This four seconds long exposure was taken at an altitude of One metres in the golden hour around sunrise, (Sunrise was at precisely 06:48am), at 05:53am on Thursday September 27th 2018 off Botany Road and Foreness Close on the sandy shoreline of Botany Bay, the northern most of seven bays in Broadstairs , Kent, England.

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Nikon D850 Focal length 46mm Four seconds long exposure. Aperture f/4.0 iso200 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (4570K). Nikon Distortion control on. Vignette control Normal.

Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Manfrotto 055Xprob Carbon Fiber Tripod 3 Sections. Manfrotto 327RC2 Magnesium Ball Head. Manfrotto quick release plate 200PL-14. Jessops Tripod bag.

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LATITUDE: N 51d 23m 21.30s

LONGITUDE: E 1d 26m 10.10s

ALTITUDE: 1.0m

RAW (TIFF) FILE: 130.00MB (NEF 90.4mb)

PROCESSED (JPeg) FILE: 25.60MB

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PROCESSING POWER:

Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.

(further information you can get by clicking on the link at the end of page!)

Historical data

The first settlement core of Wolkersdorf was the "Old Market" to the west of the present course of the Brünnerstraße (Brno street) direction Ulrichskirchen. An exact age determination of the emergence of the "Old Market" is not possible, but the evidence points to the time just before 1050. However, it seems that even before a settlement whose provenance cannot precisely determinated has existed. The foundation is often associated with the legendary figure of a Wolfger, who allegedly was a Frankish follower of the Salian king Henry III. (from 1046 Emperor). After him, the naming of the place is supposed to be done, but it is rather to presume that the place-name, as in other places in the Weinviertel, also can be explained from the settlement history and it's the case of a secondary place name, which refers to the surroundings of the actual Nuremberg.

The castle buildings in its present location - about a whatsoever former noble residence in the "Old Market" can only be speculated - in the first half of the 13th Century was built, as well as the "new market" was born. The Lords of Wolkersdorf who called themselves after the place were emerged from a lesser branch of the lords of Ulrichskirchen.

A close binding to the Babenberg Duke House in the connection with the third Crusade should have emerged, which has been rumored frequently, but it is not possible for various reasons. If the close binding to the Babenberg Court, which in the 13th Century undeniably has existed, really through joint crusade participations came off, this only can be the case of the so-called "German Crusade" under the Emperor Henry VI., however, this was canceled very quickly due to the death of Henry.

Thither also suggest other evidences, such as today's Wolkersdorfer city coat of arms, consisting of ​​the colors of the burgraves of Nuremberg (Black/Silver). Even the oldest surviving deed of gift for Wolkersdorf end of the 13th Century comes from the Nuremberg burgraves, the fief relationship but already seems to have existed far longer.

The nobility of the Wolkersdorfer after the extinction of the Babenberg in the 70s of the 13th Century stood in opposition to King Ottokar of Bohemia, what made him object of a mention in Grillparzer's drama "King Ottokar's Fortune and End".

After the nobility of the Wolkersdorfer had left the place, there were frequently changing owners, among them the Dachsberger and the Starhemberger. Since 1481 and completely in 1538 was the domination Wolkersdorf owned by the Habsburgs and was following the testament of Queen Anne in 1547 the Wiener Hofspital (Court Hospital of Vienna) incorporatedl and belonged even after its repeal in 1782 to the endowment fund of the Hofspital until the purchase by Hugo Graf Abensperg-Traun in the year 1870. In 1884, the Wolkersdorfer Savings Bank acquired the castle, in 1967 it became the property of the former market town, since 1969 the municipality of Wolkersdorf.

In the eventful history of the place it came in the wake of the sieges frequently to devastations, such as in 1275 in the course of the siege by King Ottokar of Bohemia, in 1458 by the Bohemian King George of Podebrad or 1605 by the Calvinist Prince of Transylvania Stephan Botchkay. In the course of the Thirty Years' War it were mainly the Swedes under Field Marshal Torstensson Lienhart by which Wolkersdorf was affected. 1809 finally Napoleon's troops burned a portion of the "Old Market" down. 1866, the Rußbach (brook) was the demarcation line between Prussia and Austria, thus separating Wolkersdorf into a northern Prussian and a southern Austrian part.

