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Se presentó La memoria de los ojos, sobre la filmografía de Leonardo Favio en la Feria del Libro
Participaron del acto Jorge Coscia, Rodolfo Hamawi, Horacio González, Federico Luppi, Natalia Pelayo, Martín Wain y el propio cineasta.
Foto: Silvina Frydlewsky / Secretaría de Cultura de la Nación
One of my first experiments with mixed media, completed at Christmastime in 2006. Acrylics, watercolor, pen & ink, oil pastel, charchol, texture mediums, and a bit of papers.
LEBRE CARMIN - Voces não podem deixar de conhecer...decoração,mimos,artes,artesanato(NIKAS ATELIÊ)
R.Antonio de Macedo Soares, 1102 - loja 19 - Campo Belo - SP
Manobrista no local!
Muito obrigada, BIA PRATA! www.flickr.com/photos/54509570@N05/
Amei tudo mesmo!
Que Deus abençoe você e sua família. Boas Festas e um 2011 de muita paz, amor e saúde!
Our presenters for LMI Day 2013:
Peg Cleland
Sandy Gribbon
Josef Matthews
Sheldon McBee
Jericho McDuffie
Taken with my iPhone
Japan Impact est un événement culturel à but non lucratif qui a pour but de faire découvrir le Japon en Suisse romande.
La convention a été mise sur pieds par PolyJapan, association d’étudiants de l’EPFL passionnés par la richesse de la culture japonaise.
Le Club Photo EPFL monte à cet occasion un studio accessible au public.
Si è tenuta presso la sala Lumiere nell’ambito della 45esima edizione del Giffoni Film Festival la presentazione del volume “Fiabe e Diritti”, 7 storie per raccontare 7 diritti dell’infanzia, il libro, prodotto dall’Authority e scritto da Massimo Andrei con le illustrazioni di Massimiliano Riso.
She also got a necklace. The guy at the second auction got one too. She took it off to give it to them. Lol, I don't even know who she is.
Se presentó La memoria de los ojos, sobre la filmografía de Leonardo Favio en la Feria del Libro
Participaron del acto Jorge Coscia, Rodolfo Hamawi, Horacio González, Federico Luppi, Natalia Pelayo, Martín Wain y el propio cineasta.
Foto: Silvina Frydlewsky / Secretaría de Cultura de la Nación
Kevin Lowry present commerative plagues to the Kroegels, the mayor, and to city of Chemnitz, Germany.
Pelican Island Pioneer Festival 2014 - Celebrating 150th birthday of Paul Kroegel, first refuge manager.
Photos by Garry Tucker, USFWS
I'm not sure what was happening in Guildhall Square today, but a group were rehearsing for some event. Here they were standing on top of a large cage holding up flares. I found it quite poignant to see this against the images of the D-Day veterans on the big screen
We present several items from the PRECIOSA Traditional Czech Glass™ sold under Desna since 1847 brand. This artistic crystalware collection produced by Preciosa Ornela and involves products which follow in the pre-war tradition of the production of unique products by the Jablonec companies of H. Hoffman and C. Schlevogt, as well as by other designers from the post-war era. The entire collection incorporates a wide range of products ranging from small matt crystal figures and articles with a devotional theme through to a group consisting of flacons, jars, vases and ashtrays (several of which are in the popular Art Deco style) and on to figural statues. These products are characterised by the large amount of traditional manual workmanship which goes into their production. As far as the colors are concerned, Czech crystal, uranium yellow, jade, refined blue and green have long been popular.
If you are interested in purchasing any of these items, please come and visit our company shop in Desná, but you can, of course, also come across the items from the collection at a number of other shops which specialise in Czech glass.
Eu coloquei "troquinha" na foto, mas isto não foi uma troquinha comum.
Eu enviei para ela os prémios que ela ganhou no concurso do Blog e umas coisinhas mais e ela me enviou tudo isto que está na foto e mais umas limas fofas que eu esqueci de incluir na foto (depois eu coloco as fotos no blog).
Todos estes vernizes foram presentes enviados "às cegas", ou seja, eu não sabia o que ia receber, porque foi tudo escolhido pela Jéssica - e que bom gosto ela tem. Acertou em cheio em TUDO.
Ah...e tem ainda a cartinha mega fofa que ela escreveu. Eu CHOREI ao ler as palavras lindas da Jéssica (e ela tem uma letra maravilhosa também)...fiquei muito emocionada e grata por ter uma AMIGA como ela.
Te amo muito Jéssica e muito obrigado por tudo.
