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by Alfredo Fernandes
Alfi Art Production, Divar
41st Tiatr Competition A group Of Kala Academy supported by TAG
13.10.2015
more here
joegoauk-tiatr.blogspot.in/2015/10/41st-tiatr-competition...
Elvis Mascarenhas
Third in a set of five photos about the rapid evolution
of HaringAi - Haringey Council's Artificial Intelligence
Report-a-Problem online e-form.
________________________
Back in April 2008, I felt I'd begun to make friends with HaringAi.
Spotting this dumped vacuum cleaner I supplied my electronic chum with a street-name and a real house number. But like a small child, it kept asking for more information.
Realising its database was then at an early stage, I typed into the Council's webform:
"A vacuum cleaner is a domestic cleaning machine which uses suction to remove unwanted matter - for example, crumbs, dust, cat hairs etc - from household objects like furniture; and surfaces such as carpets and other flooring. This model - dumped on the pavement in Carew Road - can be easily spotted by its shiny cherry-red colour."
______________________
Third in a set of five photos
◄◄ First photo | | ◄ Second photo | | ► Fourth photo | | ►► Fifth photo & what HaringAi did next.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Dornier Do 319 was directly inspired by the (modest) successes experienced by the Messerschmitt Me 262 fighter, the world's first operational jet-powered fighter aircraft. Design work started before World War II began, but problems with engines, metallurgy and top-level interference kept the aircraft from operational status with the Luftwaffe until mid-1944.
However, when it became clear that the new jet engine carried the potential for aircraft that were faster than piston engine counterparts, the German Navy urged the Reichsluftfahrtministerium (RLM) to develop an amphibian fighter, attack and reconnaissance aircraft. This was not to be a navalized Me 262 (which was regarded as impossible due to the aircraft’s layout with low wings and underslung engine nacelles, and added floats would have ruined the aircraft’s aerodynamics, too), but rather a dedicated single-seat jet aircraft. This new design was to be either operated from catapults (replacing the Marine’s standard on-board aircraft, the Arado Ar 196 floatplane) or, with foldable wings, from submarines with water-tight hangars. This concept had already been discussed in the mid-late 1930s, when German class III submarines were to be outfitted with such compartments – but at that time for small motorboats only, for covert landing operations, and no submarine was converted accordingly. But the concept still found a lot of attention.
Dornier was tasked with the development of such an aircraft, based on the experience gained with the Me 262 and its innovative means of propulsion. Dornier realized that the new turbojet engine presented an opportunity to overcome the drawback of floatplanes if it was possible to combine the light jet engine with a streamlined flying boat hull, which would impose only a small aerodynamic penalty. Such an aircraft could still be at least on par with piston-engine land-based aircraft.
Using aerodynamic research data from the Messerschmitt fighter, Dornier conceived a compact flying boat with shoulder-mounted gull wings, carried by a narrow pylon behind the single seat cockpit. The engine nacelles were placed on the wings’ upper sides, as far away from spray water as possible. Through this layout, however, stabilizer floats would have necessitated very long and draggy struts, and the relatively thin, swept wings did not allow a (favored) retracting mechanism.
As a consequence, the aircraft was designed with Dornier’s trademark stub-wing floats, which added uplift in both water and air and offered, despite a permanent drag penalty, a convenient amount of space for extra fuel and the wells for a fully retractable landing/beaching gear, which made the aircraft fully amphibious and independent from a beaching trolley. Armament consisted of four 30mm MK 108 machine guns in the aircraft’s nose section, and the aircraft’s main task would be ground attack, air defense and, as a secondary mission, fast tactical reconnaissance.
Dornier first presented the initial concept to the RLM in mid-1943. Performance with two Junkers Jumo 004 axial-flow turbojet engines was – naturally – lower than the clean Me 262 fighter, but still impressive. The Me 262 was supposed to achieve a maximum speed of 900 km/h (559 mph), while the Dornier aircraft, with basically the same engines, was expected to have a top speed of 520 mph at 40,000 ft. But this was still regarded as sufficient, and the project was officially given the RLM’s type number 319. Two prototypes were built (under the designation Do 319 A-0), the first one making its maiden flight in February 1944.
