was swallowed by the night.
A red lamp glowed.
The voltage meter twitched.
At exactly 2 a.m., on FM 87.9, a woman’s voice read poetry:
"If the world ends,
I want to be singing,
Alone."
To be continued...
iTunes Playlist Link::
music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD
1 U2 Helter Skelter (Live) youtu.be/OBL-gVSJp2I?si=CuYs7HKsxCaVTQb3
2 Jimi Hendrix: The Star Spangled Banner (Live): www.youtube.com/watch?v=sjzZh6-h9fM
3 Jimi Hendrix: Purple Haze (Live): www.youtube.com/watch?v=cJunCsrhJjg
4 The Beatles: If I Fell (2009 - Remaster): www.youtube.com/watch?v=MX3Xm4TNF00
5 Tyler, The Creator: Take Your Mask Off (feat. Daniel Caesar & Latoya Williams...): youtu.be/tSd85SmghYs?si=-E-M6dhSdcYzBFjU
6 The Weeknd: Niagara Falls: www.youtube.com/watch?v=HxWx5UuznGI
7 Drake: Laugh Now Cry Later (feat. Lil Durk): www.youtube.com/watch?v=JFm7YDVlqnI
8 Linda Sikhakhane: Inkehli: www.youtube.com/watch?v=vDHbPFAlrO4
9 Freja Lundgren - Finding Silence – : Not found.https://www.youtube.com/channel/UCUo7F3P2ObeLyC8Fwp70NEQ
10 Mathias Eick: Loving: www.youtube.com/watch?v=VYh_orn9ydA
11 21 Savage & Summer Walker: prove it: www.youtube.com/watch?v=dNIJmlhgqGk
12 Tiana Major9: On God!: www.youtube.com/watch?v=6wp1Q5V2eKI
13 Usher: Kissing Strangers: www.youtube.com/watch?v=_fepftsv6RA
14 JUNG KOOK: Never Let Go: www.youtube.com/watch?v=J_n4Ysi5iUM
15 Taylor Swift: This Love: www.youtube.com/watch?v=6xsL45rr3VU
16 Metallica: Disposable Heroes: www.youtube.com/watch?v=JIiXONFj6lM
17 The Beatles:Across The Universe (Remastered 2009):youtu.be/90M60PzmxEE?si=DvkYgRwEK_lha6CT
18 Ganavya: Land: www.youtube.com/watch?v=HRmU6z6v1cs
Notes
1. "Bombay Blood Type (hh type)"
•Characteristics: A rare blood type that lacks the usual ABO antigens — cannot be classified as A, B, or O.
•Discovery: First identified in 1952 in Mumbai, India (formerly Bombay).
•Prevalence: Roughly 1 in 10,000 people in India; globally, about 1 in 2.5 million.
•Transfusion Compatibility: Only compatible with blood from other Bombay type donors.
2. 2024 Harvard University Valedictorian Speech – The Power of Not Knowing
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3. Shots Fired at Trump Rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
Manhattan. New York. USA. 2007. (7 / 8)
Shot with a Nikon Coolpix 8700.
Today's photo has never been published before.
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僕の新しい小説。
B♭ （ビーフラット）
3回の公開です(^^;;
冒頭からの走り書きです。メモ程度です。
よかったら読んでください。:)
結構、加えましたよー^_^
もうアップしません。(^_^;)
舞台はニューヨークです。
追記 この小説を多少説明しました。
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
— 赤、黄色、青ーーー
イースト５２ndストリートに小雨が舞いはじめたのは、午後七時過ぎだった。
アナヤ・パテルは、待ち合わせたトットラーメンのとなりのビルの壁面にもたれ、右手に見える十字路の信号機をぼんやり眺めていた。もう７月だというのに、昨年よりも冷夏に感じ、Tシャツ一枚で出かけてきたことを後悔していた。