Wolkersdorf was in the first half of the 14th Century raised to market; 1436 with Lewpolt Gerngrass first a citizen of the market Wolkersdorf documentarily is mentioned. Under King Albert II 1439 the district court Wolkersdorf by transfers from the regional courts Marchegg and Korneuburg was created, as the name suggests, the High Court was located on the Judgment mountain. Sometimes Wolkersdorf even had three judges, one for the "Old Market", one for the "New Market" and one for the approximately 1784 emerged 'settlers line" (New Line), today the Kaiser-Josef-Straße.

A school in Wolkersdorf is first mentioned in 1446. 1460 took place the meeting of the Lower Austrian estates in Wolkersdorf.

Of importance to Wolkersdorf was already in the Middle Ages a trade route that ran from Vienna, at Stadlau crossing the Danube, via Wolkersdorf, Gaweinstal and Mistelbach to Poysdorf and there reaching the old "Nikolsburger road", which was the forerunner of the in 18th Century developed Brünnerstraße. Through the construction of the Brünnerstraße under Joseph II Wolkersdorf quickly developed into the largest settlement of the beginning hill landscape of the Wine Quarter and in 1870 it was connected to the railway network.

Promoted business settlements of the municipality from 1960 made ​​Wolkersdorf to an important economic center. This position was taken into account on 22 June 1969 by elevating Wolkersdorf to the status of the city. In the years 1966-1972 Wolkersdorf grew through the association with the communities Riedenthal, Münichsthal, Pfösing and the market town of Oberndorf.

Intensive infrastructure projects were formative for the 70s and 80s. In 1978, the Provincial Government of Lower Austria founded the industrial center Lower Austria Nord/Wolkersdorf to the south of the Ostbahn (eastern railway) and to the east of Brno road. Intensive residential construction activity, active youth work and the development to school center shape the face and character of the city as a gateway to the Wine Quarter.

Wolkersdorf successfully puts up the gap between urbanized and rural structure. The result is a high quality of life - with high developed infrastructure, diverse recreational spaces, rest areas and green spaces in and around Wolkersdorf. The proximity to Vienna as well as the pronounced Weinviertler cultural landscape attract many guests to Wolkersdorf .

www.wolkersdorf.at/index.php/subsection=Wolkersdorf_-_His...

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

Photograph taken at an altitude of Eighty Two metres, in the magic of the Golden Hour around sunrise (Sunrise was at precisely 04:38am), at 03:08am on Thursday 12th June 2014 off Lullingstone Lane and Eagle Heights overlooking the field adjacent to Eynsford Viaduct in the village of Eynsford, Kent, England.

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Nikon D800 200mm 2 Second exposure f/2.8 iso100 RAW (14 bit) Nikon RC-DC2 remote shutter release. AF-S Single point focus. Manual exposure. Matrix metering.

Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 51d 22m 8.01s

LONGITUDE: E 0d 11m 46.15s

ALTITUDE: 82.0m

RAW (TIFF) FILE: 103.00MB

PROCESSED FILE: 18.73MB

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Processing power:

HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.90 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

Precisely that I did not find them! But the curator of the FB page cited. I only share some of them

Poster Gunpla, illustration, box art from Gundam RX 78 - 2 ( Vintage)

More images on this page facebook (and other very interesting things for Mechafan)