Agora vou parar de escrever, senão daqui a pouco isto vira um livro LOL.
UPDATE COM OS NOMES DOS LINDINHOS
1: Avelã, Azul Bebê, Montana, Donatella, Zazá, Maria Helena, Maria do Céu, Ana Maria, Maria
Maria, Maria Bonita, Maria da Praia - Tudo La Pogee.
2: Meia Calça, Coque e Vanguarda da novíssima colecção Pop 4 you da Risqué, Taj Mahal da Extase, Brigitte, L'amore, Canoa, Saia Justa e Club da Impala.
3: Fobos da Big Universo, Uva, Glamour e Imperatriz da Guga, Lilás, Uva, Namorado e Fashion da Mohda e Nébula da Big Universo também.
Caixinha recebida a 28/07/2010.
Copyrights: DEMO PHOTOS
Photographer: DeMond Younger
FB: www.facebook.com/demo.photos
Instagram: demophotos1
Email Me: demophotos1@gmail.com
Washington City Paper's Best Of 2013 Fete Presented by Verizon Wireless
Celebrate Washington City Paper's Best Of 2013 winners of both our editorial and reader votes. Be the first to see the winners of more than 300 categories! Enjoy tastings from 50 Best of D.C. winners and finalist restaurants,local breweries & other artisans. With 5 live entertainment stages, unbelievable beer, wine and spirits, this is not only the Best of D.C. issue, it is the Best D.C. event of the year!
Washington City Paper is proud to partner with Food & Friends, the 2012 winner for Best Place to Volunteer. Food & Friends is a local nonprofit that provides meals, groceries and nutrition counseling to children and adults in the Washington region living with HIV/AIDS, cancer, and other life-challenging illnesses.
A portion of the ticket sales will be donated to Food & Friends to help deliver hope, one meal at a time.
Model Luis Brigman - in the Historic West Adams District, on the USC campus and in the studio. Special thanks to Photo Assistant Alex Kinnan.
Photo Specs: Canon 1DSMkIII, 24-70mm 2.8 L, Paul C. Buff Einstein w/ 4x6" softbox, ISO 160, 1/125, f /11, Digital Photo Professional, Photoshop CS6, Color Efex Pro 4 (Dynamic Skin Softener), Silver Efex Pro 2, Sharpener Pro 3.0
Copyright 2013 by David K. Smith of DKS Media Solutions - Website: www.dksmediasolutions.com/ - Facebook: www.facebook.com/dksmedia/ - Twitter: www.twitter.com/dksmedia/ - Email: info@dksmediasolutions.com
The present structure is actually the third Augustinian church erected on the site. The first San Agustin Church was the first religious structure constructed by the Spaniards on the island of Luzon. Made of bamboo and nipa, it was completed in 1571, but destroyed by fire in December, 1574 during the attempted invasion of Manila by the forces of Limahong. A second church made of wood was constructed on the site. This was destroyed in February 1583, in a fire that started when a candle set ablaze the drapes of the funeral bier during the interment of the Spanish Governor-General Gonzalo Ronquillo de Peñalosa.
The Augustinians decided to rebuild the church using stone, and to construct an adjacent monastery. Construction began in 1586, based on a design by Juan Macías.
The structure was built using hewn adobe stones quarried from Meycauayan, Binangonan and San Mateo, Rizal.
The work proceeded slowly due to the lack of funds and materials, as well as the relative scarcity of stone artisans. The monastery was operational by 1604, and the church was formally declared complete on January 19, 1607, and named St. Paul of Manila. San Agustin Church was looted by the British forces which occupied Manila in 1762 during the Seven Years' War. In 1854, the church was renovated under the supervision of architect Luciano Oliver. Nine years later, on June 3, 1863, the strongest earthquake at that time, hit Manila leaving widespread destruction to the city with San Agustin Church, the only public building left undamaged in the city. A series of strong earthquakes struck Manila again on 18–20 July 1880.
On August 18, 1898, the church was the site where Spanish Governor-General Fermin Jaudenes prepared the terms for the surrender of Manila to the United States of America following the Spanish-American War.
During the Japanese occupation of the Philippines during World War II, San Agustin Church was turned into a concentration camp for prisoners. In the final days of the Battle of Manila, hundreds of Intramuros residents and clergy were held hostage in the church by Japanese soldiers; many of the hostages would be killed during the three-week long battle. The church itself survived the flattening of Intramuros by American forces in May, 1945 with only its roof damaged, the only one of the seven churches in the walled city to remain standing. The adjacent monastery however was totally destroyed, and was later rebuilt in the 1970s as a museum under the design of architect Angel Nakpil.
