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Transports Elèctrics Interurbans S.A. (TEISA): el veterano microbús con matrícula 8289 CFN (Mercedes Benz O416CDI Sprinter/Unvi Cidade I, matriculado en marzo de 2003) llega a la estación de autobuses de Ripoll.
Transports Elèctrics Interurbans S.A. (TEISA): the veteran minibus with registration 8289 CFN (Mercedes Benz O416CDI Sprinter / Unvi Cidade I, registered in March 2003) arrives at the Ripoll bus station.
Progres after one evening/night of building;)
This is my experiment with vertical form. I think that I gonna change bottom wing. Propably I need better stand and I need to do something with engine;)
Autocorb S.A.: el autobús con matrícula 5959 FHR (MAN 18.360 HOCL/Irizar Intercentury II) prestando servicio en la línea suburbana exprés e8 de Barcelona Urgell a Corbera de Llobregat.
Autocorb S.A.: the bus with registration 5959 FHR (MAN 18.360 HOCL/Irizar Intercentury II) serving the express suburban line e8 from Barcelona Urgell to Corbera de Llobregat.
Outre-tombe porte un questionnement sur le progrès au cœur de deux époques : aujourd’hui et les premières années du siècle passé qui menèrent à la Grande Guerre. Maëlle Dufour y explore les traces de leur décadence et des prémices d’espoir. Elle affirme aussi rendre hommage aux éveilleurs de conscience qui font réfléchir au sens de l’évolution humaine. L’installation est composée de plusieurs éléments : un quadrillage au sol jalonne le parcours sur le mode intuitif ; une fusée s’élève dans la cour ; un faisceau d’informations documente l’histoire de Chameseddine Marzoug et Lihidheb Mohsen qui s’attachent à rendre une dignité aux dépouilles de migrants morts en Méditerranée. Certes, la fusée s’impose comme la composante forte de l’intervention : « Elle évoque aussi bien les engins spatiaux capables de repousser les limites de notre monde que les missiles militaires, explique l’artiste ; le progrès est à double tranchant. On peut y passer la tête pour voir la page de garde d’une édition des Mémoires d’outre-tombe de Chateaubriand. C’est tout ce qui reste de la bibliothèque de la Société libre d’Émulation incendiée par les troupes allemandes en août 1914. Pour moi, l’inconnu qui a recueilli ce morceau de papier voici plus d’un siècle fut, par son geste attentionné de sauvegarde, un marqueur de progrès comme Marzoug ou Mohsen le sont aujourd’hui. »
Outre-Tomb raises questions about progress at the heart of two eras: today and the first years of the past century which led to the Great War. Maëlle Dufour explores the traces of their decadence and the beginnings of hope. She also claims to pay tribute to the awakens of consciousness who make people think about the meaning of human evolution. The installation is made up of several elements: a grid on the ground marks out the course in an intuitive way; a rocket rises in the courtyard; a body of information documents the story of Chameseddine Marzoug and Lihidheb Mohsen who strive to restore dignity to the remains of migrants who died in the Mediterranean. Certainly, the rocket stands out as the strong component of the intervention: "It evokes both spacecraft capable of pushing the limits of our world and military missiles," explains the artist; progress is a double-edged sword. You can poke your head inside to see the cover page of an edition of Chateaubriand's Mémoires d´outre-tomb. This is all that remains of the library of the Free Society of Emulation burned down by German troops in August 1914. For me, the stranger who collected this piece of paper more than a century ago was, by his gesture attentive to safeguard, a marker of progress as Marzoug or Mohsen are today. "
Grout Headed Trolls.
Zrozumienie zdjęcia dolne wiatry statki prześladowanych stymulowanie zapchane wódki wahania dyskusje abstrahując kanony nowoczesnych punktów przyznanych,
οι ιστορικές σημασίες που επηρεάζουν τα σημεία στατικές περιόδους διερεύνησης παλαιότερων συναλλαγών αυξάνουν τις επανακαθορισμένες δυνατότητες εκτιμητικές ιδέες,
yn creu argraffiadau camarweiniol manifold oed oed artiffisial gwarediadau ymwybyddiaeth achosion cynyddu esboniadau elfennau cymdeithasol ymyl dwbl,
construire la liberté d'inauguration en négligeant les versions globale de l'opposition consciente de la vie de progrès puissants des réactions iconoclastes,
editorial methodo descriptum atque piscosum, theologiam dogmaticam corporaturae decadent a scandalis optimatium certamina radicitus indefessus, atque judicia literary,
理想的な労働者無修正の審美的なバラード不平を占めるコーパス占拠歌詞汚れた疎外詩ヒロイン現象避けられない攻撃は回った。
Steve.D.Hammond.