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In the last Monster Headphones weblog we experienced took concerning the grownup males who was pursuits in methods to loads of grownup males and girls who was endure the trouble and sad after which can be found out and turn into happiness.A few of times later, started to be the frog to go to the roadside frogs, but found out that it have been crushed car, BaoShi for the road. the fate for the reliable master the method is really simple, apart by method of the lazy, existence brilliance in where? Wake up within morning, the brilliance, complete of smiles for the cope with to encounter future. within afternoon, the brilliance for the waist, straight waist pole to reside within present. within evening, the brilliance for the foot, do his ft toward the ground.One chick away from time, just appropriate pursuing a snail, and from then for the chicken hold the existence eggshell.originally from heavy fill is really simple, stop trying stubborn prejudices. Have different youthful children really need to create the day, god give them an a candlestick, every solo and every solo day time they place the candlestick polished, accomplish result every solo day time two times passed, and god are not coming, so some youthful children will no extended to wipe the candlestick. just one day time god shock visit, only a candlestick is cleanse and on, which is when every one of the stupid child referred to as candlestick, because of the actuality god does not come, he also every solo and every day, the effects this stupid child wipe a angel. once the reliable is really simple, need to finish is truth. only a little pig to god, ask to finish his disciples, readily promised to god. Just possess a calf within morass climb out, the whole plan is all is muddy, god for the piggy say: “to help him and scrub your body!” Pig surprising response a way: “I am god disciples, how can go to wait around for the dirty Dallas!!!!! God said: “you do not go to serve others, other people will know how, you are my disciples! initially to acquire other people to respect is really simple, as extended since the sincerity to pay.Have a gold rush, celebration stroll within desert, everyone pace heavy, pain, only just one man or girls fulfilled walking, another grownup males and girls ask: “why have you been so comfortable?” He smile: “because I took the lowest quantity of food.” that fulfilled is really simple, possess a touch less. existence brilliance in where? Wake up within morning, the brilliance, complete of smiles for the cope with to encounter future. within afternoon, the brilliance for the waist, straight waist pole to reside within present. within evening, the brilliance for the foot, do his ft toward the ground.If you adore to create beats and hold out with performers then there is no explanation Beats by dr dre hd you must not be producing large income. marketing beats for the net is concerning the lowest advanced method to create income within audio tracks business, as well as you do not should have to shell out countless quantities of bucks on high-priced studio products. And Bose Monster Studio Lebron headphones Pink is in any way occasions the favor evaluation in all types of headphones. So I place on the within good morning place on this and Breathing the refreshing air.

Lontong Balap

Lontong balap is one of traditional foods from East Java, precisely from Surabaya. Lontong balap is consist of lontong or sticky rice cake, bean sprout, tofu and lentho. Lentho is more or less like fried cake, which is made by cassava and cowpea, it is tasty and make particular crunchy-ness in Lontong balap. It become more yummy by garlic dressing sauce and hot shrimp paste.

Moreover, when eating Lontong balap, do no forget to complete it with Sate Kerang or scallop satai and coconut ice.

Why this food named by Lontong Balap, because formerly, when the people who sell Lontong Balap they used heavy-barrel-shaped and bear it to the whole city. This barrel make the seller had to walk as fast as they can, seems like someone who taking a race. Balap is taken from Javanese language, balapan, means racing. Recently, we can find Lontong balap in stall or barrow.

We can find some Lontong Balap in all over Surabaya, whether in stall or barrow. Fortunately, the most popular Lontong Balap in Surabaya is located in Kranggan street, there are some stalls over the street that offering Lontong balap as their main menu, but the most special one is belong to Lontong Balap Garuda by Pak Gendut. It becomes famous for the different taste within the ingredients, and that makes Lontong Balap Pak Gendut known by people outside Surabaya.

More info visit:

www.eastjava.com

Precisely why I will not sell my car to someone who lives in the local rural area.

Deeply & precisely carved cheerwood Desk

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

Or more precisely, taking away the empties. A recent development at work is the ability to run fuel cells or engines on hydrogen. The gas is stored in big cylinders at high pressure in the truck trailer. Today, a fresh batch was delivered and the empty cylinders taken away.

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta

Nudibranchs are a group of sea slugs characterized by having no shell, thus having their gills exposed. The name in latin, nudibranchia means precisely that: nudi (nude, exposed) + branchia (gills).

Instead of the protective shell, the nudibranchs use other intricate defense mechanisms and that's one of the reasons they are such an interesting group to study. Not to mention their exquisite appearance.

More info about this species:

www.seaslugforum.net/find/discrosi

hypselodoris.blogspot.com/2008/07/discodoris-rosi-ortea-1...

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta

A precisely dated brick, being stamped 19th September 1882, produced by the Eltringham Colliery Company, near Prudhoe in the Tyne Valley - just prior to the yard being leased by Harriman & Co. of Blaydon!

Photograph taken at an altitude of Ten metres, in the magic prior to the Golden hour around sunrise at 05:29am, (sunrise was at precisely 06.15am) on Saturday 6th September 2014 off the Patricia Bay Highway 17, on Lochside Drive close to Frost Avenue and the Lochside Waterfront Park, in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.

Here, I am standing beside the wooden decked viewing platform, looking over from beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.

The Great Blue Heron (Ardea Herodias), seen in the water in the distance, is a wading bird in the Heron family Ardeidae and found in North America, Central Ameria, the Caribean and Galapagos Islands. One of the largest of Herons, it has a head to tail length of 01-137 centimtres (36-54 inches) and a wingspan of 187-201 centimtres (66-79 inches). They are found where my family live, and naturally very wary of mankind, flying off as soon as you are within fifty to one hundred yards of them.