However, at that time the German navy had lost much of its power and sovereignty, and more and more resources had to be allocated to defense projects. As a consequence, the Do 319 as a combat aircraft (originally designated Do 319 A) became a secondary priority only, and the original aircraft was cancelled. Still, the small amphibious aircraft attained a lot of interest through the type’s potential as a fast reconnaissance plane and for special purpose transport duties – namely as a personal transport for high-ranking officials and for covert operations behind enemy lines and at foreign shores – was discovered and the type nevertheless ordered into small-scale production.
As a consequence and as an adaptation of the airframe to its new role, the Do 319’s design was modified: the fuselage behind the cockpit was widened into a compartment for passengers, cargo or other equipment. The cabin could hold up to two passengers, sitting vis-à-vis, and it was accessible through a watertight door on each side above the stub floats. The cabin was open to the cockpit in front of it, but the opening was blocked if the front passenger seat was in place. Alternatively, up to 300 kg (660 lb) of cargo or photo equipment could be carried, and one or both seats could also be replaced by internal auxiliary tanks. The provision for the Do 319 A’s cannon armament was retained, but the weapons were rarely mounted in order to save weight.
In this form, and now designated Do 319 B and christened “Seeschwalbe”, the aircraft entered service with the Luftwaffe and the Kriegsmarine on a limited scale. Most machines were exclusively assigned to staff units and reserved for special missions like liaison duties for high ranking officials, but they were also used in recce and other special missions. At least one Do 319 B was shot down over the American east coast, probably while deploying German agents from a submarine. How the aircraft with its limited range itself could come close to American shores remains a mystery until today, since Germany did not build or operate submarine aircraft carriers.
Production numbers remained low, though, reaching roundabout 20 aircraft (even this number is uncertain) until the end of the war, and no Do 319 survived the hostilities.
General characteristics:
Crew: 1 pilot plus up to 2 passengers
Length: 10.80 m (35 ft 4 1/2 in)
Wingspan: 12.60 m (41 ft 6 in)
Height: 3.78 m (12 ft 4 1/2 in)
Wing area: 26.8 m² (288 ft²)
Aspect ratio: 7.32
Empty weight: 4,120 kg (9,075 lb)
Loaded weight: 6,830 kg (15,044 lb)
Max. take-off weight: 7,385 kg (16,266 lb)
Powerplant:
2× Junkers Jumo 004 B-1 turbojets, 8.8 kN (1,980 lbf) each
Performance:
Maximum speed: 820 km/h (510 mph)
Range: 1,200 km (652 mi)
2,100 km (1,300 mi) with extra internal fuel cells
Service ceiling: 10,850 m (35,538 ft)
Rate of climb: 1,000 m/min (At max weight of 7,130 kg) (3,275 ft/min)
Armament:
Provisions for 4× 30 mm MK 108 cannon in the nose, but rarely mounted
The kit and its assembly:
Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.
Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.
Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.
Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.
Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!
Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!
The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.
In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.
Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.
In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.
Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.
Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).
However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.
What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!
However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.
More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)
Painting and markings:
Originally, when the Seeschwalbe was still conceived as a fighter, the model was to receive a daylight scheme in typical German naval aircraft colors (RLM 72/73/65). But this plan changed when the aircraft’s role became a ‘special purpose’ transporter for covert operations.
Nocturnal operations appeared plausible, so that the scheme became much more murky: from above, a splinter scheme with RLM 73 and RLM 74 (naval dark green and dark, greenish grey, both from the ModelMaster Authentic enamel paint range) was applied as a basis, and the undersides became black – as if standard daylight colors had been overpainted, a frequent practice.