十字路の信号が青に変わると、アナは目を細め、凝視した。同級生のカナがこちらへ手を振りながら微笑み、駆け寄ってきていた——
マジソンスクエアガーデンの平坦な天井は、吐き出された人の熱気でいつもより膨らんでいるように、ジャックには見えた。大統領候補を歓迎する声とそれを罵倒する叫び声が錯綜し、鼓膜の奥を揺らしていた。
ジャックは、軽く場内の隅々まで目を凝らしてから、再びアイフォンに目を落とした。画面には、いくつかのSNSが同時に広がっており、それぞれが激しい書き込みによって文字が流れてゆく。
右下の、メタの書き込みに、ジャックは目を留めた。殺害予告だ。
大統領候補のジャスティン・ブラッドフォードは、フィアンセのエリノア・ブレイクとともに間も無くステージに立つ。
共和党を示す赤い光がステージ中央に差し込むと、二人は同時に現れた。
と、同時に、銃声が響いた。
一聴しただけでは気づかなかったがジャックの耳は聴き分けた。弾は二発だ。
騒然とした場内をよそに、ジャックは静かに目を閉じた。発射音から着弾までを想像した。
一発目の弾は、ジャックの右手、たぶん、PA近辺からだ。しかし、ジャックと同じ配属のシークレットサービスが張り込んでいたはずだ。もうひとつの弾丸をジャックは再び目を閉じて計算した。
弾は、たぶん、ステージ左手側からだ。ジャスティンとエリノアの二人の立ち位置を計算しているようだ。ひょっとしたら情報が漏れていたかもしれない。
ジャックの耳に第２報が入った。同僚のベン・ホロウェイの冷静な声だ。心臓ははずれたものの、弾は左肩と腹部をかすめていた。動脈には達していなかったが、出血がひどかった。
ジャックも冷静に、ベンへ伝えた。
「ジャスティンはボンベイブラッドだ。三日前にベルビュー病院に確認した。予備の血液は保管されている」
ベンは、何事もなかったかのように、わかったと静かにいった。
マジソンスクエアガーデンにもっとも近いベルビュー病院に、ジャスティンを運び込む。ジャックは、病院で控えているイライジャ・ケインにスマートフォンから直接電話した。シークレットサービスではもちろんワッツアップなどのSNSはご法度だ。
ワンコールが切れる前にすぐイライジャは反応した。
「ジャック、大変だ。血液がない。ボンベイブラッドがないんだ」
ジャックは、耳を疑った。
「三日前に、俺は直接担当の、名前は忘れたな。とにかく目の前でブラッドバッグを確認したぞ」
イライジャは、数秒の沈黙の後、応えた。
「その血液の管理者は、きのう、交通事故で亡くなったんだ」
アナヤ・パテルは、夫のアルジュンをトットラーメンで待った。
学生時代からの親友、ミカ（佐藤）（日本人）も一緒だ。
店員が、アナヤの目の前にラーメンを差し出したとき、スマートフォンが鳴った。
登録してあるベルビュー病院からだった。
アナヤは、躊躇わずに出た。着信を見たミカは不安げにアナヤを見守った。
「アナヤ・パテルさんですか？ 私は救急部のサーシャウィルソンと言います。すでにご存知かもしれませんが、共和党大統領候補が撃たれました。あなたの血が必要です。すぐに病院へ来てください。シークレットサービスの車が迎えに行きます。動かないでください」
アナヤは、呆然としているミカの視線を追って、背後を振り返った。カウンターのちょうど左上に下がったディスプレイには、MSGの現在が男性レポーターによって放映されている。
アナは開いた入り口に目を移した。青い、洗練されたスーツをまとった褐色の肌の男性が、足早にアナに寄ってきた。
「シークレットサービスのロハン・シャーと言います。私と一緒に病院へ来てください。外に車を用意してあります」
彼は真剣な眼差しでアナへ伝え、手を引こうとした瞬間、アナのアイフォンが再び震えた。番号だけ浮かびあがっている。登録されていないようだ。アナは慌てて、タッチした。
「はい」
「アナヤ・パテルさん？」
「ええ、あなたは？」
「ジャック。ジャック・ヴァンス。シークレットサービスです。もうすぐそちらへ到着します」
「わたしの場所をどうやって？」
「わたしたちはプロだ。あらゆる手段を用意しています」
「もう、シークレットサービスの人が来てるわ」
ジャックの、違う！ という怒声が響いた瞬間、目の前の男性はスーツの内から小銃を引き抜き、アナの額に向けた。
店内に小さな銃声が響いた。
アナは、震えることすら忘れ、言葉を失い、放心していた。
目の前の男性がゆっくり床へ崩れると、夫のアルジュンが、やはりアナに銃を向けて現れた。
「フリーズ！FBI ！」
数人の制服を着たNYPDとグレイのスーツを纏ったFBIが叫んだ。
「全員、手を頭の後ろに回して床に伏せろ！」
映画のようなお決まりのセリフに、アナは震えていた。もちろん、ミカも。たぶん、アナの夫のアルジュンが最も震えていただろう。
遅れて、ジャックが店内に向け、叫んだ。
「アナヤ・パテル！」
アナは、見上げることなく、そのままに応えた。足がまだ震えている。
「わたしです」
額に汗を浮かべたジャックは、アナの身を起こすと、いった。
「すぐに病院へ行く」
病院にいるイライジャから、リンク付きのメッセージが届いた。
助手席に乗り込んだアナへジャックはアイフォンを放り投げると、リンク先を開け、と叫んだ。
慌てて、アナが触れると、どうやら生放送のようだった。
「こんばんは、ニューヨーク。そしてロサンゼルス。私の名前はザカリア・ハッダード。本名だ。
数年前、ガザに住んでいた。今は、みなさんがよく目にする部屋を真似た部屋に私はいる」
褐色の、顎髭をたくわえたザカリアは、アメリカ大統領執務室とほとんど同じ部屋の椅子に座っていた。
腕時計にゆっくり目を落としてから、再び、カメラに視線を向けた。
「そろそろブレイキングニュースだ。スマートフォンの速報に注目して欲しい」
ザカリアがそういった途端、速報が流れた。
【民主党前大統領のオーウェン・リードがロサンゼルス・コンベンション・センターで銃撃された模様です】
ザカリアは、一瞬俯いて笑いを堪えながらいった。
「悲しい速報じゃないか。アメリカのみなさん。でもどうか悲しまないで欲しい。私が経験したガザではこの55,000倍だ。55,000人以上の大切な人を失い、そして、涙を流した」
ザカリアは、再び俯いたまま、両手を固く握りしめ、力強く机を叩きつけた。
顔を上げたザカリアの目にはうっすらと涙が溢れていた。