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Nikon D800 200mm 1/20s f/2.8 iso100 RAW (14 bit) AF-S single point focus. Manual exposure. Matrix metering. Auto white balance.

Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 48d 38m 16.00s

LONGITUDE: W 123d 24m 12.58s

ALTITUDE: 10.0m

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 13.77MB

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Processing power:

HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.0 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

Putting these precisely folded lath reinforcing in the Ditch works ok but, it they tend to loose that nice fit in the bottom of the form if the plaster on the bottom plate is too. To compesate for this, next time we will just use pieces that have only a single 90 degree bends. This will cause more overlap lath layers on the bottom plate but only a slight increase. The payoff will be they will be easier to stick on.

Fountain in Coyoacán, México City, more precisely, in the park of the coyotes. In this place people of all traits used to gather, but mostly artists, Tarot readers, and artisans. However, most of them were relocated to the nearby "Artisans' Plaza" since the park was full of ambulant merchants.

Important artists such as Frida Kahlo used to live in that zone. In fact, Frida Kahlo was born there. That influenced a lot the local culture and ideas, which continue to survive to this days. As a result, the zone is an important hot-spot for intellectual people.

Taken with picplz.

@ Internationale Tanzmesse nrw, Düsseldorf

In To the Ones I Love, Thierry Smits places nine dancers of African descent on the stage. More precisely, for this choice is a vital one, he uses nine dancers whose complexions hark back to Africa. In short, they are dark – either black or of mixed race. These dancers have different nationalities but belong to the world, and the fact that they are scattered over several continents proves that the world belongs to them despite the discriminatory reflexes that are incarnated in today’s immigration policies and talk about national identity. The mixing of races and cultures mocks these retreats behind the walls of identity, defies all categorisation, and transmits a troubling, implacable message of change, for tomorrow humankind will be mixed or it will not be.

Thierry Smits’s message is not political, however. It deliberately sets out to be aesthetic and refuses all concessions to exoticism. The principle is to set bodies used to “Western” choreographic techniques but nevertheless shaped by other traditions and dances in motion. They dance in a white decor and are literally transported by Johan Sebastian Bach’s music, by its overflowing generosity and immense virtuosity. The challenge is obviously to manage the unexpected outcomes of the meeting of different cultural references.

In putting nine bodies sculpted and sublimated by dance and music on the stage, Thierry Smits issues a message of love by giving a metaphorical dimension to the difference of the loved one, for the other one whom one loves is, by definition, different from the one of oneself. To celebrate twenty years of choreographic creation, Thierry Smits is treating himself to a moment of immense pleasure whilst offering his audience, family, friends, and lovers this visual gift, proof of a constantly renewed energy and an endless hunger to love passionately.

www.youtube.com/watch?v=NGrJz7AirC8

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

THIS PIECE TOOK ME PRECISELY 6 HOURS T OD AND IT WAS SUPPOSE TO BE DONE ON NEW YEARS EVE, NO THANKS TO THOSE TFL AND NEW YEARS PARTY ORGANISING IDIOTS !!!

Plus doing it on NEW YEARS DAY WAS A DAY TO LEARN AND PREPARE FOR NEXT TIME TOO

This is my superhero NEW YEARS PIECE filled with Amalgamte characters,BANANAMAN, BLuntman and Chronic and of COURSE ME GIVING YOU AN AFFIRMATIVE MESSAGE

"BE A HERO THIS YEAR!!"

HAVE A GREAT YEAR PEOPLE AND ALWAYS BE POSITIVE TOO !!

Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta

Photograph taken at an altitude of Seven metres, in the magic of the Golden hour around sunrise at 06:30am, (sunrise was at precisely 06.15am) on Monday 21st September 2014 off the Patricia Bay Highway 17, on Lochside Drive close to Frost Avenue and the Lochside Waterfront Park, in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.

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Nikon D800 82mm 1/20s f/2.8 iso100 RAW (14 bit) Manual focus. Manual exposure. Matrix metering. Auto white balance.

Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

LATITUDE: N 48d 38m 52.67s

LONGITUDE: W 123d 23m 29.65s

ALTITUDE: 7.0m

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 16.47MB

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Processing power:

HP Pavillion P6-2388EA Desktop with AMD A10-5700 APU processor. AMD Radeon HD 7570 graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.0 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

Photograph taken at an altitude of Fifty six metres, in the magic prior to the Golden Hour around sunrise (Sunrise was at precisely 04:38am), at 03:41am on Thursday 12th June 2014 off Lullingstone Lane and Eagle Heights overlooking the field adjacent to Eynsford Viaduct in the village of Eynsford, Kent, England.

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Nikon D800 24mm 1/13s f/5.6 iso100 RAW (14 bit) Nikon RC-DC2 remote shutter release. Manual focus. Manual exposure. Matrix metering. Auto white balance.

Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 51d 22m 3.37s

LONGITUDE: E 0d 11m 53.65s

ALTITUDE: 56.0m

RAW (TIFF) FILE: 103.00MB

PROCESSED FILE: 11.07MB

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Processing power:

HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.90 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

Took a walk in the hills at morrongo valley when i came back down their was this guy flying his heli he had two of them he was doing free styje flying took some shot's and then move on to the birding.Big Morongo Canyon Preserve is an internationally-recognized birding site. Several rare or unusual species are known to nest here, and many other species are abundant during the spring and fall migration seasons.

What does it mean to “fly 3D”? All aircraft maneuver in three dimensional space, so what separates 3D flying from just flying? Model helicopters are capable of maneuvers other aircraft, including full sized helicopters can only dream of. A modern “3D” model helicopter is capable of aggressive, accurate and axial flips and rolls. Adding the ability to pirouette, fly backwards and upside down, there is practically no limit to the maneuvers that can be flown. Although aggressive, unbelievable flights may seem wildly out of control to the untrained eye, it takes immense skill, and the models can be flown incredibly precisely with enough practice.

One of the beauties of modern aerobatic helicopter flight, which has come to be known as 3D, is how varied the potential is. Every 3D heli pilot exhibits their own character and style in flight. A 3D flight could be flown freestyle with nothing planned ahead of time, or it could be a highly prepared, choreographed flight put to music for competition. While 3D heli flight is, in essence, simply a combination of flips, rolls , and pirouettes, there is no end to the combinations. Once a heli pilot masters the basics, a continuously evolving world of precision aerobatics awaits. Like a dancer or figure skater, a 3D heli pilot can express style by putting simple moves together in complicated sequences for incredible effect.

Like any sport, art, or specialty, practice makes perfect. Some people learn faster than others, but everybody should try to step gingerly into more complicated and aggressive moves, for safeties sake (not to mention your wallet!). Excellent training tools are available; most notably computer simulators and buddy boxes. Unlike most video games which are intended for play, simulators for model aircraft are designed around one goal, helping people learn how to fly model airplanes and helicopters. Simulators are so accurate a budding pilot can master almost all regimes of flight in a simulated environment which instantly replaces a wrecked model! In real life, a crash cost not only confidence, but time and money to fix the model. By the time the pilot gets back to it, the learning experience from the crash is not fresh, and learning tends to progress slower. On a simulator, a fledgling pilot can take as much time exploring the controls as they want, and learn at their own pace without any down time between crashes.

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

- Flow rates adjustable between 0% and a 100% rating

- Flow rate can also be regulated by a range of electrical inputs (sensors, transmitters, PLC, etc.) via an ASCO Electronic Control Unit or similar circuit

- Suitable for use in air/gas, low-vaccuum service, as well as to precisely control flow of water

Photograph taken at an altitude of Six metres, in the magic of the Golden hour around sunrise, (Sunrise was at precisely 07:00am), at 07:04am on Sunday 21st September 2014 off 1st Street and Beacon Avenue, from the concourse above the shoreline in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.

Here, we are looking over towards Mt Baker in Washington State, USA from beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada. Also known as Koma Kulshan, (pronounced kō-ō’mah’ kool-shän’),she is an active glaciated andesitic stratovolcano in the Cascade Volcanic Arc and the North Cascades of Washington State in the United States, standing 3,286 metres tall and was first ascended in 1868, her last eruption recorded in 1880.

The name Mount Baker first appeared in print in Captain Vancouver’s 1798 narrative of his voyage around Vancouver Island. Legend has it that his third-lieutenant, Joseph Baker, was the first to spot the mountain while they sailed into Dungeness Bay on April 30th, 1792. Also known by the Lummi as Kwud-Shad, and Koba (meaning 'high mountain always covered with snow', was the Skagit name.