Autocorb S.A.: el autocar con matrícula 0903 KKD (MAN/Beulas Aura III) prestando servicio en la línea suburbana exprés e8 de Barcelona carrer Urgell a Corbera Alta.
Autocorb S.A.: the coach with registration number 0903 KKD (MAN / Beulas Aura III) serving the suburban express line e8 from Barcelona carrer Urgell to Corbera Alta.
en.wikipedia.org/wiki/Caltha_palustris
This photo is of a plant that i found in september 2019...in a very narrow canal...black and dirty...I wanted to see if the roots had runners...then it might be a hybrid...if not it is a Caltha palustris….and it was without runners so it is Caltha palustris….
and here I do use my own colours to make the picture...but make use of the photo by transferring the motive by tranferpaper (blue)…..
Transports Elèctrics Interurbans S.A. (TEISA): el autocar con matrícula 2669 DMR (Mercedes Benz O350 Tourismo) acaba de llegar a la estación de autobuses de Ripoll, tras prestar un servicio en la línea regional procedente de Vic.
Transports Elèctrics Interurbans S.A. (TEISA): the coach with registration number 2669 DMR (Mercedes Benz O350 Tourismo) has just arrived at the Ripoll bus station, after providing a service on the regional line from Vic.
here is a photo of the painting in two steps...small one down the corner show my first move…..the other where i am right now...still want something done......
Deux clichés :
1/ Maquette du "TITANIC"
Cité de la Mer - Cherbourg
2/ Tableau de manoeuvre de machine arrière d'un escorteur d'escadre T 47
L'escorteur d'escadre "Vauquelin" était équipé d'un système de propulsion utilisant la vapeur. Il comprenait six chaudières, quatre turbines à vapeur et deux systèmes d'entraînement appelés "lignes d'arbres" mettant en mouvement les hélices. Avec ses voyants et compteurs, le tableau de manoeuvre permettait de surveiller l'un des deux systèmes, encore appelé la "machine arrière" . De tels tableaux de manoeuvre ont été rendus obolètes par l'informatisation.
Musée National de la Marine - Brest
Two shots :
1/ Model of the "TITANIC"
City of the Sea - Cherbourg
2/ Rear engine maneuver panel of a T 47 squadron escort
The "Vauquelin" squadron escort was equipped with a propulsion system using steam. It consisted of six boilers, four steam turbines and two drive systems called "tree lines" setting the propellers in motion. With its indicator lights and counters, the maneuvering panel made it possible to monitor one of the two systems, also called the "rear engine". Such switchboards have been made obsolete by computerization.
National Maritime Museum - Brest
Transports Mir S.A.: el microbús con matrícula 7040 GVB (Iveco A65C18/Indcar Wing) pasa frente a la estación de autobuses de Ripoll, sin viajeros.
Transports Mir S.A.: the minibus with registration 7040 GVB (Iveco A65C18 / Indcar Wing) passes in front of the Ripoll bus station, without travelers.
Comment mesurer le progrès? Plus grand est-il toujours meilleur et plus petit toujours plus puissant? L'intervention humaine est-elle toujours nécessaire ou évoluons-nous de toute façon? Et le progrès est-il toujours bénéfique? Tel est le questionnement posé dans Pinpointing Progress, l'œuvre de Maarten Vanden Eynde. Dans cette sculpture, il attache plusieurs réalisations modernes entre elles. À une époque, les bus, les mobylettes, les vélos et les radios étaient considérés comme les technologies les plus avancées. Au XXe siècle, ces inventions ont été exportées avec fierté tant par l'Occident que l'URSS. C'était même une course pour être le plus à la pointe, car cela confirmerait la supériorité d'une idéologie. Cette sculpture a initialement été réalisée pour la Biennale de Riga en 2018, où l'on ne produit désormais plus que l'élément supérieur de la brochette, le plus petit, à savoir le transistor. La tour de Maarten Vanden Eynde est ainsi une représentation visuelle de la vitesse de l'évolution.