The San Agustin Church is patterned after some of the magnificent temples built by the Augustinians in Mexico, its present edifice was built in 1587, and completed, together with the monastery, in 1604.The atmosphere is medieval since “both church and monastery symbolize the majesty and equilibrium of a Spanish golden era.”
The massive structure of the church, the symmetry and splendor of the interiors (painted by two Italians who succeeded in producing trompe l'oeil), the profile of the mouldings, rosettes and sunken panels which appear as three-dimensional carvings, a baroque pulpit with the native pineapple as a motif, the grand pipe organ, the antechoir with a 16th-century crucifix, the choir seats carved in molave with ivory inlays of the 17th century and the set of 16 huge and beautiful chandeliers from Paris.
This is my little bro’s Christmas present. He was given my granddad’s war medals when he passed away a couple of years ago and my brother has wanted to display them nicely some how for a while now. This is just a scanned image of the backing ground and the medals. I am presenting it in a black box frame so it has a 3D effect. The old newspaper and vintage flag I got from a local car boot and I think they really give it a vintage feel. I hope he likes it, he hasn’t noticed the medals are missing yet so hopefully it will be a lovely surprise.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
he need for a specialized self-propelled anti-aircraft gun, capable of keeping up with the armored divisions, had become increasingly urgent for the German Armed Forces, as from 1943 on the German Air Force was less and less able to protect itself against enemy fighter bombers. Therefore, a multitude of improvised and specially designed self-propelled anti-aircraft guns were built, many on the Panzer IV chassis, starting with the Flakpanzer IV Möbelwagen (a stopgap design) and progressing through the Wirbelwind and Ostwind models. However, these designs were tall, open-topped designs with sub-optimal armor. These flaws were to be eliminated in the Kugelblitz, the final development of the Flakpanzer IV.
The first proposal for the Kugelblitz SPAAG envisioned mounting a modified anti-aircraft turret, which had originally been developed for U-boats, on the Panzer IV chassis. It was armed with dual 30 mm MK 303 Brunn guns. However, this was eventually abandoned, since development of this gun had not yet been completed, and, in any case, the entire production run of this weapon turret would have been reserved for Germany's Kriegsmarine, anyway. However, enough firepower that enabled the Flakpanzer to cope with armored attack aircraft, namely the Soviet Ilyushin Il-2, which was a major threat to German tanks, was direly needed.
As the best readily available alternative, the SdKfz. 161/7 Leichter Flakpanzer IV 3 cm, nicknamed “Kugelblitz” because of its unique turret design. It comprised 30 mm MK 103 cannon in a Zwillingsflak ("twin flak") 103/38 arrangement, and it combined the chassis and basic superstructure of the existing Panzer IV medium battle tank with a newly designed turret. The turret’s construction was sophisticated and comprised a spherical body, which was protected with 20 mm steel shells in front and back. This core was hanging in a ring mount from the Tiger I, suspended by two spigots – it was effectively an independent capsule that only slightly protruded from the tank’s upper side and kept the vehicle’s profile very low, unlike its predecessors. Elevation of the weapons (as well as of the crew sitting inside of the turret!) was from -5° to +80°, turning speed was 60°/sec. The turret was fully enclosed, with full overhead protection, 360° traverse and (rather limited) space for the crew of three plus weapons and ammunition. Compared with all earlier SPAAG designs, the Kugelblitz turret was a fundamental step ahead.
The tank’s MK 103 was a powerful weapon that had formerly been fitted in single mounts to such planes as the Henschel Hs 129 or Bf 110 in a ventral gun pod against tanks, and it was also fitted to the twin-engine Dornier Do 335 heavy fighter and other interceptors against Allied bombers. When used by the army, it received the designation “3 cm Flak 38”. It had a weight of only 141 kg (311 lb) and a length of 235 cm (93 in) with muzzle brake. Barrel length was 134 cm (53 in), resulting in Kaliber L/44.7 (44.7 caliber). The weapon’s muzzle velocity was around 900 m/s (3,000 ft/s), allowing an armor penetration for APCR 42–52 mm (1.7–2.0 in)/60°/300 m (980 ft) or 75–95 mm (3.0–3.7 in)/ 90°/ 300 m (980 ft), with an effective maximum firing range of around 5.700 m (18.670 ft).
The MK 103 was gas-operated, fully automatic and belt-fed, another innovative feature at that time for AA guns, which were formerly fed only by ammunition clips that had frequently to be manually re-loaded and prevented continuous fire for more than a few seconds. In the Kugelblitz turret the weapons could be fired singly or simultaneously, and their theoretical rate of fire was 450 rounds a minute, even though 250 rpm in short bursts was more practical to save ammunition and prevent overheating. The total ammunition load for both weapons was 1,200 rounds and the discharged cases fell into canvas bags placed under the guns, to be collected and recycled (due to material shortage). Since the MK 103 cannons produced a lot of powder smoke when operated, fume extractors were added, which was another novelty.
A production rate of 30 Kugelblitz SPAAG turrets and the respective conversion and production of complete vehicles on the basis of Panzer IV hulls per month by December 1944 was planned, but never achieved, because tank production had become seriously hampered and production of the Panzer IV was about to be terminated in favor of the new E-series tank family. Therefore, almost all Flakpanzer IV with the Kugelblitz turret were conversions of existing vehicles, mostly coming from repair shops after having been damaged in the field.
In parallel, work was under way to adapt the Kugelblitz turret to the Jagdpanzer 38(t) Hetzer hull, which was still in production in the former Czechoslovakian Skoda works, and to the new, light E-10 and E-25 tank chassis. Since the production of the new types also did not gain momentum, a new and immediate interim solution was required to provide the tank units with mobile protection from enemy aircraft. As another stopgap solution, hulls from standard SdKfz. 171 “Panther” medium battle tanks were modified to accept the Kugelblitz turret.
These vehicles were almost exclusively revamped or unfinished battle tanks, mostly late “G” models, but early “D” and “A” models were also converted, lending them a second life. The adaptations were minimal, though, and were executed at Kosmonosy, the former Skoda works, where Kugelblitz conversions were concentrated. The modified vehicle received the official designation SdKfz. 171/4.
The Panther’s original turret ring had to be exchanged, and its’ diameter enlarged to take the Tiger I’s turret bearing. Another factory modification for the SPAAG role included additional armor plates over the ventilation grilles on the top of the engine deck, to better protect the powerplant from aircraft attacks. Theoretically the Panther’s side skirts were supposed to be mounted on the SdKfz. 171/4, too, to protect its weak spot in the side armor around the running gear, but lack of material and rushed production simply prevented this. However, the side skirts were, when available, sometimes retrofitted in the units’ field workshops.
Driver and radio operator were in the front of the hull, as with all German tanks. In the turret, the commander/gunner, who had a small observation cupola on top of the turret, was positioned in the middle, behind the main guns. The two gunner assistants were placed on the left and right side in front of him, in a slightly lower position. The assistant situated on the left of the guns was responsible for the turret’s movements, the one on the right side was responsible for loading the guns. The spare ammunition was located on the right side. Each of these three crew members had individual hatch doors, which they could use to enter or exit the vehicle. The gunner assistants’ hatch doors each had a small round shaped extra hatch, which were used for mounting sighting devices.
Additionally, to improve accuracy and save ammunition, plans were made to outfit the turret with a stereoscopic telemeter for the commander – due to the lack of resources only about 1 in 4 turrets received this device, though, and such vehicles were reserved for platoon leaders. The stereoscopic telemeter was like an earlier stereoscopic rangefinder, but only with a single eyepiece. Since the original Kugelblitz turret offered not enough space for the device’s integration it was added to a new, more bulbous hatch for the commander and mounted externally in an armored horizontal fairing. Vehicles with the rangefinder device received an “Ausf(ührung) B” suffix.
When Einheitspanzer production gained momentum the Panther conversions into SdKfz. 171/4 and other SPAAGs like the SdKfz. 171/3 ‘Coelian’ vehicle family were stopped. Roundabout 50 SdKfz. 171/4s reached frontline units, only a dozen of them of the Ausf. B with the stereoscopic telemeter device. By mid-1945 the Panther-based SPAAGs had gradually replaced most of the outdated Panzer IV AA variants and other earlier improvised SPAAGs with open turrets. However, the SdKfz. 171/4 SPAAGs were soon joined and replaced by the newly produced, dedicated Flakpanzer variants of the new Einheitspanzer family, and already phased out by mid-1946, when Panther spare parts ran low and to unify and simplify field logistics with the new generation of standard tanks.