Since this black paint was made from soot, it easily wore away and many Luftwaffe machines with improvised black undersides quickly gained a rather shaggy look. I wanted to re-create this look, and built up the lower paint accordingly: In an initial step, RLM76 (I used Humbrol 87, which is a tad darker than the RLM tone, for less contrast with the black) was painted on the lower wing surfaces, the fuselage with a medium waterline and the fin. Once dry, the national marking decals were added. Then a coat of thinned Revell Acrylics 6 Tar Black was applied on top of the lower surfaces, including the lower decals, and later wet-sanded in order to reveal some of the grey underneath for a worn look.
In order to break up the aircraft’s outlines, esp. at low altitude, a disruptive meander pattern in light grey (RLM 76) was painted on top of the upper surfaces. For this task, I thinned Humbrol’s 247 enamel and used a simple brush, painting the curls free-handedly. The finish looks pretty convincing, and it mimics well the technique with which those improvised patterns were applied in the field in real life: quickly, with anything at hand. The way the finish turned out, the pattern could have been applied with a broad brush – the use of a spray gun was rather uncommon, and IMHO the use of an airbrush on a model to recreate such a zigzag pattern rarely leads to convincing results?
This pattern was painted tightly around all the upper markings, and the markings themselves were kept at a minimum. For instance, the tactical code only comprises the aircraft’s individual letter “Blue O” behind the fuselage cross, which indicates an air staff machine. This would, following the official German squadron code system, be confirmed by an “A”, following as a fourth digit. The squadron’s code (“P7”, which is fictional, just like the aircraft’s sea reconnaissance squadron itself) was omitted, too. Such minimal markings became a frequent practice towards the final war stages, though, and it fits the aircraft’s special duty role well. The only individual marking is a squadron badge under the cockpit – lent from an Italian night fighter and placed on a dark blue disc. Another, subtle indicator for the aircraft’s operator are the blue air intake center bodies, repeating the staff flight’s blue color code.
Only some light weathering was done, with dry-brushed light grey on the leading edges, and finally the kit was sealed with matt acrylic varnish (Italeri). In a final step, some very light dry-brushing with aluminum was done on some of the fuselage edges, esp. the spray dams, and the position lights were painted with translucent paint over a silver base.
A messy project, in many ways, but I am happy with result. Most stunning is IMHO the fact that all major parts for this compact flying boat actually come from a single, simple Me 262 kit – but visually there’s not much of the left from the jet fighter. But it’s also amazing that the proportions look right, and the whole thing quite plausible and Dornier-esque! Turned out better than expected.
Cantaloupe are responsible for nearly 30 outbreaks and recalls since 1990, killing two people and sickening more than 1,200. The fruit's netted rind hides harmful pathogens like salmonella and E. coli, which can eventually penetrate the shell and infect the fleshy, nutrient-rich core. (Photo by Brandon Quester/News21)
Cantaloupe are responsible for nearly 30 outbreaks and recalls since 1990, killing two people and sickening more than 1,200. The fruit's netted rind hides harmful pathogens like salmonella and E. coli, which can eventually penetrate the shell and infect the fleshy, nutrient-rich core. (Photo by Brandon Quester/News21)
El empleado “bomba de tiempo” podría conducir a clientes insatisfechos, compañeros de trabajo infeliz, litigios costosos, violencia en el trabajo, o en algunos casos, todo lo anterior. Cualquiera sea la forma de una explosión toma, sus efectos pueden ser devastadores. Así que, como de...
revistarecursoshumanos.com/2016/09/05/evitar-empleados-bo...
200 capsules van Nespresso die niet bol staan van de druk. Regelmatig een slap bakje koffie. Ook koffie met te veel schuim erop.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Vrijheid. Omdat het moet.
Hier kan alles. Dat is misschien het probleem?
In een stad waar veel verschillende mensen wonen kunnen vrijheden botsen. De vrijheid van de boerka-babe is niet die van de bling-bling bimbo en op straat kan jouw vrijheid door het gedrag van een ander worden ingeperkt. Is de geroemde Amsterdamse vrijheid "poep op de stoep en haat in de straat", of toch tolerantie en wederzijds respect?