「私たちは、お金を求めない。また、死による名誉も求めない。私たちが欲しいのは、55,000人が流した涙と同じだけの涙だ。流された涙と同じだけの涙だけが、私たちを癒す」
両肘を机につき、両手を組むと、ザカリアは静かに顎を乗せた。目を閉じて、しばらく沈黙が続いた。目尻が細かく震えているようだった。そのままゆっくり口を開いた。
「55,000人のうちの私はひとりに過ぎない。私が消えても５万人もの意思は決して消えず、引き継がれる。私は、私たちの意思をここに表明するためにいる」
ザカリアは、机の引き出しから、グロック１７を取り出すと、スライドしてチャンバーに弾を流した。そして、自分のこめかみに向けた。
スンニ派である彼は、まっすぐにカメラを見つめ、皮肉混じりにいった。
「神のご加護を。アメリカ」
ザカリアは、目を閉じると、トリガーを真っ直ぐに引いた。乾いた音が部屋に響いた。映像は、瞬時に黒へ切り替わった。
ICUまでの通路は、警官らによって厳重に確保されていた。ジャックは、サーシャにアナを引き渡した。
サーシャはアナに簡単な挨拶を済ますと、同意書にサインさせ、ベッドへ横たわるよう指示した。
となりに置かれたベッドは、薄いビニールシートに囲われ、男性らしい人が寝ているようだ。ネットで見た大統領候補とは到底結びつかない。
アナにはそこにいる男性が大統領候補だということにピンとこなかった。
サーシャがスタッフに細かい指示を出している。
バイタルモニター、酸素装置、人工呼吸器。それぞれにスタッフが張り付き、患者の血圧や心拍数が監視されているようだ。
スタッフのひとりが、アナの腕を消毒液で拭うと、静脈ラインに針を刺した。血液はビニールの管をすぐに見たした。
通常、ダイレクトトランスフュージョン、直接輸血は、感染症の危険が伴うので行われないが、ボンベイブラッドは別だ。
いままさに、となりにいるジャスティンに必要なのだ。その危険性について、アナはサーシャの説明を理解し、サインした。
アナには、実感がなかった。曇りガラスの向こう側にいる男性の命を、自分の血液が救っていることを。
アナは白い天井を見上げ、深い深呼吸をした。ミカとラーメンを食べにきただけだったのに。アルジュンは、男性を撃ったようだった。
いったい彼はどうなってしまうんだろう。撃たれた男性は何者だったのか。
アナは、今の自分を取り巻く状況に考えを張り巡らせているうちに、眠りに落ちていた。
ジャスティンの父、サイラス・ラージャン・ブラッドフォードは、7１年、ムンバイから渡米し、ニュージャージー州第6選挙区で下院議員を5期務めた民主党の重鎮だった。
ユニオンスクエアパークで、集まった労働者らに向け、演説中、聴衆の真正面にいた男に銃撃された。一瞬の出来事だった。
幼かったジャスティンは、呆気に取られ、何が起こったかを理解できなかった。父は、一瞬にしてその場に倒れ、病院へ運ばれたものの、即死だった。
犯人は、若い、民主党員のホワイトカラーだった。父の古い理想主義は彼に通じなかった。医療費の即時無料化を求めた彼は、父の段階を追った手法を受け入れることはできなかった。彼の母は、すぐにも医療費の無料化を必要としていたからだ。父は、早急な変化は退けた。医療だけでなく、あらゆるすべてが多くの人に浸透し、行き渡るためには、多くの時間を要するのだと、移民として、ムンバイからニュージャージーに移り住み、地域に溶け込むことに多大な時間が必要であることを身をもって知っていた。しかしーーーー
幼かったジャスティンは、父のそばに駆け寄って手を握り締めたかった。父の呼吸が止まっていても、そばに寄り添って、父を抱きしめたかった。
抱きしめることで、ひょっとしたら、父は目を覚ますかもしれないじゃないか、、、幼かったジャスティンは、そう信じていた。
ジャスティンは、ホワイトカラーを決して許すことはなかった。
サイラス・ラージャン・ブラッドフォード
「我々は大きな夢を見るべきだが、一歩ずつ確実に進まねばならない。急激な変化は社会の分断を深めるだけだ。民主主義とは、声なき者の声を拾い上げ、共に歩むことだ」
アナとミカは、週末に開催されるアーティスツ・アンド・フリーズに展示するため、（ニュージャージー州の）パラマスからウィリアムズバーグに向けて、車を走らせていた。だいたい５０分ほどで到着する。
モントクレア州立大学に日本からやってきたミカは、同じ美術学部に同籍していたアナの、白黒の作品に魅了された。アナは、鉛筆やシャープペンシル、ボールペン、万年筆など、日常に使われているステーショナリーで、人物や風景、静物を描いていた。多彩な油絵で表現するミカは、色らしい色のないアナの作品に関心を持った。
アナは、大学の食堂でミカに答えたことがある。
ーー わたしが住んでいた街は、殺風景だった。緑や川はなく、乾いた砂が吹き荒ぶ。それが私を幼い頃から囲んでいた。でも、私はそこが嫌いではなかった ーー
そこまで、静かににつぶやくと、プレートに乗ったハムエッグの真ん中を小さく突いた。続けて、いった。
ーー 風景だけでなく、実際、私の周りには何もなかった。あったのは、紙と鉛筆ぐらい ーー
アナは軽くミカに微笑んだ。ミカも笑い返した。
ーー でも、わたしはそれを大切にしなければならないと感じた。スマフォのSNSの人たちはとても豊かに見えた。でも、なぜか羨ましいとか、こうなりたいとか思えなかったの。むしろ、私は私の日常をもっとみんなに見せたいと思った。だって、自分が好きな場所を誰かに伝えることって、素敵だと思わない？ ーー
ミカは笑わずに深く頷いた。ミカも同感だった。渋谷の神山町で幼少時代を過ごしたミカは、ずっと渋谷の変遷を見てきた。渋谷の艶やかな広告やビルの外壁などの変化は彼女を魅了した。反面、自宅のあった神山町は穏やかで、古風な邸宅が並ぶ昔ながらの街並みだった。その対比が、彼女の内面を支えていた。
ーー 夜明け前が一番暗い ーー
マンハッタンの夜明けは、そんな言葉を思い出させる。
この国が闇に堕ちた時、トレーダーがそう言ったと、アミールは、イスラム大学工学部の教授だったザカリアから生前聞いた言葉だ。
アミールと同じようにラフィ・ガンナムもザカリアの師弟だ。二人は、電気工学をザカリアから学んでいた。
電子機器だけでなく、プログラムから幅広いコンピュータ機器まで学んでいた。アメリカの脆弱なITネットワークを熟知することなど彼らにしてみたら容易いものだった。
当時、イスラエルによって圧倒されたガザ地区の５５，０００人の死者の家族の一部は、ザカリアによってアメリカへ不法に散らばって居住し、時を待った。
ラフィも、そしてアミールもそのうちのひとりだ。ザカリアも、ラフィも、アミールも、妻や恋人、そして家族を失い絶望した。生きる意味を見失ったものに光など与えられない。光を見出せなどという人間は偽善者だ。与えられたのは、深い闇だけだった。闇の底で、集い、意を決したものほど、力強いものはいないだろう。おそらく、世界最高の実質的な権力を掌握しているアメリカ大統領に匹敵できるのは彼らのような存在だけかもしれない。
ラフィは、２年前からパイレーツラジオを仕込み始めた。カリブ系やヒスパニック系の移民コミュニティの傘を利用して、伝令を一方的に伝える、そんな古いやり方に答えを見出していた。SNSはもちろん、スマートフォンのやりとり全てはアメリカの情報機関に掌握されている。まったくやりとりをしないことも不自然になるので、ラフィらもスマートフォンは持ち歩いているが、日常的な、他愛ないやり取りだけだ。
ラフィは、放送機のスイッチを押した。微かに発したスイッチ音は、夜の静けさに吸い込まれていった。
小さな赤いランプが灯り、沈黙の中で、近辺に居住する同胞らにつながった。電圧計の針がわずかに震えた。
午前2時ちょうど、FM87.9から音が流れた。砂嵐に混じって、女の声が詩を読んでいた。
「この世界が終わるなら、私はひとりで歌っていたい」
つづく。
iTunes Playlist Link::
music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD
1 U2 Helter Skelter (Live) youtu.be/OBL-gVSJp2I?si=CuYs7HKsxCaVTQb3
2 ジミ・ヘンドリックス: The Star Spangled Banner (Live): www.youtube.com/watch?v=sjzZh6-h9fM
3 ジミ・ヘンドリックス: Purple Haze (Live): www.youtube.com/watch?v=cJunCsrhJjg
4 ビートルズ: 恋におちたら (2009 - Remaster): www.youtube.com/watch?v=MX3Xm4TNF00
5 タイラー・ザ・クリエイター: Take Your Mask Off (feat. Daniel Caesar & Latoya Williams...): youtu.be/tSd85SmghYs?si=-E-M6dhSdcYzBFjU
6 ザ・ウィークエンド: Niagara Falls: www.youtube.com/watch?v=HxWx5UuznGI
7 ドレイク: Laugh Now Cry Later (feat. Lil Durk): www.youtube.com/watch?v=JFm7YDVlqnI
8 Linda Sikhakhane: Inkehli: www.youtube.com/watch?v=vDHbPFAlrO4
9 Freja Lundgren - Finding Silence : 見つかりませんでした。https://www.youtube.com/channel/UCUo7F3P2ObeLyC8Fwp70NEQ
10 マティアス・アイク: Loving: www.youtube.com/watch?v=VYh_orn9ydA
11 21サヴェージ & サマー・ウォーカー: prove it: www.youtube.com/watch?v=dNIJmlhgqGk
12 ティアナ・メジャーナイン: On God!: www.youtube.com/watch?v=6wp1Q5V2eKI
13 アッシャー: Kissing Strangers: www.youtube.com/watch?v=_fepftsv6RA
14 JUNG KOOK: Never Let Go: www.youtube.com/watch?v=J_n4Ysi5iUM
16 テイラー・スウィフト: This Love: www.youtube.com/watch?v=6xsL45rr3VU
17 メタリカ: Disposable Heroes: www.youtube.com/watch?v=JIiXONFj6lM
18 ビートルズ:Across The Universe (Remastered 2009):youtu.be/90M60PzmxEE?si=DvkYgRwEK_lha6CT
19 ガナヴヤ: Land: www.youtube.com/watch?v=HRmU6z6v1cs
メモ
1
「Bombay型（ボンベイ型、hh型）」
•特徴：通常のABO血液型を持たない（A、B、Oに分類されない）特殊な型。
•発見地：1952年、インド・ムンバイ（旧ボンベイ）で初めて確認。
•発生頻度：インドでは1万人に1人程度だが、世界的には約250万人に1人とも。
•輸血制限：同じBombay型しか輸血できない。
2
2024年ハーバード大学首席の卒業式スピーチ『知らないことの力』
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3
Shots fired at Trump rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
マンハッタン。ニューヨーク。アメリカ。２００７年。( 7 / 8 )
Nikon coolpix 8700 shot
今日の写真は、未発表です。
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Tyvek (yes that building stuff) quilt blocks by Andre Mowbray currently on exhibit at Fruitlands Museum in Harvard, Massachusetts
121 in 2021
#73 - Precision
Thank you in advance for your views, comments, and faves. They are much appreciated!
At this precise moment in time, a family member is laying on a hospital bed knowing there is not long left..
During times like these people get sad, people cry, people ask questions, people get angry..with me...it sort of stays inside..I dont bottle it up.. I just deal with quietly.
Its times like these that make you take a step back and think..
This family memeber... said words that I will never forget.. Ever. As she lay there on the bed she asked my mother..."why is this happening to me ?, I have never done nobody any harm. I have been nothing but kind."
Hearing my mum tell me those words.. really hit me.. I never get emotional at sad times.. I show it in the bucket loads during fun times..but sad times I hide it.. But at that moment,, It hit me.. and I cried.
How do you deal with knowing you are going to die..in days ?
It makes me wonder.. sometimes....what is the whole point of it all..
We all know that every single one of us has the same destiny.. we can not change that..
Whoever decided that this is the way is was to be....needs to re-think.. because this way is shit.
I wish I was I was in charge of all this.. I wouldn't know what to do, or the right way to make it all better.. but I know it should not have to be this way.
"Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment. Or the smallest act of caring, all of which have the potential to turn a life around."
All to often, when we go through these tough times..we are given advice or get told things to help make good of what we have.
Here are a few litte quotes that spring to mind..
Laugh when you can,
Apologise when you should,
Let go of what you can not change,
Kiss slowly,
Forgive quickly,
Play hard,
Take chances,
Give everything and have no regrets,
Life is too short to be anything else but happy..
Edit: Explored !! Thank You !!
Highest position: #220 on Wednesday, July 7, 2010
Bluff Rock sits beside the New England Highway ten kilometres south of Tenterfield. The precise details of what happened here on October 17, 1844 remain somewhat clouded but the general contours of the story are well known and stand as an example of what took place across Australia in the nineteenth and early twentieth centuries as white settlement expanded into Aboriginal homelands. By 1840 pastoralists, including one Edward Irby, had begun to take up runs on the northern tablelands of New South Wales. Local Aborigines fiercely resisted this incursion into their country. With justification the settlers were regarded as foreign invaders, and in the course of the Aboriginal resistance shepherds were attacked and sheep were speared.
As a hedge against possible prosecution, contemporary reports of reprisals by white settlers were often guarded and there are conflicting stories of what transpired at Bluff Rock. A second hand account from a later date relates how, in response to Aboriginal attacks on shepherds and sheep, men from Irby’s station set out in pursuit. It was said that when they caught up with the “culprits” at Pyes Creek, the Aborigines retreated across country to Bluff Rock where they were thrown from the top onto the rocks below. According to this report, most were killed and many were injured.
Somewhat more circumspectly, Irby himself describes how one of his shepherds, Robinson by name, was killed and how he and three others set out to find those responsible. In his journal he records the dark deeds of that day:
The blacks saw us coming and hid themselves among the rocks, One, in his haste, dropped poor Robinson’s coat so we knew we were onto the right tribe. If they had taken to their heels they might have got away, instead of doing so, they got their fighting men to attack us. So we punished them severely and proved our superiority to them.
Like many of his time, Irby seems not to have questioned his natural right to mete out punishment to those he saw as murders and thieves. Among pioneering pastoralists there was little recognition of the fact that they, the white settlers, were the intruders and that the Aborigines were legitimately defending their land and their way of life. The incident at Bluff Rock is but one small event in what historians such as Henry Reynolds refer to as the Aboriginal Wars. In this series of frontier skirmishes that followed the expansion of white settlement, it is estimated that some 2,500 whites lost their lives and at least 30,000 Aborigines were killed.
© Irwin Reynolds, all rights reserved. If you are interested in using one of my images or would like a high quality fine art print, please send me an email (irwinreynolds@me.com)
Well, to be more precise, the same four day-old Moon, on the left first in 16bit mode and then on the right in 8bit mode a few minutes later with the same camera and all other settings identical. I wanted to see if there was any obvious difference in the quality of the two images. There is - just - it is very subtle and difficult to pick up though.
Both images were taken in evening twilight before it got dark.
Peter
The Children's Learning Discovery Center, to be precise, uncharacteristically quiet at closing time. This view is only about 1/2 of the second floor. of a two-story, 22,000 square-feet wing that opened in 2011 and includes Interactive science activities designed in collaboration with the Exploratorium. Queens Public Library, Jamaica, Queens, NYC -- March 10, 2020
www.youtube.com/watch?v=LxTBDHe9F0Q
It's fun for me to watch this years later knowing what didn't work out. The soft seating was one of the first things to go.
Scan of a slide taken in November 1990; before precising the history of this vehicle, one of the odd traditions of the K&ESR's C&W Department was that Dave Dine cooked a Christmas Dinner for his fellow volunteers. I say odd, because this always seemed a slightly un-Dave thing to do but he made a fair stab at roast turkey with all the trimmings and I recall sometimes some of his work colleagues were invited too. Virtually all of us had to drive so it was a fairly abstemiousness affair (Gordon Young and Pete Carey never returned to 'work' if they had even as much as a half at lunchtime) and although memory plays tricks on me, I think the 1990 venue was this carriage. Also, if memory serves me right the interior was a bit odd, I recall Gordon describing it as a 'Formica Palace'. All would have seemed well in the world of C&W at that point; several Mark Ones were available for general services, the 'Wealden Pullman' wine and dine set had been maintained for yet another profitable season and progress was being made with the Maunsells and the vintage carriages..
This vehicle was built in 1931 at Eastleigh as a restriction '0' Corridor Composite for the restricted gauge Hasting line. It passed into Departmental Stock in 1962 as TDS70155 and arrived at Tenterden in 1990 becoming No. 91 in the K&ESR stock book. Presumably whilst we were scoffing our turkey we assumed this carriage would one day see service on the K&ESR (why else would Paul Ramsden have green lighted the purchase). However, it had move to Robertsbridge by 1995 and suffered fire damage at one end. It has since been reunited with Paul at Rampart Engineering and is most likely currently at Barrow Hill.
One of my favorite female Northern Harriers making a very precise approach to her postal perch in the coastal wetland.
This is a shot of the precise spot where the Byzantine Cathedral of the Taxiarchs (of St. Michael the Archangel) once stood in Ioannina, Greece, within the South-Eastern citadel (aka Iç-Kale) of the Castle. The church was deliberately demolished in c.1430, then on the exactly same spot the ‘FETHİYE Câmii’ (Turkish for ‘mosque of the Conquest‘) was erected by the Ottoman Turks.
It was in writing that the latter had promised certain privileges (such as the freedom of worship with no conversion of churches into mosques etc.) to the people living in Ioannina as conditions of the surrender agreement reached (“Sinan Paşa’s designation”, ratified by imperial decree of Sultan Murad II).
Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.
Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.
Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.
Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.
In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).
The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.
In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.
The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.
In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time
Oh my little précises baby …..So you had to find out the hard way…..Love hurts ….So very much…..And now look at you with your heart all broken……But now sweetheart, Mother is by your side ….Now Come ….. Let me wipe away you’re heartbroken tears …. And ease your mind Billie Jean…… I too have had my heart broken, and like you….I thought it would never heal …..But soon …pretty soon…You will start to feel better…..As I did……. And yes there will be other favourite toys that you will have……that heads don’t fall off when you are playing with them…..Now…. will look and see what Di has done ….Why she has darned teddy head right back on..<3 <3 <3 …..So let’s see the BJ smile again …..xxxx
... to the top level of Churchill Square shopping centre to be precise. This colourful decoration is above a food outlet.
Ulak Tartysh is team riding horse game. It consist in a wrestle for possession of the headless carcass of a goat. The two teams of riders attempt to deliver it across the opposition s goal line, or into the opposition s goal, made with a big tub or a circle marked on the ground.
The goat is 35 kilogs, and the men on the horses carry it with 1 hand!
© Eric Lafforgue
en.wikipedia.org/wiki/White_Tower_of_Thessaloniki
The White Tower of Thessaloniki (Greek: Λευκός Πύργος Lefkos Pyrgos), is a monument and museum on the waterfront of the city of Thessaloniki, capital of the region of Macedonia in northern Greece. The present tower replaced an old Byzantine fortification which was mentioned around the 12th century and reconstructed by the Ottomans to fortify the city's harbour; it became a notorious prison and scene of mass executions during the period of Ottoman rule. It was substantially remodeled and its exterior was whitewashed after Greece gained control of the city in 1912. It has been adopted as the symbol of the city.
Physical attributes
The White Tower in 1912, showing the chemise that surrounded the tower until its demolition in 1917.
The White Tower takes the form of a cylindrical drum 23 m (75 ft) in diameter with a height of 27 m (89 ft) above ground level, on top of which is a turret 12 m (39 ft) in diameter and 6 m (20 ft) high. Some of the embrasures in the outer wall of the tower are reached by a spiral ramp; others are accessed from a central room on each of the six floors. The turret houses a platform with a diameter of 10 m (33 ft), and the platform at the top of the main tower in front of the turret is about 5 m (16 ft) wide.
The tower has been altered substantially over the years. Early illustrations show that it was originally covered by a conical roof, like similar towers in the Yedikule Fortress and Rumelihisarı fortress in Istanbul. Until its demolition in 1917, a chemise stood at the foot of the tower, supporting the heavy guns and enclosing an area at least three times the diameter of the main tower. Octagonal turrets on the chemise and caponiers at ground level provided flanking fire around the tower. It is unclear whether the chemise was part of the original scheme for the tower or was a later addition.
History
The tower, which once guarded the eastern end of the city's sea walls, was for many years attributed to Venice, to which the Byzantines ceded Thessaloniki in 1423. It is now known definitely that the tower was constructed by the Ottomans some time after the army of Sultan Murad II captured Thessaloniki in 1430.[1] Until 1912, an inscription in Ottoman Turkish verse above the door dated the structure to AH 942 (1535–1536). The historian Franz Babinger speculated that the work was designed by the great Ottoman architect Mimar Sinan, who is known to have built fortifications, including a similar tower at the Albanian port Valona in 1537.[2] The present tower likely replaced an older Byzantine tower mentioned by the 12th-century archbishop Eustathios during the sack of 1185.[3]
View of the area
The Tower was used by the Ottomans successively as a fort, garrison and a prison. In 1826, at the order of the Sultan Mahmud II, there was a massacre of the rebellious Janissaries imprisoned there. Owing to the "countless victims of Ottoman torturers and executioners", the tower acquired the name "Tower of Blood" or "Red Tower" (Turkish: Kanli Kule), which it kept until the end of the 19th century.[4]
The Tower was for centuries part of the walls of the old city of Thessaloniki, and separated the Jewish quarter of the city from the cemeteries of the Muslims and Jews.[4] The city walls were demolished in 1866. When Thessaloniki was annexed from the Ottoman Empire to the Hellenic State in 1912 during the First Balkan War, the tower was whitewashed as a symbolic gesture of cleansing, and acquired its present name. King George I of Greece was assassinated not far from the White Tower in March 1913.
The Tower is now a buff colour but has retained the name White Tower. It now stands on Thessaloniki's waterfront boulevard, Nikis (Victory) Street. It houses a museum dedicated to the history of Thessaloniki and is one of the city's leading tourist attractions. The Tower is under the administration of the Ephorate of Byzantine Antiquities of the Greek Ministry of Culture.
White Tower Museum
Today, the White Tower houses an exhibition dedicated to the city of Thessaloniki and its history throughout various periods, organized by the city's Museum of Byzantine Culture.
For the first few months of 2002 it housed ‘Byzantine Hours’, an exhibition devoted to ordinary life in Byzantine times.
Exhibits on the first floor were part of the thematic unit entitled ‘Professionals in the market place’. To be more precise, there were tools and other objects belonging to goldsmiths, blade-smiths, cobblers, glassmakers and tilers, coins and a model of the city of Thessaloniki market place. The second floor was devoted to journeys and trade. So exhibits included objects and texts related to journeys by sea and overland, fairs, spectacles and pilgrimages.
The third floor is focused mainly on the presentation of the Byzantine home and what it was like inside, the decoration, supper, and the neighbourhood. One floor above this there was an exhibition of life at home with garments and footwear, cosmetics, perfume and jewellery, personal grooming, and even superstitions. The theme of the top floor was death, covering burial and graves, funerary customs, finds from graves, gravestone inscriptions from cemeteries, even objects and specimens of magic were on display in the show cases on the top floor of the Tower.
The Tower is open to the public, and visitors have the opportunity to view a map of the city with monuments and museums, a timeline with events relevant to Thessaloniki, scientific articles of distinguished historians and archaeologists, bibliography etc. School excursions may be arranged by contacting the Byzantine Museum (tel. (++30) 2310 868 570).
Banknotes controversy
In the early 1990s, the White Tower became the focus of a major controversy between Greece and the newly independent Republic of Macedonia. Unofficial "Makedonka" souvenir banknotes created by nationalist organizations in the Republic of Macedonia depicted the White Tower of Thessaloniki, VMRO-DPMNE proposed its adoption. However, the government in Skopje rejected its official use and adopted a different design for the new Macedonian denar, which was issued in 1992.[8]
IMPRES, nonetheless, printed unofficial banknotes depicting the White Tower,[9][10] which were sold as souvenirs on the streets of Skopje, bearing a disclaimer "this is a souvenir banknote and not for official use".[11][12] The printing of the notes became the subject of a rumor in Greece that the currency of the new neighbouring state did in fact depict Greek symbols — a highly controversial point, given the dispute with the Republic of Macedonia over its name and flag.[13] The notes were never placed in circulation, as they were not legal tender, but the episode nonetheless exacerbated the ill will felt between the two countries and helped to aggravate tensions in the Balkans.
A CROSS marks the precise boundary between the town Kalampaka and the village Kastraki, Greece. The prominent lamdmark is located beneath the rock formation Bádovas in Meteora—one of UNESCO world heritage sites.
The Holy Symbol also defines a clear-cut boundary between Truth (pictorially represented by Clarity) and Propaganda (represented by Distortion):
In the fine art shot, the only clear part is the Cross and the Cross alone, because it represents truth, faith and heavens; the farther away from the Cross the surroundings are, the more distorted they get by a hell-like VORTEX of lies, deceit and sin.
Deceit, propaganda and lies lead to a Breakdown in communication. The latter is HELL (defined as the state of lack of communication or the state of being distanced); so, hell should be thought as a “state of being” rather than as a place. The Cross symbolizes sacrifice—the Almighty God’s power to “deliver us from evil.”
+ ✞
Oskar Schlemmer, (born September 4, 1888, Stuttgart, Germany—died April 13, 1943, Baden-Baden, Germany), German painter, sculptor, choreographer, and designer known for his abstract yet precise paintings of the human form as well as for his avant-garde ballet productions.
Schlemmer was exposed to design theory at a young age as an apprentice in a marquetry workshop. He took classes at the Kunstgewerbeschule (School of Applied Arts) in Stuttgart, and a scholarship allowed him to further his studies at the Stuttgart Academy of Fine Art (1906–10). He spent a year in Berlin painting and familiarizing himself with new trends in art by artists associated with the Der Sturm Gallery. He then returned to Stuttgart in 1912 and became a master student of abstract artist Adolf Hölzel.
Schlemmer was wounded in action while serving in World War I and returned to Stuttgart in 1916. In 1919 he helped spearhead a movement to modernize the curriculum at the Stuttgart Academy of Fine Art—which also involved a staunch effort to have Paul Klee appointed to the faculty there—and, more generally, to bring modern art exhibitions to Stuttgart. He was integral to organizing early exhibitions, which featured his own work as well as that of Klee, Willi Baumeister, and others.
In 1920 Schlemmer married Helena (“Tut”) Tutein, and that same year Walter Gropius invited him to the Bauhaus school in Weimar to teach. There he made significant contributions to numerous departments (sculpture, mural painting, metal work, and life drawing) but truly left his mark in the stage workshop. For that workshop he created his best-known work, Das triadisches Ballett (1922; “The Triadic Ballet”)—a ballet that he choreographed and for which he designed costumes. He named it “Triadic” to reflect the three acts, three dancers, and three colours (one for each act). The costumes he designed—based on cylinder, sphere, cone, and spiral shapes—were revolutionary. That ballet premiered in Stuttgart in 1922 and was then presented throughout the 1920s in cities such as Weimar, Frankfurt am Main, Berlin, and Paris. Schlemmer served as head of the stage workshop at the Bauhaus from 1923 to 1929. His experience with dance influenced his paintings, which began to incorporate more depth and volume, as seen in The Dancer (1923). Schlemmer developed the Bauhaus theatre in Dessau—where the school had relocated in 1925—and was involved in the design process of many theatrical productions.
Throughout the 1920s Schlemmer was commissioned to paint several murals in both private residences, such as the home of architect Adolf Meyer (1924), and public spaces, such as the former Bauhaus in Weimar (1923), which the Nazis destroyed in 1930, and the Folkwang Museum in Essen (1928–30), which the Nazis vandalized, dismantled, and removed in 1933. Schlemmer left the Bauhaus in 1929.
From the Bauhaus, Schlemmer moved to Breslau, where he continued to work in theatre and teach (State Art Academy). He also continued to paint, and in 1932 he created his well-known work Bauhaus Stairway. Without warning the Nazi regime dismissed him from his teaching position in 1933. Schlemmer moved to Switzerland for a brief time with his wife and children and painted portraits and landscapes.
The last decade of Schlemmer’s life was marred by the Nazi dictatorship and defamation of his life’s work. In 1937 five of his works were included in the Nazi-organized “Degenerate Art” exhibition in Munich. He continued to exhibit his work when possible and participated in major exhibitions in London and New York City in 1938. Schlemmer was reunited with Baumeister and other artists in 1940 when he moved to Wuppertal, Germany, where he earned a living by working at a lacquer factory. He died of a heart attack three years later. Schlemmer’s Triadic Ballet was revived on a number of occasions in the late 20th century and was performed with the original, restored costumes. Those costumes, however, were the only original elements remaining. The music and choreography associated with Schlemmer’s production were lost. A volume of his diaries and letters edited by his wife was published in 1972; an English translation by Krishna Winston was issued in 1990.
We are staying north of the border today, in Portstewart to be precise. Having had a good look at the photo I am struck by the three hard working (is that the correct word?) men on the middle pier, they seem to be very relaxed and laid back. I am expecting a very precise date range for this photo.
Among the commetary, insights and dating suggestions for this image is confirmation (from the StreetView provided by B-59) that the buildings in the middle of this image have been replaced or otherwise unrecognisable. Thankfully the buildings on the left of Harbour Place and the right of the Promenade remain. One of the other main takeaways from today is how excited we all are for tomorrow's launch of the Photo Detectives exhibition One more sleep indeed :)
Photographer: Robert French
Collection: Lawrence Photograph Collection
Date: Catalogue range c.1880-1900
NLI Ref: L_ROY_05579
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Friendship
We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.
—Ray Bradbury, Fahrenheit 451
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Shape and Stylecard: {Pixel Baby} - Marie Shape and Stylecard @ Baby Mine Mar '22
♡ C/M/NT. For Lullabeebs Aquarius and Lullabeebs Infant Body
Dress: {Little Tots} - Willow Dress @ Daydream Mar '22
♡ TD Baby, Tweeneedoo, and LB Infant. 10 colors, Fatpack HUD includes 6 Bonus Colors.
Tights: Blush. Cute Tights - White Hearts - LullaBeebs - BOM @ MP
♡ BoM only for LB Infant.
Shoes: {Little Tots & Muriel} - Kara Shoes @ Mainstore
For shape, skin, eye, and hair credits, please consider purchasing the according Shape and Stylecard. <3
For direct links and remaining credits, take a look at my post on my blog, PixelBabe.
Bessacarr meeting venue and confirm precise address details, use the interactive map on the Plymouth Brethren Christian Church UK “Our Locations” page.
Typical Weekly Service Times
Gospel preaching – Sunday at 17:15
Bible meeting – Tuesday at 19:15
The PBCC is a global Christian community of just over 55,000 members, founded around 200 years ago by John Nelson Darby. Members live in ordinary homes across Australia, New Zealand, Europe, the Americas and the Caribbean, running businesses, volunteering locally, and contributing to their neighbourhood economies
ESA’s ultra-precise deep-space navigation technique – Delta-DOR – tells us where spacecraft are, accurate to within a few hundred metres, even at a distance of 100 000 000 km.
In order to navigate a spacecraft around our Solar System we have to know how far away it is, how fast it is travelling and in what direction. Each of these steps are explained in this new infographic, "How not to lose a spacecraft".
Credits: ESA
Buddy seems to be a very German male red squirrel. It appears she is checking if that branch has grown vertically plumb and horizontal 😂 (Squirrels-2019-9155.jpg)
Rain. Lots of it. 24 inches to be precise. Only 4 days after taking this picture of the Chavón River in La Romana (Dominican Republic), a new tropical storm paced its way over the island of Hispaniola, continuing on to the East coast of the US...
Lo que falta es aún peor.
Lluvia. Y mucha. 24 pulgadas para ser precisos. Sólo 4 días después de tomar esta foto del río Chavón en La Romana (República Dominicana), una nueva tormenta tropical atravesó lentamente la isla de la Hispaniola, siguiendo su curso hacia la costa Este de los EE UU...
Olympus E-3
ZD 7-14mm f/4 ED
Aperture Priority Mode
f/1
ISO 100
7mm
1/200
Metering: Spot
White Balance: Cloudy
No Photoshop
No HDR