Since 2005, the BERNINA Stitch Regulator (BSR) has paved the way to perfect free-

motion results for users of all levels of sewing expertise. With the aid of an optical

sensor, the BSR foot analyses the movement of the fabric and regulates sewing speed, producing precise stitches of exactly the same length when sewing with

lowered feed dog. The BSR can be used for a variety of creative techniques,

from traditional freemotion quilting to appliqué or thread painting.

So here’s to our first 10 years of perfect stitches and to many, many more!

You’ll find a wealth of BSR tips and instructions from international

experts at bernina.com/tenyearsbsr.

 

Since 2005, the BERNINA Stitch Regulator (BSR) has paved the way to perfect free-

motion results for users of all levels of sewing expertise. With the aid of an optical

sensor, the BSR foot analyses the movement of the fabric and regulates sewing speed, producing precise stitches of exactly the same length when sewing with

lowered feed dog. The BSR can be used for a variety of creative techniques,

from traditional freemotion quilting to appliqué or thread painting.

So here’s to our first 10 years of perfect stitches and to many, many more!

You’ll find a wealth of BSR tips and instructions from international

experts at bernina.com/tenyearsbsr.

  

Since 2005, the BERNINA Stitch Regulator (BSR) has paved the way to perfect free-motion results for users of all levels of sewing expertise. With the aid of an optical sensor, the BSR foot analyses the movement of the fabric and regulates sewing speed, producing precise stitches of exactly the same length when sewing with lowered feed dog. The BSR can be used for a variety of creative techniques, from traditional freemotion quilting to appliqué or thread painting.

So here’s to our first 10 years of perfect stitches and to many, many more!

You’ll find a wealth of BSR tips and instructions from international experts at bernina.com/tenyearsbsr.

More precise, this is the southern end of Rua da Graça where the tram enters Largo da Graça.

Have you EVER opened a pen on a plane and had "problems" that occurred due to cabin pressure? I mean, I appreciate the helpful hint, but I guess I just never thought about it like this before.

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

 

ETYMOLOGY

The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.

 

WEAVING

Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".

 

The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.

Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.

 

Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.

Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.

 

There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.

 

TYPES OF LOOMS

BACK STRAP LOOM

The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.

 

Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[

 

WARP-WEIGHTED LOOM

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.

 

DRAWLOOM

A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.

 

HANDLOOM

A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.

 

FLYING SHUTTLE

Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.

 

The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.

 

HAUTE-LISSE AND BASSE-LISSE LOOMS

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.

 

RIBBON WEAVING

TRADITIONAL LOOMS

Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.

 

POWER LOOMS

Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.

 

Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.

 

WEFT INSERTION

Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:

 

Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.

Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.

Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.

Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.

Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.

 

SHEDDING

DOBBY LOOMS

A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.

 

JACQUARD LOOMS

The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.

 

CICULAR LOOMS

A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.

 

SYMBOLISM AND CULTURAL SIGNIFICANCE

The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.

 

WIKIPEDIA

Keith Haring used his journals to carefully document his aesthetic discoveries through precise notes and careful illustrations. One of the early artistic experiments that he detailed in his journal was his focused exploration on a set number of geometric forms. The group of twenty-five red gouache works on view here illustrates the diversity of the forms that he developed. The forms range from a simple L shape to more complicated designs. This alphabet of shapes could be assembled in various combinations to create patterns. Haring spent a good deal of time thinking about the spatial layout of the forms and how they could be combined or separated, leaving a negative form in between.

 

Keith Haring: 1978–1982, on display from March 16 to July 8, 2012 in the Morris A. and Meyer Schapiro Wing of the Brooklyn Museum, was the first large-scale exhibition to explore the early career of the artist. Curated by Raphaela Platow, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

 

Keith Haring (May 4, 1958 – February 16, 1990), a Pennsylvania native, moved to New York in 1978 and with his trademark creations across a variety of media, quickly made his mark in the thriving alternative art community that was developing outside the gallery and museum system. Haring was known for his subway graffiti, but instead of painting subway cars with spraypaint, he mostly drew with white chalk on the black paper pasted on unused advertising spaces. His distinctive style became widely known by those who never knew his identity. In his later years, he took on a more activist role, contributing works to hospitals and charities. In 1989, after being diagnosed with AIDS, he founded the Keith Haring Foundation, which supports organizations involved in AIDS education and outreach.

 

The Brooklyn Museum, sitting at the border of Prospect Heights and Crown Heights near Prospect Park, is the second largest art museum in New York City. Opened in 1897 under the leadership of Brooklyn Institute of Arts and Sciences president John B. Woodward, the 560,000-square foot, Beaux-Arts building houses a permanent collection including more than one-and-a-half million objects, from ancient Egyptian masterpieces to contemporary art.

 

Tank Infantry Mark III, Valentine IX (E2000.577)

The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.

It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.

The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.

Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.

The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.

Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.

The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.

 

Tankfest by World of Tanks - 24.-25.6.2016

The Tank Museum - Bovington, UK

Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.

 

More from Tankfest:

www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...

More from me:

www.flickr.com/photos/jukkaokauppinen

Tankfest videos:

www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...

My Imgur galleries:

grendelb.imgur.com/

   

GRIFFITH PARK - A precise series of water drops by Los Angeles Fire Department helicopters made quick work extinguishing the perimeters of a three acre non-injury wildfire that occurred in steep terrain not far from the Los Angeles Zoo on August 6, 2023.

 

© Photo by Hrach Tiflizyan

 

LAFD Incident 080623-1385

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

Some individuals have got a technique for breaking down a problem, laying it out in its easiest, most rudimentary sort. Comic and podcaster Adam Carolla did just that recently when he unleashed what a lot of conservatives will hail an acerbic but painfully precise debunking with the Occupy movement and its self-ascribed motivations. The almost 10 moment long lampooning of America’s new “f-king self-entitled monsters“ who ”think the world owes them a living” is peppered with extremely powerful language, nevertheless, Carolla’s observations are worth listening by way of for the finish.

 

Amongst the various highlights in Carolla’s rant, he asks why the very best “1 percent” of America paying 50 % of all earnings taxes within the country just isn't great adequate for the Occupiers. He also observes how “envy” in no way ahead of existed between Americans the way it does now, and that it, along with “shame” performs a vital part within the Occupiers’ determination and self-justification.

 

Reflecting on how things used to be “back while in the day,” Carolla states:

 

“You took men who constructed some thing, and you also mentioned ‘there’s a guy who completed something.‘ You did not say, ‘that guy did not shell out his honest share.’ That man compensated numerous dollars final yr, so you paid shi*t and you are pissed at him?”

 

You are able to hear Carolla’s podcast underneath. We caution yet again, he employs really sturdy language:

 

Relating to the “envy” of Occupiers, the media persona notes that men and women accustomed to look up to those who “accomplished” something and constructed corporations.

 

“It’s this envy and shame, and there’s gonna be a lot far more of it,” he warns. “It accustomed to be back within the day, a father was strolling his son and they’d see a man go by in his Rolls Royce. There goes Mr. Jenkins. Appear around him.’ What do we do now? Oooh, look at him. Does he need that auto? Why does he must generate that vehicle? Let us toss a rock at it.”

 

“That’s not gonna allow you to get from your Chevette,” Carolla adds sarcastically.

 

Reflecting on the time when people were rewarded for their actual accomplishments in lieu of for absolutely nothing in any respect, Carolla laments, “We’re coping with the initial wave of participation trophies…everybody’s a winner, there isn't any losers.”

 

He rhetorically asks why the “slowest, fattest guy on the team” would are worthy of an MVP award. In the approach of gratifying individuals undeserving, Carolla states that “we designed a bunch of f**king self-entitled monsters.”

 

“We’re coping with the first wave of these f-cking a**holes now,” he blasts in reference towards the Occupy protesters. The variety who think “my personal fecal make a difference doesn’t stink.”

 

Carolla also strongly suggests the Occupiers should “find a mirror” and discover why they're not “doing better” in daily life as opposed to appear at other folks.

 

For that most portion, Carolla maintains that even though Capitalism does veer off class at times, it's the “best method.”

 

Update: This is not the first time Carolla has spoken out versus the Occupy Motion. Beneath, listen to yet another clip for the duration of which the comedian lambastes the protesters:

 

From The Blaze.com

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

 

ETYMOLOGY

The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.

 

WEAVING

Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".

 

The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.

Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.

 

Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.

Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.

 

There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.

 

TYPES OF LOOMS

BACK STRAP LOOM

The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.

 

Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[

 

WARP-WEIGHTED LOOM

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.

 

DRAWLOOM

A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.

 

HANDLOOM

A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.

 

FLYING SHUTTLE

Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.

 

The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.

 

HAUTE-LISSE AND BASSE-LISSE LOOMS

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.

 

RIBBON WEAVING

TRADITIONAL LOOMS

Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.

 

POWER LOOMS

Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.

 

Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.

 

WEFT INSERTION

Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:

 

Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.

Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.

Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.

Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.

Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.

 

SHEDDING

DOBBY LOOMS

A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.

 

JACQUARD LOOMS

The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.

 

CICULAR LOOMS

A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.

 

SYMBOLISM AND CULTURAL SIGNIFICANCE

The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.

 

WIKIPEDIA

Utricularia minor L.

EN: Lesser Bladderwort, DE: Kleine Wasserschlauch

Slo.: mala mešinka

 

Dat.: June 10. 2008

Lat.: 45.90000 Long.: 14.10000 (coordinates not precise)

Code: Bot_270/2008_DSC9003

 

Habitat: nutrients poor, shallow standing water of a small march; next to a local road; flat terrain; mostly sunny; elevation 570 m (1.870 feet); average precipitations 1.800-2.000 mm/year, average temperature 8-9 deg C, borderline between Dinaric and prealpine phytogeographical region.

 

Substratum: soil, bottom of a shallow standing water.

 

Place: Žejna dolina valley, next to the local road from village Hotedršica toward the settlement Medvedje Brdo, (about 2 km north from the village Hotedršica), Notranska, Slovenia EC.

 

Comment: Utricularia minor is a very interesting carnivorous aquatic plant. It grows in standing and very slowly flowing waters. Only its flower stalks with yellow, bizarre looking flowers, resembling gluttonous mouth, rise above water surface. Long stolons and stalks with several times divided leaves having thin final segments live in water. The plant catches and digests small water animals like water fleas, nematodes, small fish fry and mosquito larvae with bladder-like traps situated on their leaves. Hundreds of these traps can be found on a single plant. Each bladder, which was initially thought to be a flotation device before its carnivorous nature was discovered, has a small mouth, 'trap door', surrounded by several branched protuberances looking like some kind of tentacles.

 

The functioning of these traps is ingenious – many agree the most sophisticated and simple at the same time carnivorous trapping mechanism to be found within plant kingdom. The bladder is a purely mechanical device without any sensory functions. The only active mechanism involved is the constant pumping of water out of the bladder through thin bladder's walls by cellular transportation mechanism. Since the mouth (trap door) is normally tightly closed, this pumping crates negative pressure within the bladder and squeezes it somewhat. The 'tentacles' are stiff and attached to the flexible mouth lip. If an animal touches these 'tentacles' they work simply as mechanical levers and deform the mouth lip a bit. The mouth loses its tightness and, because of the negative pressure inside the bladder, water instantly brakes into the bladder – together with the pray. This happens in about 10 ms only! The mouth closes and the pray is slowly digested by the plant. After the meal is finished the whole process starts again (Ref.: 4). Note: Picture of the bladder taken through a microscope shows similar bladder of Utricularia intermedia and not of Utricularia minor!

 

Utricularia minor is widely distributed all over the world (except Antarctica). In Slovenia it is rare, highly endangered and protected by law as all other four species of this interesting genus present in the country.

 

Pravilnik o uvrstitvi ogroženih rastlinskih in živalskih vrst v rdeči seznam, Uradni list RS, št. 82/2002 (Regulation of enlisting of endangered plant and animal species onto Red List, Official Gazette of Republic Slovenia, no. 82/2002) (2002). Enlisted in the Slovene Red List of rare and endangered species, marked by "V" representing a vulnerable species.

 

Ref.:

(1) Personal communication Mr. Branko Dolinar, www.orhideje.si

(2) M.A. Fischer, W. Adler, K. Oswald, Exkursionsflora für Österreich, Liechtenstein und Südtirol, LO Landesmuseen, Linz, Austria (2005), p 763.

(3) A. Martinči et all., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 583.

(4) en.wikipedia.org/wiki/Utricularia (accessed Oct.28. 2018)

(5) D. Aeschimann, K. Lauber, D.M. Moser, J.P. Theurillat, Flora Alpina, Vol. 2., Haupt (2004), p 300.

(6) K. Lauber and G. Wagner, Flora Helvetica, 5. Auflage, Haupt (2012), p 946.

   

Published in 1961 by Kodak. It's filled with hints and notes on how to use the Kodak Retina Camera.

It was 11 months ago, 26th September 2012 to be precise, that I visited the Ashram in Taloja, a couple of hours drive from Mumbai, where 70-75 old men and women were living, left abandoned by families for no reason except that they (the family members) felt these old people were a burden. A very large proportion of them were from upper middle class families with all the modern day comforts and considered amongst the rich even by urban Indian standards, yet these elderly were not supported by families - sometimes because they were ill and their medical expenses were considered a burden but often for no reason except that they were 'expendable' and brought no economic benefit to the families that left them to their fates.

 

Amongst that lot, there were a few highly educated old men and women who spoke flawless English and were obviously educated in the best of institutions almost half a century ago which meant they were from the creme de la creme of the societies they came from. They as well as some others were the victims of children who first managed to get their parents and grand parents to sign away their properties pleading all kind of dire necessities. The parents (and grand parents) out of sheer love for their progeny and with absolutely no doubt that these children would see them comfortably to their graves or funeral pyres, signed away their own futures and were then abandoned in homes like this one.

 

Some of those I saw last year were not there this time - snatched away by death. Others who I remembered looked clearly much worse off than before which wasn't great to start with and, of course, there were new ones. Interestingly, most of the new ones were in better health and many of them wore cleaner, newer and better clothes. Probably still wearing the clothes of better times.

 

Among these new comers was this stunningly attractive old lady. One look from the corridor into the room which she shared with six others and I realised this was a person of some standing in society. Her entire bearing screamed class. She must have been a very very attractive young lady once but even in her old age, 70's I'd guess, she exuded a dignity, charm and grace which was so becoming and completely out of place in her terrible shabby new surroundings.

 

I went into the room and started talking to her. She was delighted but it soon became apparent that she was a disturbed person inspite of the exuberance, warmth and sunny smiles that radiated from her. My heart went out to her. She was not old enough to be my mother but it is my mother I thought of the moment I started talking to her and experiencing her zest of for life.

 

I have seen so many mothers (and fathers) devoting their entire lives to the care of children with various physical disabilities and challenges. I have seen grown up men in their thirties, completely unable to manage their bodily functions and hardly able to communicate in a manner you and I would be able to comprehend - I have seen these men being looked after mothers, themselves not very old, who do not even show the slightest sign of being inconvenienced, forget anything stronger, by this life long service in love. Where then do these sons and daughters come from, which wombs to they emanate from, who are able to leave mothers and fathers to fate you and I will not leave a pet with a disease to.

 

Shame on you - wherever you are and whosoever you may be !!!!

Killer shot by @precise.perspective from our shoot the other weekend! 📷 #slammedsaturday #slammedsaturdays #slammed #slammedcars #bagged #audi #auditt #ttrs #audirs #audittclub #ttclub #audittrs #low #lowered #vossen #vossenwheels #vossens #wheels #teamvossen #camber #cv7 #stance #stanced #ttstance #airlift #airride #airsuspension #airliftperformance #mattered via Instagram ift.tt/2c253xr on September 03, 2016 at 05:30PM

*NEWS FLASH*

right..something bugged me this week..some news to be precise. I never read it, i never watch it..i live ignorantly to the worlds woes only because i have strong emotions and i cant bear seeing bad things happen when theres people out there trying to make the world right and they dont get a look in..its all pretty much negative stuff plastered around us..

I went on a web site and i naively clicked on a link..it was a video from a phone of the Iranian girl who got shot and bled to death, my heart immediately sank, my head stuck in a depressive state for the rest of the day..i went out,took pictures, my chest still aching so much from the sadness of watching something so mortifying, undignified and disrespectful that lasted all but a few seconds.

This is what happens to me, i cant shrug these things off, i cant switch it off, so how can i watch/read these awful things when i deeply think about them-its not that simple, i CANT because i know i am helpless.CALLING ALL transformers, superman,Supergirl, batman, he-man, she-ra,..where the hell are you??

oh and to top it off..*Jon turns telly on*...king of pop..noooooo you cant die!

  

I wanted to see you at the O2 :(:( R.I.P

Panasonic ES8109 S Vortex Wet/Dry Shaving System

 

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Precise brickwork to join two tunnels together seamlessly

Precise use of the caves under the limestone outcrop are not known, but two theories predominate. One being the mummification of the dead - there is a consistent temperature and air flow and the second, sacrifice. Which ever is true, the rock has been carved and smooth out to form a lying out area.

Presidential Candidate 總統候選人

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Tianliang Ma

 

~ a Taiwanese social reformer, philosopher, photographer and film director

 

“Touching Fairness and Justice”

  

馬天亮

 

~ 臺灣的社會改革者，哲學家，攝影師，和電影導演

 

《感動的公平與正義》

  

TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.

  

SUMMARY

 

TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

  

Early Life and Record of Genealogy

 

TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

 

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

 

In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

 

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

 

Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

  

Early Career

 

In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

  

Study Abroad and Immigration into the United Kingdom

 

In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013

www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.

  

PHILOSOPHICAL VIEWS

 

Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

 

Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

 

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

  

FAIRNESS and JUSTICE

 

As TianLiang Maa’s (馬天亮) saying are:

 

“Touching Fairness and Justice”

 

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

 

《感動的公平與正義》

 

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣？

這是個什麼樣子的社會？

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡？誰可以看到？你看到了嗎？

  

Jurisprudence and Political Philosophy and Perspectives

 

Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

 

According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

 

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

 

Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

 

Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.

 

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

 

In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

 

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

 

The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

 

Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

 

Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

 

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

  

Developed a Technique for Abstract Photography and Abstractionist

 

In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

  

Photographic Exhibitions

 

TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展

 

TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展（個人展32場）1983〜1985年.

 

Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

  

Modernization in the Modern Abstract Arts of Taiwan

 

Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

 

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

  

Became an Author and a Scholar

 

In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.

  

Authorship

 

Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

  

Became an Academic and Film Director

 

Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.

  

Director Works:

FILMS:

Experimental Film “New Image for the Spring” © 1982

Documentary Film “Rayonnisme” © 2011

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

 

FASHION SHOWS:

New Image for the Spring of Shapely Models International © 1982

High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982

 

ART EXHIBITIONS:

The Cadillac Club International Fine Arts Exhibition © 1981

The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981

  

Musician Work:

MUSIC COMPOSITION:

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.

  

PHOTOGRAPHIC ALBUMS:

Portrait and Landscape in France © 2000

Portrait and Landscape in Scotland © 2001

Portrait and Landscape in England © 2009

Portrait at Queen Mary, University of London © 2010

Rayonism of London © 2011

Portrait at The University of Nottingham, United Kingdom © 2011

Snowy London © 2012

Portrait at King's College London © 2013

  

BOOKS:

Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

“Album of the Cadillac Club International Fine Arts Exhibition” © 1981

“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981

“Album of New Image for the Spring of Shapely Models International” © 1982

“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982

“Romantic Carol” © 1982

Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985

新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

  

Research Interests:

 

University of Oxford

Research Studies in Archaeology:

Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

 

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

 

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

 

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

  

Associations:

 

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

 

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

 

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

 

On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

 

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

  

Honours:

 

Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

 

On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

  

Careers:

 

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.

www.facebook.com/stlra/info

教學與研究：

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。

 

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

www.facebook.com/elcits/info

永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：

移民事務，翻譯和法律服務。

 

Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

www.facebook.com/maaelec/info

計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

 

Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

www.facebook.com/filmshapely/info

 

Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

www.facebook.com/twreform/info

  

《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.

Website

mtltwp.pixnet.net/album/set/1265174

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hunyun22

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Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

Website

www.facebook.com/sonate1c

www.facebook.com/piano1c/info

  

LINKS:

 

University of California, Berkeley

berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...

berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...

oskicat.berkeley.edu/record=b11283690~S1

 

University of Michigan

mirlyn.lib.umich.edu/Record/006237256

catalog.hathitrust.org/Record/006237256

 

WorldCat® Identities

www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...

www.worldcat.org/wcidentities/np-ma,%20tianliang$1958

 

Google Books

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scholar.google.com/scholar?cluster=3569983911138966023&am...

 

National Bibliographic Information Network (NBINet)

nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...

192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE

 

National Yang Ming University 國立陽明大學

library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...

 

National Taiwan University of Science and Technology 國立臺灣科技大學

millennium.lib.ntust.edu.tw/record=b1016706~S1

 

Wikimedia Commons 維基共享資源

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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引

readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...

 

聲音藝術的審美角度, 大學雜誌, 天然

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為文化中心把脈, 幼獅文藝

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科學家與守財奴, 中國地方自治

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Yahoo, Bing, Google Search

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Atomzone

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lurvely.com www.lurvely.com/photographer/77438197_N03/

 

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Nature - National Library Board Singapore

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画像検索

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Japan Photos and Pictures

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far-east-movement - Blogcu (Turkey)

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man fashion

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Travel Splash

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Country profile Taiwan

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itpints

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University of California, Berkeley period

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University of Michigan period

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University of Oxford period

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University of Glamorgan period

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University of Huddersfield period

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art galleries uk

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Mitrasites system

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articles.whmsoft

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pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...

3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...

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German

www.wer-ist.org/person/Jin_Mann

 

www.pediatr.org.tw/DB/News/file/1913-1.pdf

  

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Tel +44 (0)7575 288 016

 

As a well deserved favor to a friend, you will find an English text at the end. Take note that I didn't feel like translating the whole thing, so I started from scratch. Ironical, I prefer the later one... ;)

 

------- TEXTE FRANÇAIS -------

 

Comme les saumons, ma chère Fuji S5 Pro est de nouveau revenue au bercail!

 

Aussi ridicule que ce soit, je ne pourrais dire précisément le nombre de fois que j'ai possédé cette caméra. J'hésite entre 3 ou 4, mais je ne pourrais dire avec exactitude... ;)

 

De toutes les caméras que j'ai possédé, et Dieu sait qu'il y en a eu plusieurs, ça reste ma préférée!

 

Ce n'est pas la plus rapide, son écran LCD est à chier, ses menus peu conviviales, la définition de ses images est inférieure à ses pairs, mais ce ne sont que des détails en comparaison avec ses deux grandes qualités, soit la qualité inégalé de ses couleurs (voir les 7 photos que j'ai ajoutées avant celle-ci) et, surtout, son extraordinaire gamme dynamique.

 

On ne parle pas d'une gamme dynamique recréée artificiellement comme c'est le cas avec la plupart des autres manufacturiers (Nikon, Canon, Sony, etc), mais bien d'une gamme dynamique qui est préservée grâce à un capteur propre à Fuji.

 

En guise d'exemple voir le montage ci-haut. A gauche une photo que j'ai volontairement surexposée, et à droite la même photo que j'ai réussi à sauver à l'aide du fichier RAW. D'ailleurs, sachez que j'aurai été en mesure de la surexposer un peu plus sans problèmes. En échange on se retrouve avec des fichiers RAW très volumineux (25 mo), mais c'est un moindre mal considérant la quantité d'information qu'il contiennent. D'ailleurs, si vous agrandissez la photo, vous pourrez constater qu'il n'y a aucune perte de détails!!

 

Cela dit, je dois admettre qu'il faudrait être soit sérieusement incompétent, ou soit très malchanceux pour surexposer une photo de la sorte, mais une maladresse est si vite arrivée.

 

Merci S5 Pro d'être de retour dans ma vie, gracieuseté d'un incroyable coup du destin (elle ne m'a coûté que $250, et cela malgré le fait qu'elle ne comptait que 6000 actualisations), et cette fois-ci je te jure que je ne te laisserai plus partir.

 

Parole d'un ancien scout... ;)

 

PS: Je vous suggère de lire le texte an anglais, car il est différent de celui que vous venez de lire... ;)

 

------- ENGLISH TEXT -------

 

Once upon a time a young man who, after entering a local photography shop, fell it love with a camera.

 

Don't ask me why, because I knew little about the S5 Pro back then, but it was love at first sight. It will sound corny, but I almost felt like those people who, after having met their husband (or wife) for the the very first time, knew that he (or she) was the one! As ridiculous as it's sound, I am feeling emotional writing this!

 

On the other hand, I knew it was an impossible relationship, because upon his release, the S5 Pro considerable price tag was way beyond what I could afford. At $2300 (Canadian dollars), it was almost twice the price of it's older cousin the D200 (as you might know, they share the same body), a price I could never afford.

 

Unfortunately for Fuji, but fortunately for some of us, regardless of it's praises, the S5 Pro was a commercial flop, and less than 2 years after his release, Fuji decided to get rid of his remaining unsold units by dropping it's price, from $1800 (if i remember correctly) to a spectacular $999.99!! That's when I was first able to put my hands on that precious little thing.

 

Since then, including the one I am using now, I owned four S5 Pro! Four!!

 

How come? Because I was not very good with money, and once in a while I got broke, and I had to find money where I could find it. It's a bad habit, but what can I say.

 

There's been a lot of good cameras in my hands, among them the Nikon's D200 and D600, Canon's 30D and 60D, but as good as those cameras are, none got close to what I love about the S5, mainly the colors and, of course, it's amazing dynamic range. By the way, in case you are not that familiar with this camera, the photo from the right was rescued from the (voluntary) overexposed image on the left, thank's to the S5 amazing RAW files.

 

Like in every couples, nothing is perfect. The S5 Pro buffer is slow as hell, the camera's menus are not very consumer friendly, his LCD screen is crappy. the long-range details are inferiors to his peers, but what the heck... Nothing's perfect... ;)

 

This said, I had long lost any hopes to ever own this camera, thank's to the high prices that most people ask for (according to the second-hand market, a 7 years old used camera, which closing price was $1000, should sale for $350, not $700!), but last week I saw one on sale at a local camera store. I don't know how much the previous owner got for, but I only paid $250 for it! I couldn't believe it!

 

It's a hell of a bargain for a S5 Pro in excellent shape (the owner was a profession photographer), with a shutter count of only 6 600!!! The only negative thing I have spotted so far is that there's 6 or 7 visible burned pixels, but that's easily fixable in Photoshop.

 

Thanks to be back in my life dear S5 and, this time, it's till death do us part... :)

Timing must be precise. Taken at about 20 min after sunset.

The Light Rail Transit (LRT) (Simplified Chinese: 轻轨列车系统; Malay: Sistem Rel Ringan; Tamil: fill in), frequently also expanded as Light Rapid Transit, is the light rail component of Singapore's rail network, consisting of localised rail systems acting as feeder services to the Mass Rapid Transit network. The first LRT line was opened in 1999 and the system has since expanded to three lines, each serving a public housing estate. It is an automated system without a driver.

 

P6 TL body (no frame overlapping, all shutter speeds work and seem precise)

Kiev split prism (arax bright screen)

Kiev ttl pentaprism viewfinder

waist level viewfinder

CZJ Flektogon 50mm f4 MC

CZJ Biometar 80mm f2.8 MC

CZJ Sonnar 180mm f2.8 MC (including the lens hood)

(all lenses are in fully operational condition, the aperture blades move freally no oil on aperture blades)

lens cap for the 180lens hood (dont have to take of the hodd to store the lens) lens cap for the 50mm lens, and one rear lens cap.

medium and long macro tube

handmade, very comfortable handle (can be removed without any damage to the camera body), timer function preserved

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Directions for Use: Apply ¼ teaspoon cream into soft tissue areas such as face, breast, inner arms, thighs, hands or bottom of feet. Rotate areas to avoid saturation.

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Canon EOS 1100D

Running Ubuntu Precise Pangolin 12.04 (beta), with XBMC Media Center and plugin Spotimc for Spotify access. Spotimc is still in Alpha-version (0.1-alpha5), but so far, no bugs appeared.

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - dailymotion.com/video/xxi0ae?playlist=x34ije … Trente ans d’histoire de l’habitat : de la

Reconstruction à l’urbanisation intensive, puis raisonnée. La région parisienne connaît alors un développement

exceptionnel façonnant le paysage de l’Îlede-France actuelle.

Réalisée à l’initiative de la DRAC Île-deFrance, une exposition regroupant une quarantaine de photographies d’ensembles de logements édifiés en Île-de-France entre 1945 et 1975 et sélectionnés pour la qualité de leur forme urbaine, leur valeur d’usage ou leurs spécificités techniques, a été présentée, du 5 juillet au 15 septembre 2011, à La Maison de l’architecture en Île-de-France. Cette exposition a fait l’objet d’une publication dans la revue Beaux Arts Editions. @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.Le thème du logement. « Il s’agit du premier label Patrimoine XXe siècle attribué en Île-de-France. La DRAC, qui l’a mise en œuvre, a choisi de s’intéresser en tout premier lieu à cette production de

logements de masse d’une ampleur inégalée construits dans notre région après la guerre. Ce sont des créations emblématiques d’une architecture contemporaine dépréciée ; à ce titre, elles sont au premier chef concernées par les recommandations du Conseil de l’Europe. De plus, par l’ampleur des programmes, les étendues qu’ils recouvrent, ces ensembles sont sont plus éloignés du champ

traditionnel des monuments historiques. L’outil label a semblé approprié. Le choix de labelliser les ensembles de logements est donc audacieux : nous espérons que le regard porté sur ces immeubles Change. » Valérie Gaudard, Conservation régionale des monuments historiques, DRAC-Île-de-France.

(extrait d’un entretien publié dans Beaux Arts éditions « 1945-1975, Une histoire de l’habitat – 40 ensembles « patrimoine du XXe siècle »). Créé en 1999 par le ministère de la Culture et de la Communication, le label Patrimoine du XXe siècle

vise à signaler au public, aux décideurs et aux aménageurs, "les édifices et ensembles urbains qui sont autant de témoins matériels de l’évolution technique économique, sociale, politique et culturelle de notre société". Liens Le label patrimoine XXe - www.culturecommunication.gouv.fr/Regions/DRAC-Ile-de-Fran... La Maison de l'architecture - www.maisonarchitecture-idf.org/spip.php

www.twitter.com/Memoire2cite www.beauxarts.com/produit/une-histoire-de-lhabitat/ @ LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles. Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne». Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un

Meccano de béton et d’acier. « Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition. Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces, situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type « duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de

Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002. Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la

Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label «Patrimoine du XXe siècle» à la fin des années 1990. Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier. Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence». Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs. L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).

Une histoire des grands ensembles? Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne. Photographie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens, géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.

La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,

sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation

urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment

les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?

Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands

ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les enjeux du projet

À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:

■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:

– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus

à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;

● les actions à court, moyen et long terme;

● les modalités de leur déroulement.

Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:

● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.

● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté

d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;

● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.

« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer

comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.

Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de

Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.

De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions

Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:

● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,

dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;

● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles

et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... - - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).

Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon

Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.

En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture. son site simonpaysage.free.fr/

file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.

www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,

A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses

En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.

Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.

La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.

- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.

- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France13.

Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)

14Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.

- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.

 

- Precise + 18500, C9LV, Super T Whistle T-Tip (drip version)

- ego, 306 LR, Blue drip tip

- Hatch, Clearomizer CE2, drip tip

- ego-T battery, 306 LR, drip tip

Landy

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

Manufactured in 1963 and designed by Lillian Pavey.

It has 46 keys of musical notes and symbols capable of 8000 combinations,and can type both vertically and horizontally,for precise placement of notes at various heights.

Only 20 machines were made before production ended.

 

Leicester Museum & Art Gallery,England.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

Attention, évènement ! Le Download Festival débarque en France et donne rendez-vous à tous les amateurs de rock à Paris en 2016. Le festival compte en effet envahir l’Hippodrome de Longchamp ces vendredi 10, samedi 11 et dimanche 12 juin prochains pour 3 jours exceptionnels. La preuve, Iron Maiden, Rammstein, Deftones, Korn ou encore Ghost et Gojira seront de la partie ! En plus, on a des places à vous offrir les amis.

 

Inutile de vous préciser que cette annonce risque de donner le sourire à de nombreux franciliens…

 

Créé en 2003 sur le circuit de Donington Park dans le Leicestershire en Angleterre, le Download Festival débarque enfin en France.

 

Misant sur une programmation rock, cette toute première édition française investira l’Hippodrome de Longchamp, à Paris, ces vendredi 10, samedi 11 et dimanche 12 juin 2016.

 

Du côté de la programmation, Iron Maiden a déjà confirmé sa venue pour la journée du vendredi 10 juin, alors que Rammstein sera présent pour la clôture de l'évènement, le dimanche 12 juin.

 

Pour le reste, vous retrouverez Korn, Deftones, Megadeth, Ghost, Volbeat, Biffy Clyro, Amon Amarth, Gojira, Sabaton, Anthrax, Rival Sons ou encore Trivium.

 

Mass Hysteria, Last Train, One Ok Rock mais aussi Lofofora ou encore Children of Bodom rejoignent la programmation.

 

Line-up :

 

VENDREDI 10 JUIN 2016 - MAIN STAGE

15h15 - 15h45 : We Came As Romans

16h30 - 17h30 : Gojira

18h30 - 19h30 : Deftones

20h35 - 22h35 : Iron Maiden

 

VENDREDI 10 JUIN 2016 - STAGE 2

15h45 - 16h30 : Beartooth

17h30 - 18h30 : Avatar

19h30 - 20h20 : Anthrax

22h30 - 23h30 : Ghost

 

VENDREDI 10 JUIN 2016 - STAGE 3

15h45 - 16h30 : The Wild Lies

17h30 - 18h15 : The Raven Age

19h30 - 20h20 : Blackrain

22h30 - 23h30 : Tremonti

  

SAMEDI 11 JUIN 2016 - MAIN STAGE

14h30- 15h15 : Apocalyptica

16h00 - 17h00 : Saxon

18h00 - 19h00 : Baby Metal

20h00 - 21h00 : Biffy Clyro

22h00 - 23h30 : Korn

 

SAMEDI 11 JUIN 2016 - STAGE 2

15h00 - 16h00 : Mass Hysteria

17h00 - 18h00 : One Ok Rock

19h00 - 20h00 : Amon Amarth

21h00 - 22h00 : Jane's Addiction

 

SAMEDI 11 JUIN 2016 - STAGE 3

14h00 - 14h30 : Shinedown

15h15 - 16h00 : Arcane Roots

17h00 - 17h45 : The Struts

19h00 - 19h45 : Twin Atlantic

21h00 - 21h45 : The Inspector Cluzo

  

DIMANCHE 12 JUIN 2016 - MAIN STAGE

14h30 - 15h15 : Skillet

16h00 - 17h00 : Trivium

18h00 - 19h00 : Sabaton

19h50 - 21h05 : Volbeat

22h00 - 23h30 : Rammstein

 

DIMANCHE 12 JUIN 2016 - STAGE 2

15h00 - 16h00 : Lofofora

17h00 - 18h00 : Children Of Bodom

19h00 - 20h00 : Rival Sons

21h00 - 22h00 : Megadeth

 

DIMANCHE 12 JUIN 2016 - STAGE 3

14h00 - 14h30 : The Shrine

15h15 - 16h00 : Strange Bones

17h00 - 17h45 : New Year's Day

19h00 - 19h45 : Skindred

21h00 - 21h45 : Last Train

By pairing the capabilities of X-ray analysis and extremely precise microscopy, scientists at Argonne have developed a way to simultaneously determine the physical structure and chemical makeup of materials at close to the atomic level.

 

Above: Postdoctoral researchers Marvin Cummings (at right) and Nozomi Shirato adjust the microscope before an experiment.

 

Read more »

 

When planning the precise and delicate procedure to remove a brain tumor, a neurosurgeon needs to know the exact location and dimensions of the invasive growth and the surrounding tissue. Because of the brain’s intricate network of neural pathways, altering one spot can adversely affect a patient’s speech, vision, mobility and cognition.

 

Nagarajan's lab specializes in detailed, high-fidelity brain imaging using magnetoencephalography (MEG), a quick, noninvasive procedure that measures the brain’s electromagnetic signals to visualize how things work inside.

 

Read the story at ctsi.ucsf.edu/news/about-ctsi/mapping-brain-predict-surge...

 

Learn more about Nagarajan's research at UCSF Profiles profiles.ucsf.edu/ProfileDetails.aspx?From=SE&Person=...

Field Trip - Roughdown Common - 13/06/17

 

I had an eventful trip to Roughdown Common whereby we planned to run as many traps as possible, conditions were absolutely perfect, warm and humid with some cloud cover.

We started the evening setting the first trap up in the field where there were three Cattle, Belted Galloways to be precise.

They greeted us and then seemed to leave us alone for a bit after cleaning the cars with their tongues and having a good old itch on Steve's rear bumper.

We left the field to set up a few more traps and then returned back to the car for more equipment, to our agony the trap had been thoroughly inspected by the cattle and there was slobber all over the trap and they did a mighty fine job of smashing the bulb but it could have been A LOT worse as the fragile plastic collar (the second most important part of the trap after the bulb) was still intact! How on earth it escaped being trodden on I do not know.

Luckily Ian said he would nip back home and grab his spare bulb and we moved the trap through the gate and shut the gate....but they had done their 'investigating' and moved off for the rest of the night down the bottom of the field.

 

After setting all the traps were set up, the battery operated one was low on juice..another minor set-back as we would only get possibly 2 hours life out of the tracer lithium ion battery.

 

Things come in three's and of course nothing could be worse than a generator stopping, yep that's what happened...trying to get it started again flooded the spark plug and luckily I could use the spare that I had brought with me.

 

Onto the moths and boy were we in for a night! The species just kept coming and coming and at one stage I couldn't keep typing the list.

 

There are a few to check but best species so far were singles of Obscure Wainscot, Anania perlucidalis, Anarsia innoxiella and two good plume species (one to be checked) Merrifieldia leucodactyla/baliodactylus and Gillmeria pallidactyla.

 

Thanks to Roger, Steve and Ian for helping out until the small hours, another successful trip with at least 160 species seen!

 

Catch Report - 13/06/17 - Roughdown Common - West Herts - 7 traps in total - 2x 125w MV Robinson Trap 1x 160w MBT Robinson Trap 1x 40w Actinic + 15w LED Trap 1x 80w Actinic Trap 2x 20w Wemlite Actinic Trap 1x 15w Actinic Portable Heath Trap

 

85 Macros & 75 Micros

 

160 species

 

Numbers approximate

 

Macro Moths

 

Alder Moth 2

Beautiful Hook-tip 6

Blue bordered Carpet 1

Brimstone 4

Broken-barred Carpet 2

Brown Rustic 5

Brown Scallop 2

Buff Ermine 1

Buff-tip 1

Cinnabar 1

Clay 1

Clouded Border 4

Clouded Brindle 1

Clouded Silver 8

Common Carpet 2

Common Marbled Carpet 4

Common Pug 1

Common Swift 3

Common White Wave 2

Coronet 12

Dark Arches 4

Double Square-spot 2

Double-striped Pug 1

Elephant Hawk-moth 2

Fern 3

Figure of Eighty 2

Flame 3

Flame Shoulder 2

Freyer's Pug 1

Garden Carpet 1

Ghost Moth 1

Green Carpet 5

Green Pug 5

Green Silver-lines 1

Grey Pug 5

Haworth's Pug 1

Heart & Club 1

Heart & Dart 10+

Ingrailed Clay 10

July Highflyer 1

Knot Grass 1

Large Nutmeg 4

Large Yellow Underwing 2

Lesser Yellow Underwing 1

Light Arches 1

Light Emerald 5

Lime-speck Pug 2

Maiden's Blush 1

Maple Prominent 2

Marbled White-spot 3

Middle-barred Minor 3

Miller 1

Mottled Beauty 5

Mottled Pug 1

Mottled Rustic 5

Obscure Wainscot 1

Orange Footman 1

Pale Prominent 1

Peppered Moth 2

Poplar Grey 1

Privet Hawk-moth 1

Purple Bar 2

Riband Wave 2

Rustic Shoulder-knot 2

Scorched Wing 2

Setaceous Hebrew Character 2

Shoulder-striped Wainscot 1

Shuttle-shaped Dart 2

Silver-ground Carpet 2

Small Angle Shades 1

Small Dusty Wave 1

Small Elephant Hawk-moth 1

Small Fan-foot 2

small Square-spot 1

Small Yellow Wave 1

Snout 2

Straw Dot 10

Swallow Prominent 1

Sycamore 2

Tawny Marbled Minor 2

Treble Lines 3

Turnip Moth 1

Uncertain 3

White Pinion-spotted 1

Wormwood Pug 1

 

Micro Moths

 

Agapeta hamana 4

Agapeta zoegana 10

Agonopterix arenella 2

Agonopterix purpurea 1

Aleimma loeflingiana 10

Anania hortulata 3

Anania perlucidalis 1

Anarsia innoxiella 1

Anthophila fabriciana 1

Aphomia sociella 1

Archips podana 2

Archips xylosteana 3

Argyresthia conjugella 2

Argyresthia curvella 2

Blastobasis lacticolella 3

Blastodacna hellerella 1

Bryotropha terrella 5

Caloptilia populetorum 1

Caloptilia robustella alchimiella 2

Caloptilia syringella 1

Celypha lacunana 15

Celypha striana 5

Chrysoteuchia culmella 5

Clepsis consimilana 5

Cnephasia sp 10

Cochylimorpha straminea 5

Cochylis dubitana 2

Cochylis molliculana 1

Crambus lathoniellus 5

Cydia fagiglandana 2

Dichrorampha sp 4

Ditula angustiorana 2

Emmetia marginea 1

Endothenia gentianaeana marginea 2

Epinotia bilunana 2

Epiphyas postvittana 1

Eucosma cana 10

Eudonia lacustrata 5

Eudonia pallida 3

Eulamprotes unicolorella 5

Eupoecilia angustana 15

Gillmeria pallidactyla 1

Grapholita funebrana 1

Gypsonoma sociana 1

Hedya nubiferana 5

Hedya pruniana 5

Homoeosoma sinuella 2

Merrifieldia leucodactyla or baliodactylus 1

Metzneria metzneriella 10+

Mompha ochraceella 1

Mompha subbistrigella 3

Nemophora degeerella 1

Nephopterix angustana 2

Notocelia trimaculana 15+

Notocelia uddmanniana 2

Pammene albuginana 1

Pandemis cerasana 10+

Pandemis cinnamomeana 1

Pandemis heparana 5

Paraswammerdamia albicapitella 1

Parornix sp 1

Phycita roborella 1

Prays fraxinella 2

Pseudargyrotoza conwagana 10+

Pseudoswammerdamia combinella 1

Scoparia ambigualis 5

Scoparia pyralella 10+

Scythropia crataegella 1

Stigmella sp 1

Strophedra weirana 1

Teleiodes luculella 5

Thiotricha subocellea 3

Tinea semifulvella 1

Tortrix viridana 10+

Udea olivalis 3

Field Trip - Roughdown Common - 13/06/17

 

I had an eventful trip to Roughdown Common whereby we planned to run as many traps as possible, conditions were absolutely perfect, warm and humid with some cloud cover.

We started the evening setting the first trap up in the field where there were three Cattle, Belted Galloways to be precise.

They greeted us and then seemed to leave us alone for a bit after cleaning the cars with their tongues and having a good old itch on Steve's rear bumper.

We left the field to set up a few more traps and then returned back to the car for more equipment, to our agony the trap had been thoroughly inspected by the cattle and there was slobber all over the trap and they did a mighty fine job of smashing the bulb but it could have been A LOT worse as the fragile plastic collar (the second most important part of the trap after the bulb) was still intact! How on earth it escaped being trodden on I do not know.

Luckily Ian said he would nip back home and grab his spare bulb and we moved the trap through the gate and shut the gate....but they had done their 'investigating' and moved off for the rest of the night down the bottom of the field.

 

After setting all the traps were set up, the battery operated one was low on juice..another minor set-back as we would only get possibly 2 hours life out of the tracer lithium ion battery.

 

Things come in three's and of course nothing could be worse than a generator stopping, yep that's what happened...trying to get it started again flooded the spark plug and luckily I could use the spare that I had brought with me.

 

Onto the moths and boy were we in for a night! The species just kept coming and coming and at one stage I couldn't keep typing the list.

 

There are a few to check but best species so far were singles of Obscure Wainscot, Anania perlucidalis, Anarsia innoxiella and two good plume species (one to be checked) Merrifieldia leucodactyla/baliodactylus and Gillmeria pallidactyla.

 

Thanks to Roger, Steve and Ian for helping out until the small hours, another successful trip with at least 160 species seen!

 

Catch Report - 13/06/17 - Roughdown Common - West Herts - 7 traps in total - 2x 125w MV Robinson Trap 1x 160w MBT Robinson Trap 1x 40w Actinic + 15w LED Trap 1x 80w Actinic Trap 2x 20w Wemlite Actinic Trap 1x 15w Actinic Portable Heath Trap

 

85 Macros & 75 Micros

 

160 species

 

Numbers approximate

 

Macro Moths

 

Alder Moth 2

Beautiful Hook-tip 6

Blue bordered Carpet 1

Brimstone 4

Broken-barred Carpet 2

Brown Rustic 5

Brown Scallop 2

Buff Ermine 1

Buff-tip 1

Cinnabar 1

Clay 1

Clouded Border 4

Clouded Brindle 1

Clouded Silver 8

Common Carpet 2

Common Marbled Carpet 4

Common Pug 1

Common Swift 3

Common White Wave 2

Coronet 12

Dark Arches 4

Double Square-spot 2

Double-striped Pug 1

Elephant Hawk-moth 2

Fern 3

Figure of Eighty 2

Flame 3

Flame Shoulder 2

Freyer's Pug 1

Garden Carpet 1

Ghost Moth 1

Green Carpet 5

Green Pug 5

Green Silver-lines 1

Grey Pug 5

Haworth's Pug 1

Heart & Club 1

Heart & Dart 10+

Ingrailed Clay 10

July Highflyer 1

Knot Grass 1

Large Nutmeg 4

Large Yellow Underwing 2

Lesser Yellow Underwing 1

Light Arches 1

Light Emerald 5

Lime-speck Pug 2

Maiden's Blush 1

Maple Prominent 2

Marbled White-spot 3

Middle-barred Minor 3

Miller 1

Mottled Beauty 5

Mottled Pug 1

Mottled Rustic 5

Obscure Wainscot 1

Orange Footman 1

Pale Prominent 1

Peppered Moth 2

Poplar Grey 1

Privet Hawk-moth 1

Purple Bar 2

Riband Wave 2

Rustic Shoulder-knot 2

Scorched Wing 2

Setaceous Hebrew Character 2

Shoulder-striped Wainscot 1

Shuttle-shaped Dart 2

Silver-ground Carpet 2

Small Angle Shades 1

Small Dusty Wave 1

Small Elephant Hawk-moth 1

Small Fan-foot 2

small Square-spot 1

Small Yellow Wave 1

Snout 2

Straw Dot 10

Swallow Prominent 1

Sycamore 2

Tawny Marbled Minor 2

Treble Lines 3

Turnip Moth 1

Uncertain 3

White Pinion-spotted 1

Wormwood Pug 1

 

Micro Moths

 