Hoog tijd voor een vrolijk, diepgravend en verrassend onderzoek naar de stand van de vrijheid in Amsterdam. Psychiater en schrijver Theodore Dalrymple opent de avond met een kritisch betoog over vrijheid en lokt daarmee een prikkelende reactie uit van Femke Halsema. Dit zet de toon voor een programma op verschillende plekken in de schouwburg met debatten, film, poëzie, theater en beeldende kunst. Met optredens van Salah Edin, Jelka van Houten, Maggie MacNeal en salsaorkest Tipico Tampoco en José Lopretti. Te gast zijn verder Hedy d’Ancona, Eddy Terstall, Marjolijn Februari, Ilja Leonard Pfeijffer, Rebecca Gomperts, Adriaan Jaeggi, Dolly Bellefleur, Gabi van Driem, Graham Locke, Nynke de Zoeten, Erik Jan Harmens, Alfred H. Stucki, Wimie Wilhelm, Lotje van Lunteren, Pieter Hilhorst, Khadija Arib, Snow Video, Ceylan Pektas-Weber, Nico Papineau Salm, Politie Balistraat en Parkour World Association Nederland. Kortom: een avond met dichters en denkers, filosofen, acteurs en muzikanten, Amsterdammers uit alle windstreken die een nacht lang de vrijheid proeven, peilen, onderzoeken en uitbundig vieren.
Elderly users do have problems with computer systems. Tablets are often suggested as superior to conventional desktop computers. They do seem to be. One possible advantage is the directness of interacting with objects on the screen. Also they tend to be cut down OSs and somewhat simpler than desktop equivalents. Which OS? It can be illuminating to watch an elderly user try different tablets. There are really only three choices, iOS, Android and WIndows8. In general iOS does seem to be the simplest, closely followed by Android. Windows8 seems to be relatively complex, with two interfaces in one, and often has very small text and icon sizes. Elderly users often have motor difficulties, problems with touching small targets (so larger tablets may be better), but tablets are also quite heavy, and cause fatigue if not used with stands. Perceptual disabilities can mean elderly users have difficulties in distinguishing targets. Subtle greys look cute but may not be vivid enough for older eyes. Finally cognitive disabilities, problems with short and long term memory may mean tasks are disrupted, and sequences difficult to learn. Metaphors in icons may be relatively meaningless to users. Take your elderly person to one of the computer stores and let them try all the OSs, should be an interesting experience for both of you!
Shame about the death of flickr.
www.arqueologiadelperu.com/peru-one-of-the-three-wonders-...
Peru
[caption id="attachment_414208" align="alignright" width="150"] Resembling an ornate garden maze from above, suqakollos are a patterned system of raised cropland and water-filled trenches. Photograph: Ronald Reategui[/caption]
On the hardscrabble, treeless highland plain that joins Peru with Bolivia, farmers have eked out an existence for thousands of years amid bitter winters and the harsh sun, at 4,000 metres above sea level and higher.
As scientists predict climate change will make the Altiplano’s weather even more inclement and unpredictable, today’s farmers are reviving an ancestral system of cultivation and irrigation using what looks like an intricate piece of land sculpture.
Resembling an ornate garden maze from above, suqakollos – or waru-warus – are a patterned system of raised cropland and water-filled trenches.
Alipio Canahua, an agronomist working with the Food and Agriculture Organisation (FAO), says that the ancient agricultural system, which could date back 3,000 years, actually creates its own microclimate.
“It captures water when there are droughts and drains away water when there’s too much rain, meaning that it irrigates the crops all year round,” he says. “When it comes to temperature, we’ve measured a rise of three degrees centigrade in the immediate environment around it – this can save a significant percentage of the crops from being killed in frosts.”
A suqakollo can also be a small oasis in the scorching daytime sun, which yellows even the coarse highland grass, known as ichu – the main fodder for the alpacas and llamas herded by the local Aymara people.
Canahua has been leading the resurgence of this ancient farming system with local communities, restoring old suqakollos and building new ones.