Specifications:
Crew: Five (commander, gunner, loader/2nd gunner, driver, radio-operator/hull machine gunner)
Weight: 41.5 tonnes
Length: 6.87 m (22 ft 6 in)
Width: 3.27 m (10 ft 9 in)
Height: 2.79 m (9 ft 1½ in)
Suspension: Double torsion bar, interleaved road wheels
Fuel capacity: 720 litres (160 imp gal; 190 US gal)
Armor:
15–80 mm (0.6 – 3.15 in)
Performance:
Maximum road speed: 46 km/h (29 mph)
Operational range: 250 km (160 mi)
Power/weight: 15.39 PS (11.5 kW)/tonne (13.77 hp/ton)
Engine:
Maybach HL230 P30 V-12 petrol engine with 700 PS (690 hp, 515 kW)
ZF AK 7-200 gear; 7 forward 1 reverse
Armament:
2× 30 mm 3 cm Flak 38 (MK 103/3) with a total of 1.200 rounds
1× 7.92 mm MG 34 machine gun in the front glacis plate with 2.500 rounds
The kit and its assembly:
To be honest, this was a rather uninspired build. It was spawned by the thought that the Panzer IV-based “Kugelblitz” SPAAG might have been (re)built with a later/gigger chassis, too, and the Panzer V Panther appeared like a logical chassis. I had a Hasegawa Panther Ausf. G in The Stash™, as well as a surplus Kugelblitz turret from a ModelCollect fictional E-Series walking tank (a standard feature of the se kits in a ventral position, what makes NO sense at all!), and mating these was a rather simple task.
The Kugelblitz turret was built OOB, but to make it look a bit different and special I added a scratched rangefinder to the commander’s hatch, which now turned into a kind of cupola.
The Hasegawa Panther was built OOB, the only mods I made are armor overs for the engine deck louvres, I left away the standard side skirts, and instead of the tube for a replacement 75mm gun barrel I gave the model a pair of thinner tubes for the smaller and shorter 30mm MK 103 barrels. To accept the new turret the original hull opening had to be enlarged – a bit tricky, but it worked well. Additionally, I scratched folded tarpaulins for the rear flanks, filling “blank space”. Another addition is a standard whip antenna on the engine deck, made from heated black sprue material.
Painting and markings:
A whiffy vehicle deserves a rather “typically German” livery, and I went for another variant of the Hinterhalt scheme, with the standard colors of Dunkelgelb (RAL 7028), Olivgrün (RAL 6003) and Rotbraun (RAL 8012). Painting started, as in real life, with an overall coat of Dunkelgelb, with Tamiya TS-3 from a rattle spray can. On top of that I added green and brown “tiger stripes” with Revell 84 (Lederbraun) and added smaller mottles with Revell 361 (Olivgrün). I did not pay much attention on being exact, since this field camouflage was improvised in real life, too, and it would disappear under a coat of winter whitewash, anyway. To emphasize the SPAAG’s makeshift origin, I painted the turret cell in simple Oxidrot overall (RAL 3009, a standard German primer tone in WWII, even though frequently lighter due to be being stretched with pigments) and just applied some dry-brushing, while the armor collar received the hull’s Hinterhalt cammo, too.
The whitewash was done with thin acrylic Revell 5 (Flat White), only for a worn coat so that the dark cammo stripes and mottles underneath would shine through here and there. The tactical markings were spared from the whitewash, though, consisting of red code numbers from the Hasegawa kit’s sheet and the scrap box. The OOB black vinyl tracks were also painted/weathered, with a wet-in-wet mix of black, iron, and red brown, all acrylics to avoid chemical long-term reactions with the relatively soft material through solvents.
Everything was sealed with matt acrylic varnish, and after the vinyl tracks had been mounted I also added lumps of snow to the running gear and the tracks (wet white tile grout, partly mixed with fine brown sand) and dusted dry white tile grout over the model to simulate light patches of snow, but not a full coat.
“La Confartigianato da sempre è impegnata nel costruire percorsi di innovazione. Obiettivo del Digital Innovation Hub è la diffusione della cultura digitale e la valorizzazione delle eccellenze produttive” ha dichiarato il presidente Confartigianato Graziano Sabbatini aprendo i lavori del seminario su imprese e innovazione al quale, coordinato dal vicesegretario Marco Pierpaoli, ha partecipato Manuela Bora assessore regionale attività produttive e sono intervenuti: Giorgio Cataldi presidente Camera di Commercio di Ancona, Andrea Dini presidente ICT Confartigianato Marche, Paolo Manfredi responsabile nazionale ICT Confartigianato, Anna Maria Piccione presidente nazionale ICT Confartigianato, Massimo Mingo responsabile ICT Confartigianato Imprese Ancona – Pesaro e Urbino. Presenti inoltre numerose autorità.