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Nikon D800 78mm 1/1600s f/2.8 iso100 RAW (14 bit) Mirror up. AF-C continuous focus mode with 3-D tracking. Manual exposure. Matrix metering. Auto white balance.

Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

LATITUDE: N 48d 38m 54.88s

LONGITUDE: W 123d 23m 38.75s

ALTITUDE: 6.0m

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 15.42MB

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Processing power:

HP Pavillion P6-2388EA Desktop with AMD A10-5700 APU processor. AMD Radeon HD 7570 graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.0 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

A real piece of Americana...a home built of logs (try fitting something together so precisely!) where handmade quilts are aired out on a veranda. The tradition of quilt making in the US is still alive today. Even quilt making contests and auctions are very popular, and there are quilt-theme groups on Flickr.

Great-grandmother took available materials and techniques, and she used those to tell a story, to tell the viewer something about the world in which she lived, about something that was important to her. Usually, family and friends shared in the process, either by piecing together, finely stitching the backing or embroidering the quilt, a process that takes months, building a sense of family and belonging. The process of creating a quilt is, for many, a rich and profound experience.

Quilts frequently celebrate birthdays, graduations and weddings. Such quilts include visual reminders of the intended recipients' lives and interests such as pictorial images, actual items of clothing, or symbols of personal significance. With some quilts, the story is easily “read” by the viewer. With others, the meaning may not be apparent without the accompanying narrative. Without knowing the story, all we see is a pretty quilt.

I am fortunate to have two quilts. My great-grandmother and her sister made one for my grandpa before he married. My mother made the embroidered pieces of the other, between her 8th and 13th year, and her aunts pieced it together and did the finishing work. I am proud to have these wonderful heirlooms. The house on this picture is not mine, but I thought it, together with the quilts, a special slice of Americana to share with you.

There's beauty in the patterns of life.

-How To Make An American Quilt: www.imdb.com/title/tt0113347/

Mengele Totentanz (1968) at the exhibition Jean Tinguely -

Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta

Nudibranchs are a group of sea slugs characterized by having no shell, thus having their gills exposed. The name in latin, nudibranchia means precisely that: nudi (nude, exposed) + branchia (gills).

Instead of the protective shell, the nudibranchs use other intricate defense mechanisms and that's one of the reasons they are such an interesting group to study. Not to mention their exquisite appearance.

More info about this species:

www.seaslugforum.net/find/hypstric

hypselodoris.blogspot.com/2008/07/hypselodoris-tricolor-c...

The Supermarine Spitfire Mk1 replica represents as precisely as possible the aircraft YT-J, serial number R6675, flown most by Flying Officer Jeffery Quill OBE AFC during his short operational attachment to 65 Squadron from 6 August to 24 August 1940.

Amongst the many distinguished pilots associated with the Spitfire, one name stands out above all others, Jeffery Kindersley Quill, OBE AFC. Born on 1 February 1913 at Littlehampton in Sussex, Quill was educated at Lancing College before joining the RAF. His ab initio training was on Avro Tutors at No. 3 Flying Training School, Grantham where he also undertook advanced flying on the Armstrong Whitworth Siskin Mk IIIA. With the pilot rating ‘Exceptional’ stamped in his logbook, he was posted to No. 17 Squadron at Upavon to fly Bristol Bulldogs. At Grantham Quill had shown a natural aptitude for instrument flying and his next posting was to the Meteorological Flight at Duxford, where he became its CO in November 1934. Back on Siskins, he had the misfortune to crash-land on 14 March 1935 in marginal weather conditions, resulting in the almost inevitable ‘Siskin nose’ which only served to aggravate a condition acquired earlier while boxing for the RAF.

In November 1935 he left the RAF to become assistant to ‘Mutt’ Summers, the Chief Test Pilot at Vickers (Aviation). On 5 March 1936 Quill flew Summers to Eastleigh in the company’s Miles Falcon so that Summers could carry out the first flight in the F.37/34 fighter. Quill did not have to wait long to fly it himself and carried out his own maiden flight in Spitfire K5054 on the 26th March. Over the next 12 years Quill flew every version of the Spitfire, right up to the Seafire Mk 47 in 1946.