[caption id="attachment_414209" align="alignleft" width="150"] Sonia Ticona, a local indigenous Aymara leader, explains that her community are reviving techniques used by their great-great-grandfathers. Photograph: Ronald Reategui[/caption]
Sonia Ticona, a local indigenous Aymara leader who has been working with Canahua, says that in her village, the women work harder than the men to dig the trenches which are filled with water.
“Our great-great-grandfathers used the suqakollo system then at some point, and we don’t know why, they stopped. Now we are restarting it and bringing it up to date – men and women working together.”
Potatoes have been sown this season – next year it will be quinoa – in a carefully planned crop rotation, explains Canahua. While the yields are smaller than cultivating in larger fields, beating the plummeting winter temperatures, which can reach -20C, can prevent devastating crop losses.
The suqakollos project is one of several globally important agricultural heritage systems (GIAHS) funded by the Global Environment Facility (GEF), which is working with the regional governments of Cusco and Puno. Along with Peru’s agricultural ministry, the FAO is promoting family farming with the GIAHS methodology.
Canahua’s only frustration is that it’s not possible to make the suqakollos as big as Puno’s pre-hispanic people did. Archaeologists say that people have lived on the Altiplano – on the shores of the highest navigable lake, Lake Titicaca – for some 8,000 years, and traces of the ancient canals still mark the high plain. Roads and boundaries between communal lands, however, have limited the space available.
John Preissing, the FAO’s representative in Peru, says the pilot project has produced more than double the normal crop yields.
“We can’t isolate just the fact that we‘re using suqakollos but we can say that between the water management, the soil management and the fertiliser management, we are reaching double the harvest numbers.”
Figures for 2013-14 indicate that suqakollo’s crop yields for quinoa are 3.2 tonnes per hectare, more than double the average of 1.3 tonnes per hectare for the same crop grown on the plain.
Ancestral crops like quinoa, and its kiwicha and kaniwa varieties, could make this labour-intensive, complex farming system worthwhile; international demand for the superfoods has multiplied the price, bringing in extra income for these smallholder farmers.
Dan Collyns
India
[caption id="attachment_414210" align="alignright" width="150"] The Chand baoli near Jaipur extends almost 100ft into the ground, making it one of the deepest and largest stepwells in India. Photograph: dbimages/Alamy[/caption]
Across large swaths of the Thar desert in western India, traditional techniques for harvesting the little amount of rain that falls has helped people survive the powerful effects of the sun for centuries.
The most beautiful of these are step wells – known as baolis in Hindi – large, stone structures built to provide water for drinking and agriculture. Baolis have existed for at least 1,000 years and were constructed in towns and alongside serais (travellers’ inns), across the desert and into Delhi.
Baolis exist in all shapes and sizes and are essentially reservoirs built into the earth. Groundwater is pulled up from a circular well at the bottom and rainwater is collected from above. A set of steps – on one or more sides of the structure – lead down to the water level, which fluctuates depending on the amount of rain. More recently, electric pumps have been installed in many baolis to help retrieve the water.
“Step wells are etched into people’s collective memory so deeply, they are now part of their DNA, passed on from one generation to another,” says Farhad Contractor of the Sambhaav Trust, an ecological conservation group.
[caption id="attachment_414211" align="alignleft" width="150"] Workers carry out conservation work at Hazrat Nizamuddin Auliyas baoli in New Delhi. Photograph: Anindito Mukherjee/EPA[/caption]
Today, many baolis have fallen prey to rapid urbanisation and neglect. In Delhi only around 15 survive but local groups are fighting to protect and preserve them. While 700mm of rain falls on Delhi every year, half of the city has been declared a dark zone – where the groundwater level has depleted so much that the rate of recharge is less than the rate of withdrawal – by the groundwater authority. Rainwater harvesting, therefore, is key to a secure water supply for India’s second-biggest city.
One such baoli restored by the Aga Khan Trust for Culture (AKTC) was built in the 14th century in Hazrat Nizamuddin Basti, a medieval village in Delhi named after Sufi saint, Hazrat Nizamuddin Auliya. In 2008, parts of the baoli walls collapsed due to sewage water seeping into the structure and the local residents using it as a rubbish dump. The pool was drained and the rubbish, garbage and sludge that had accumulated over the past 700 years was removed to reach the foundation of the baoli some 80 feet below ground level. While the water in the baoli is still not potable, it can be used for cleaning and agriculture.
Experts say the baoli model can be replicated anywhere in the world with similar climatic conditions and physiological features. Contractor has been invited to Morocco where he is working on a project to build baolis and smaller wells, known as beris in Hindi.
But large baolis need large catchment areas, and in Delhi space is an issue. While the majority of the physical structures of baolis are protected – some by being sited inside historic monuments – urban development in Delhi has had a greater impact on their water levels; storm drains divert rain away from baoli catchment areas.
Diwan Singh, an activist with non-profit Natural Heritage First, says that even though many baolis in Delhi are surrounded by buildings, the wells can still be recharged. “Catchment area management is the key. In the small areas of land between the baolis and buildings, rainwater harvesting pits could be built to divert rainwater away from the storm drains,” he says. “Once in the pit, water will percolate through the soil and recharge the nearby baoli, allowing modern development and ancient structures to co-exist side by side.”
Nivedita Khandekar
Kenya
[caption id="attachment_414212" align="alignright" width="150"] The construction of a sand dam involves building a concrete barrier or wall across a seasonal river. Photograph: Geoffrey Kamadi[/caption]
Makueni County – just over 100 miles south of Nairobi – has one of the most inhospitable environments in the country.
The region’s sandy loam soil supports little else besides the thorny, stunted shrubs that stretch for miles, interspersed only by gigantic baobab trees or some species of the hardy acacia. The only food crops cultivated here are sorghum, cassava and pigeon peas – drought-tolerant crops. With an average annual rainfall of just 600mm, meaningful agriculture is nearly impossible.
Water access is a big problem. In Kenya, 63% of the population use an improved source of drinking water and 46% live below the poverty line. Women and girls in sub-Saharan Africa spend up to four hours a day fetching water, according to the One campaign.
But things are changing for the better, thanks to an ancient water harvesting technique being used in the dry regions. Sand dams, which were invented by the Romans in 400BC, have become an important source of water for domestic and agricultural needs.
Sand dams are constructed by building a concrete barrier or wall across a seasonal river with a firm bedrock. As the river flows, sand in the water is deposited behind the wall. Over time, layers of sand build into a reservoir for water, which remains stored in the sand once the river level drops. Evaporation is virtually impossible below a metre of sand – no matter how intense the sun – and the water is clean and safe for immediate drinking as the sand acts like a filter.
[caption id="attachment_414213" align="alignleft" width="150"] A woman collects water stored beneath the sand. Photograph: Geoffrey Kamadi[/caption]
The Africa Sand Dam Foundation (ASDF) has been facilitating the construction of the dams alongside Excellent Development (ED), a UK-based NGO that has enabled the construction of 838 sand dams in rural dry lands across eight countries. The work of ED has improved access to clean water for more than 800,000 people, according to Jonny McKay, the NGO’s communications manager.
Not only have the sand dams improved water security for local communities. Villagers are also coming together to form self-help groups to construct the dams with assistance from the NGOs, and to initiate agro-based economic schemes.
“We are able to practise agribusiness now that we have water available for irrigation,” says Elizabeth Ndungune, the chairwoman of the Star Thange self-help women’s group in Ulilinzi. Using water from the sand dam built on the nearby River Thange, the group can now grow kale, tomatoes, beans and other crops. They sell whatever they harvest and pool the proceeds, which help families pay for school fees.
While sand dams are a cheap and simple solution to some complex problems, they can fail if they are not applied in a way that meets the users’ needs. “The biggest challenge is ensuring that the technology is applied to specific local conditions and people’s needs, rather than simply being replicated from one place and situation to another,” says McKay.
But the initiative is gaining momentum and expanding not only to other parts of the country, but to Tanzania, Chad, Zimbabwe, Mozambique and even to India.
Geoffrey Kamadi
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So I stripped her down: a messy job, but not difficult, providing you take out the centre seat and the panel underneath (which is designed to come out in 10 seconds flat), to get a bit of light on an otherwise dark subject.
Simply (don't you hate it when people say that? but this time it really is simple) undo the six nuts which hold the drum onto the output flange, then slacken off the hand-brake adjuster until the drum can be persuaded to come off (which may need a hide hammer), and slide the drum back to sit on the propshaft, out of our way.
And here's the nub of the problem (though that missing spring didn't help). The operating mechanism was well and truly clagged up with the gunge of ages. Several squirts with brake cleaner got the mess off, then Mrs W sat inside, gently operating the hand-brake, while I was underneath getting everything free, then applying a good coat of CopperSlip to the moving parts. Reassemble, making sure that all the six nuts are torqued up evenly so the drum is truly square to the flange; then adjust the shoes in the normal way.
The missing spring was an interesting problem, as it's very, very tight, and almost impossible to stretch up to engage, when you're lying underneath the vehicle. If you slip, you'll hit the underside very hard, probably losing a knuckle or two's worth of flesh in the process.
As JY used to say: this is what you do.
First, get a couple of pairs of safety goggles, one for you, one for your assistant: if this goes wrong, there'll be bits of broken spring flying around, which you don't want in anybody's eye. Next, take out the driver's seat cushion, and the plate underneath it. This exposes the fuel tank, but there's enough space inboard of that to drop through a loop of baler twine. (If you have a Land-Rover, it almost goes without saying that you should have yards of baler twine readily to hand.) Use about four feet, knotted securely into a loop. Engage the bottom end of the spring in its hole, then hook the top end with your dangling loop, and get an assistant standing by to haul up steadily, but really pretty hard, on the loop: stout gloves are recommended to prevent cutting the hands. This seems to be about the only reliable way to stretch the spring enough that you, underneath the vehicle, will then be able to steer the end over its upper locating hole. Your assistant above relaxes the mighty pull, and everything slips into place. Cut away the baler twine, because it's not coming out any other way.
So, I'm slowly uploading my photos again. Keep having problems with people stealing them so now they'll be watermarked with my name across them so no matter what I've got credit for my photos when they show up on random sites lol. Thank you to everyone who has become a contact of mine and comments and favorites my photos, really means a lot to me and helps encourage me to keep doing my photography and slowly get to where I'd like to be.
xo Sares ♥
Problem solving with RCECC - Red clowns enter caves carefully - Read Choose Estimate Calculate Check
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Re-shoot of this original picture from 2018,
www.flickr.com/photos/116276346@N05/28819710288/in/datepo...
"Whoga, ma arrrggh!" asked Chewie,
"Oh, I see Chewie, well I am sorry but the little bird helicopter wasn't designed with Wookie's in mind as pilots" answered Jake.
I have a problem... I've uploaded two pics of Muffin, but i don't understand why people can not comment them... So I deleted them. I hate Flickr sometimes!!!
Some idea?
camera : olympus xa rangefinder
film : kodak profoto 100 (underexposed at iso 200)
process : processed in c41
Four days after the beer was brewed, the fermenter's lid fell in due to natural decay of the fermenter. Not all that surprising, but this is not a good state of affairs, as it leaves the fermenting beer exposed to tasty beer-unfriendly microorganisms like bacteria and wild yeasts. Note plastic control fermenter at right; its lid did not fall in.
The bone-shaped heels on these shoes led to the cleaver, which naturally called for a generous helping of blood.
Lighting: A bare SB-800 camera left, a bare SB-900 camera right, and an SB-600 in a 28" softbox on axis above the subject.
319/365
Skinny Santa has a bit of a drink problem. He seems to have got stuck inside an empty bottle of Spring Water.
We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn't affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn't materialise in Valencia but they got it elsewhere.
You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes - it has been known!
Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!
The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.
On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.
The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.
We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!
On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.
There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.
A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.
All in all we had a good trip and can highly recommend Valencia.