Agapeta hamana 4

Agapeta zoegana 10

Agonopterix arenella 2

Agonopterix purpurea 1

Aleimma loeflingiana 10

Anania hortulata 3

Anania perlucidalis 1

Anarsia innoxiella 1

Anthophila fabriciana 1

Aphomia sociella 1

Archips podana 2

Archips xylosteana 3

Argyresthia conjugella 2

Argyresthia curvella 2

Blastobasis lacticolella 3

Blastodacna hellerella 1

Bryotropha terrella 5

Caloptilia populetorum 1

Caloptilia robustella alchimiella 2

Caloptilia syringella 1

Celypha lacunana 15

Celypha striana 5

Chrysoteuchia culmella 5

Clepsis consimilana 5

Cnephasia sp 10

Cochylimorpha straminea 5

Cochylis dubitana 2

Cochylis molliculana 1

Crambus lathoniellus 5

Cydia fagiglandana 2

Dichrorampha sp 4

Ditula angustiorana 2

Emmetia marginea 1

Endothenia gentianaeana marginea 2

Epinotia bilunana 2

Epiphyas postvittana 1

Eucosma cana 10

Eudonia lacustrata 5

Eudonia pallida 3

Eulamprotes unicolorella 5

Eupoecilia angustana 15

Gillmeria pallidactyla 1

Grapholita funebrana 1

Gypsonoma sociana 1

Hedya nubiferana 5

Hedya pruniana 5

Homoeosoma sinuella 2

Merrifieldia leucodactyla or baliodactylus 1

Metzneria metzneriella 10+

Mompha ochraceella 1

Mompha subbistrigella 3

Nemophora degeerella 1

Nephopterix angustana 2

Notocelia trimaculana 15+

Notocelia uddmanniana 2

Pammene albuginana 1

Pandemis cerasana 10+

Pandemis cinnamomeana 1

Pandemis heparana 5

Paraswammerdamia albicapitella 1

Parornix sp 1

Phycita roborella 1

Prays fraxinella 2

Pseudargyrotoza conwagana 10+

Pseudoswammerdamia combinella 1

Scoparia ambigualis 5

Scoparia pyralella 10+

Scythropia crataegella 1

Stigmella sp 1

Strophedra weirana 1

Teleiodes luculella 5

Thiotricha subocellea 3

Tinea semifulvella 1

Tortrix viridana 10+

Udea olivalis 3

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

The precise conditions inside a white dwarf star in the hours leading up to its explosive end as a Type Ia supernova are one of the mysteries confronting astrophysicists studying these massive stellar explosions. But now, a team of researchers, composed of three applied mathematicians at the U.S. Department of Energy's (DOE) Lawrence Berkeley National Laboratory and two astrophysicists, has created the first full-star simulation of the hours preceding the largest thermonuclear explosions in the universe. www.lbl.gov/cs/Archive/news091509.html

Paper: 5 cm

Modules: 24 + 6 for the black corner caps

Model: David Mitchell

Book: Paper Crystals

 

Mother-of-pearl-paper which is a bit thick but surprisingly good to fold. German brand Staufen. Unfortunatly the other seven colour are glittery not mother of pearl, like the one I used for Precious flic.kr/p/nNyq3M. Would have loved to have more mother of pearl.

 

The model is easy to fold but I really can't see how that could work without glue. There are no pockets or other real locking mechanisms. Needs precise folding to arrive at tidy spikes. Nonetheless a nice unique model!

 

One more photo in my stream.

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

Devrais-je préciser que Morley est une artiste et une femme fabuleuse ?

 

Should I make clear that Morley is a fab' artist and a fab' woman ?

 

"That bird over the ocean see’s its shadow big and strong

No it's not an illusion she's been up there for so long

Swoop like an arrow, like a jet plane, like a dream

Sing, she is singing and she’s singing right through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shownIn a flash over the ocean

Over the roof tops over my head

Gone she was gone, will I remember what she said ?

Stand like a mountain through injustice through the Strain

Forgive like the prophets over and over again

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown

Slow, slowly I take my turn

And the flame grows taller as I learn

One, one by one so high

The ones I love take to the sky

When, when it comes my time

Will I leave a trail of light

My soul over the ocean

Will see its shadow big and strong

No it wont be an illusion

May I have been up there for so long

I’m gonna swoop like an arrow, like a jet plane, like a Dream

Forever be singing, like she singing straight through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown..."

[Bird Over The Ocean]

 

En concert au Moods à Monaco.

 

www.morleymusic.org/

The oldest document pertaining to the use of masks in Venice dates back to 2nd May 1268. In the document it is written that it was forbidden for masqueraders to practice the game of the "eggs". From the early 14th century onwards, new laws started to be promulgated, with the aim of stopping the relentless moral decline of the Venetian people of the day. This restrictive carnival legislation started with a decree on 22nd February 1339 prohibiting masqueraders from going around the city at night. A decree that helps us understand just how libertine the Venetians of the day were, is that of the 24th January 1458 which forbade men from entering convents dressed as women to commit "multas inhonestates"! In a similar vein, the decree of 3rd February 1603 is interesting in that it attempted to restore morality in the convents.

 

Masqueraders were banned from entering the nuns’ parlous – it had been the convention to sit in the parlous and talk to the nuns. Frequently, decrees were promulgated prohibiting masqueraders from carrying arms or any instrument which could cause harm, or other decrees which forbade masqueraders from entering churches. This obligation was extended to the townsfolk who were not allowed to enter churches wearing "indecent attire". 1608 was an important year, the 13th August to be precise, when a decree from the council of 10 was issued declaring that the wearing of the mask throughout the year posed a serious threat to the Republic. To avoid the terrible consequences of this immoral behavior, every citizen, nobleman and foreigner alike, was obliged to only wear a mask during the days of carnival and at official banquets.

 

The penalties inflicted for breaking this law were heavy – for a man this meant two years in jail, 18 months’ service to the Republic galley-rowing (with ankles fettered) and not only that, a 500 lire fine to the Council of 10. As for women, they were whipped from St Mark’s all the way to Rialto, then held to public ridicule between the two columns in St Mark’s. They were banned from entering the territory of the Venetian Republic for 4 years and had to pay the 500 lire fine to the Council of 10. 50 years after the decree of 1608, the Council of 10 published a proclamation on the 15th January reaffirming the ban on wearing masks and bearing arms.

 

It was further prohibited to enter holy places wearing a mask and it was expressly forbidden to wear religious clothes with a mask. In the same decree the use of drums was banned before midday, and even dancing of any description was prohibited outside of the carnival period. Seeing that many Venetian nobles used to go gambling wearing a mask to avoid their creditors, in 1703, masks were banned all year round from casinos.

 

Two different decrees (1699 and 1718) saw the prohibition of wearing a mask during Lent and other religious festivals which took place during carnival. In 1776, an act introduced to protect the by now forgotten "family honor", forbade all women from going to the theatre without a mask and cloak. After the fall of the Republic, the Austrian government forbade the use of masks for both private parties and elite parties (e.g., la Cavalchina della Fenice) . The Italo-American government was more open but now it was the Venetians who were being diffident. Venice was no longer the city of carnival, but just a little imperial province without personal liberty. During the second Austrian government it was once again permitted to wear masks.

 

5376. A fine view of the fastest piston-engined fighters, these aircraft believed to be from the RAN's 805 Squadron. We don't have precise information on where it ius taken.

 

Photo, LCDR E.D. Sandberg, RAN 1950-1980, the photo is one of several in this series that appears on the ADF [aircraft] serials website. Others we've not seen before. All appear here with Sandy Sandberg's permission, sent by his son Michael.

  

Serge Nsombo follows a precise feeding schedule for his fish. The fish feed is mainly a mixture of maize meal and soya beans.

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.