La construction de Pinpointing Progress renvoie aux musiciens de Brême, le conte des frères Grimm, dans lequel quatre animaux âgés et maltraités unissent leurs forces pour fuir leurs maîtres ingrats. Cette histoire témoigne des mauvaises conditions de travail et des rudes pratiques qui montrent souvent le revers de la médaille quand on parle de progrès. Pensez par exemple aux constructions que Léopold II a fait réaliser le long de la côte belge, telles que le port de Zeebruges, la route du littoral et la gare d'Ostende. Ce roi, qui a commis des atrocités figurant parmi les pires de l'Histoire, a fait de la côte une région mondaine. Or il l'a fait avec l'argent qu'il a gagné sur le dos du peuple congolais. Aujourd'hui, quand on pense au progrès technologique, on pense aux développements des géants du numérique tels que Google ou Apple, qui incitent encore à l'esclavage des enfants dans leur quête de minerais au Congo. La violation des droits de l'homme semble être indissolublement liée à la modernisation. Pinpointing Progressdresse prudemment le bilan et ouvre les yeux sur le fait que la Tour du progrès s'effondrera elle aussi peut-être un jour.
How to measure progress? Is bigger always better and smaller always more powerful? Is human intervention still necessary or are we evolving anyway? And is progress always beneficial? Such is the questioning posed in Pinpointing Progress, the work of Maarten Vanden Eynde. In this sculpture, he ties several modern creations together. At one time, buses, mopeds, bicycles and radios were considered the most advanced technologies. In the twentieth century, these inventions were exported with pride both by the West and the USSR. It was even a race to be the most advanced, because that would confirm the superiority of an ideology. This sculpture was originally made for the Riga Biennale in 2018, where only the upper part of the skewer, the smallest, is now produced, namely the transistor. Maarten Vanden Eynde's tower is thus a visual representation of the speed of evolution.
The construction of Pinpointing Progress returns to the musicians of Bremen, the tale of the Brothers Grimm, in which four aged and abused animals join forces to flee their ungrateful masters. This story is a testament to the poor working conditions and harsh practices that often show the other side of the coin when it comes to progress. Think, for example, of the constructions that Leopold II had built along the Belgian coast, such as the port of Zeebrugge, the coastal road and the Ostend train station. This king, who committed some of the worst atrocities in history, made the coast a worldly region. But he did it with the money he earned on the backs of the Congolese people. Today, when we think of technological progress, we think of the developments of digital giants such as Google or Apple, which still encourage the slavery of children in their quest for minerals in the Congo. The violation of human rights seems to be inextricably linked with modernization. Pinpointing Progress takes a careful stock and opens our eyes to the fact that the Tower of Progress may also collapse one day.
Indisciplinats és una exposició col·lectiva que parteix de dos objectius fonamentals: sondejar l'àmbit de la creació artística emergent en la regió gironina i fer-ho des d'un punt de vista ampli i expandit sense limitar-se a les pràctiques i disciplines més tradicionals.
INAUGURACIÓ DISSABTE 5- SALA 15 DE L'HOSPICI D'OLOT!
ESTEU TOTS I TOTES CONVIDATS !
Outre-tombe porte un questionnement sur le progrès au cœur de deux époques : aujourd’hui et les premières années du siècle passé qui menèrent à la Grande Guerre. Maëlle Dufour y explore les traces de leur décadence et des prémices d’espoir. Elle affirme aussi rendre hommage aux éveilleurs de conscience qui font réfléchir au sens de l’évolution humaine. L’installation est composée de plusieurs éléments : un quadrillage au sol jalonne le parcours sur le mode intuitif ; une fusée s’élève dans la cour ; un faisceau d’informations documente l’histoire de Chameseddine Marzoug et Lihidheb Mohsen qui s’attachent à rendre une dignité aux dépouilles de migrants morts en Méditerranée. Certes, la fusée s’impose comme la composante forte de l’intervention : « Elle évoque aussi bien les engins spatiaux capables de repousser les limites de notre monde que les missiles militaires, explique l’artiste ; le progrès est à double tranchant. On peut y passer la tête pour voir la page de garde d’une édition des Mémoires d’outre-tombe de Chateaubriand. C’est tout ce qui reste de la bibliothèque de la Société libre d’Émulation incendiée par les troupes allemandes en août 1914. Pour moi, l’inconnu qui a recueilli ce morceau de papier voici plus d’un siècle fut, par son geste attentionné de sauvegarde, un marqueur de progrès comme Marzoug ou Mohsen le sont aujourd’hui. »
Outre-Tomb raises questions about progress at the heart of two eras: today and the first years of the past century which led to the Great War. Maëlle Dufour explores the traces of their decadence and the beginnings of hope. She also claims to pay tribute to the awakens of consciousness who make people think about the meaning of human evolution. The installation is made up of several elements: a grid on the ground marks out the course in an intuitive way; a rocket rises in the courtyard; a body of information documents the story of Chameseddine Marzoug and Lihidheb Mohsen who strive to restore dignity to the remains of migrants who died in the Mediterranean. Certainly, the rocket stands out as the strong component of the intervention: "It evokes both spacecraft capable of pushing the limits of our world and military missiles," explains the artist; progress is a double-edged sword. You can poke your head inside to see the cover page of an edition of Chateaubriand's Mémoires d´outre-tomb. This is all that remains of the library of the Free Society of Emulation burned down by German troops in August 1914. For me, the stranger who collected this piece of paper more than a century ago was, by his gesture attentive to safeguard, a marker of progress as Marzoug or Mohsen are today. "
To see my full photo series of this subject, please check the link:
sionfullana.com/#/portfolio/photoseries---work-in-progres...
The sun was supposed to glow last night right at sunset. The temperature was good, the sky had been clear all day. It was the last day of 2014 Manhattanhenge, a twice-a-year phenomenon where the sun aligns perfectly with the East-West grid of Manhattan, making the sunset perfectly visible in all the cross streets, with the sun positioned and framed by the buildings on both sides of the streets.
New Yorkers are creatures of infinite curiosity. Living in the city for years doesn't take away their sense of awe for things they consider "worth seeing." Many will drop any plan just to go watch a parade, stand in line for hours on end to buy a new gadget, score tickets to a free play or try the new "in" food item of the month. New Yorkers are so used to co-existing with many people in small spaces that the idea of a big crowd won't stand in their way of having a fun moment. They also love to share the cool things they do, releasing videos, photographs and updates that multiply through social media and amplify that idea that this city is the best in the world, and that despite the sacrifices it requires to live in, the rewards are better.
Therefore, New Yorkers wouldn't miss a chance to photograph the sunset of the year, from any angle, from any skill level and piece of equipment -- the only thing that mattered was to able to say "I was there, I saw it and now you do too." I set out to be one more New Yorker last night, and headed to the Grand Central Station overpass on 42nd Street, alongside my husband Anton and our friend Angel, hoping to capture some good images. As a street photographer, in my mind, I was facing the afternoon more with the goal of taking pictures of people bathed in the glowing magic sunset light, rather than city or sun shots (after all, with thousands of people taking the same shot, it hardly seems challenging). We walked alongside the narrow space for pedestrians on the overpass, and the moment we arrived, it became clear there would be nowhere to stand to get a good angle. Mind you, this was even one full hour before the expected sunset time (8:24pm), and the crowd was growing bigger and bigger.
I stepped to one side, away from the people, and stared at the traffic that was coming from both directions. I realized this was my opportunity for the day, to capture something more interesting from a vantage point no one else was even looking at... Cars and taxis, carrying commuters trying to get home after work and perhaps tourists on their way to hotels or the airport. Drivers and passengers would look at the growing crowd with a mix of feelings -- some with curiosity, others happy and joining the celebratory mood. A few of them responded with annoyance, since there were so many people arriving at this point that they were forced to stand outside the pedestrian area, therefore blocking traffic. Some taxis would open their windows and a passenger would ask what was everyone trying to photograph, what big event or superstar was down there on the street below. When they would hear it was all for "the sunset" they would look as dumbfounded as they seemed confused. Some of them took their own cellphones out the window, trying perhaps to be one with the crowd, to also be able to get their own memento, and publish a post that said "I saw it too."
Traffic became a nightmare, with the sound of horns rising. I was stunned how many of those people now standing in the middle of the road, where they could have been hit by a car, were absolutely oblivious of the risk, fixated only and obsessively in that horizon line with New Jersey at the end of 42nd St, expecting the sun to suddenly appear in a glowing ball of light, with their cameras and phones in the hand...
8:20pm. The sunset was almost there. The anticipation was big. But there were clouds in the horizon. Damn clouds. Would this be all for nothing? More people coming. Lines of trapped cars in both directions. Horns. A very angry passenger opening his window and screaming "Go home, you idiots!" And suddenly... a siren and the familiar red and blue light of an NYPD car approaching. An officer came out, megaphone in hand. "No pedestrians allowed on this bridge. Go down immediately or risk being summoned or arrested."
Oh, the irony.... as the crowd complied and started walking away, disappointed, 8:24pm on my watch. The clouds still covering the horizon in a dark blue tone. There would be no big sunset tonight. But if one thing defines New Yorkers it is their relentless determination. If they couldn't be on the overpass bridge, they would stand on the street, right under it, and blocking 42nd St traffic if for only a minute, everyone taking pictures of... actually nothing, a cloudy horizon. A promise of what should have been.
42nd Street,
Manhattan, NYC.
2014
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