Such was his dedication that he managed to secure an attachment to No. 65 Squadron at Hornchurch in August 1940 at the height of the Battle of Britain, to obtain operational experience so as to appreciate more fully the requirements demanded of the Spitfire and find ways of eradicating its few shortcomings. He also had a deep desire to fight for his country. On 16 August he shot down a Messerchmitt Bf 109E fighter and two days later shared in the destruction of a Heinkel He 111 bomber.

Quill was Chief Test Pilot of Supermarine until 1947 when he was forced to retire on medical grounds. Thereafter he undertook various ground-based tasks with Vickers and the British Aircraft Corporation involving the development of the TSR2, Jaguar and Tornado, culminating in the role of Director of Marketing at Panavia. He died on 20 February 1996, aged 83.

We went out mapping, or more precisely doing aerial photography, flying a digital camera under a nice big green balloon from the green of Goldsmiths University. The MA is Design at Goldsmiths has an option called “Design & Environment” supervised by Prof Jennifer Gabrys. It is a course that initiates students to alternatives design and environmental methods and pratices. This hands-on experiment was lead by Cesar Harada acting both as Goldsmiths tutor and Public Laboratory instructor. The mappers -who are also the authors of this post- were Anuja Uttamrao Borker, Inessa Demidova, Shan-Yu Hsu, Dk Hajah Hazwani Pg Dato Haji Jaberudin, Federica Sterpos, Chian-Yun Yang, Yifan Zhang, Elvira Grob.

designandenvironment.co.uk/

The finished product, precisely mixed, consistent from morning to evening, chilled, and ready to drink.

Maintenance is fairly easy, as the mixes are in small tanks, mounted just behind the front cover of the machine. (I noted this as one of the Wing Stop employees was changing a tank pack.)

Embracing the latest 21st century technology, drinks are precisely mixed and dispensed with "microdispensing" and "PurePour" technology, developed initially for the pharmaceutical industry, the flavor ingredient cartridges are equipped with RFID chips, which keep track of supplies, as well as when supplies run low.

The machines also can communicate supply and demand data to the owner, as well as Coca-Cola, such as what brands are sold, when they're sold, as well as troubleshooting and service data.

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.

The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.

Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.

We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.

On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Arron Slack, up onto Green Gable them we galloped down Arron Slack to Styhead and back to Wasdale.

Took a walk in the hills at morrongo valley when i came back down their was this guy flying his heli he had two of them he was doing free styje flying took some shot's and then move on to the birding.Big Morongo Canyon Preserve is an internationally-recognized birding site. Several rare or unusual species are known to nest here, and many other species are abundant during the spring and fall migration seasons.

What does it mean to “fly 3D”? All aircraft maneuver in three dimensional space, so what separates 3D flying from just flying? Model helicopters are capable of maneuvers other aircraft, including full sized helicopters can only dream of. A modern “3D” model helicopter is capable of aggressive, accurate and axial flips and rolls. Adding the ability to pirouette, fly backwards and upside down, there is practically no limit to the maneuvers that can be flown. Although aggressive, unbelievable flights may seem wildly out of control to the untrained eye, it takes immense skill, and the models can be flown incredibly precisely with enough practice.

One of the beauties of modern aerobatic helicopter flight, which has come to be known as 3D, is how varied the potential is. Every 3D heli pilot exhibits their own character and style in flight. A 3D flight could be flown freestyle with nothing planned ahead of time, or it could be a highly prepared, choreographed flight put to music for competition. While 3D heli flight is, in essence, simply a combination of flips, rolls , and pirouettes, there is no end to the combinations. Once a heli pilot masters the basics, a continuously evolving world of precision aerobatics awaits. Like a dancer or figure skater, a 3D heli pilot can express style by putting simple moves together in complicated sequences for incredible effect.

Like any sport, art, or specialty, practice makes perfect. Some people learn faster than others, but everybody should try to step gingerly into more complicated and aggressive moves, for safeties sake (not to mention your wallet!). Excellent training tools are available; most notably computer simulators and buddy boxes. Unlike most video games which are intended for play, simulators for model aircraft are designed around one goal, helping people learn how to fly model airplanes and helicopters. Simulators are so accurate a budding pilot can master almost all regimes of flight in a simulated environment which instantly replaces a wrecked model! In real life, a crash cost not only confidence, but time and money to fix the model. By the time the pilot gets back to it, the learning experience from the crash is not fresh, and learning tends to progress slower. On a simulator, a fledgling pilot can take as much time exploring the controls as they want, and learn at their own pace without any down time between crashes.

Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam

Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.

The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta