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Akira Himekawa is actually two different women, A. Honda and S. Nagano, working under the same pen-name to write, draw, and produce fantastic manga! The creators of ten volumes of The Legend of Zelda manga published by VIZ Media, and My Little Pony:
source:
torontocomics.com/events/tcaf-talk-akira-himekawa-in-conv...
#TCAF
#TorontoComicArtsFestival2014
Published Photologio
www.photologio.gr/photodromena/acvsx-tolerances-stefanos-...
February 2021
έκθεση φωτογραφίας Tolerance(s) στην γκαλερί EOS, οδός Χέυδεν 38, Αθήνα
www.artifactory.eu/tolerance-s#
September 2021
“Tolerance (s) in Dialogue” presenting “Unknown Prayer in Athens”
www.artifactory.eu/tolerance-s-in-dialogue
www.photologio.gr/photodromena/tolerances-in-dialogue-ste...
www.ifocus.gr/magazine/news/3328-dialogoi-peri-anektikoti...
www.lifo.gr/blogs/almanac/dialogoi-peri-anektikotitas
December 2021
Alexis Mag Vol.004
like my fb page!
Photography: Shavonne Wong (zhiffyphotography)
Styling: Raudhah Hanafi
Assistants: Jeslin Lee
Hair and Makeup: Julyen Z L.
Model: Amanda Tataryn (Mannequin)
The Postcard
A postally unused carte postale published by Lévy Fils et Cie of Paris.
German gunners used to target churches and cathedrals in France and Belgium, partly out of boredom, partly to practise their skills, but mainly because the height of such ecclesiastical buildings made them ideal observation posts for the Allies.
These buildings, along with châteaux and other large secular edifices, were literally sitting targets - they couldn't be moved or made smaller or camouflaged, hence the appalling damage that many of these beautiful buildings sustained from enemy artillery - they just had to sit there and take it.
Visé Paris no. 656
The card would have been published during or soon after the end of the Great War, because the reference to 'Visé Paris no. 656' indicates that the military authorities in the French capital had deemed that the image did not present a security risk.
Soissons
Soissons is one of the oldest towns in Northern France. During most of the Great War the town was behind the Franco-British lines, and was heavily bombarded before being captured by the Germans in May 1918.
tamu.edu have posted a review of a book called "Soissons, 1918" by D.V. Johnson II and R.L. Hillman Jr.
In the review they state:
"It is the last 5% of possible exertion that often wins the battle". Brigadier Gen. Hanson Ely's statement best exemplifies the efforts of his troops as part of the allied contingent at the Battle of Soissons, July 18-22, 1918.
At a cost of more than 12,000 soldiers and marines dead, wounded and missing, American troops struck the Germans with such force that they lost the initiative for the remainder of the war.
'Soissons, 1918' provides a detailed account of this pivotal battle in which partly trained, inexperienced American soldiers and marines turned the tide of war.
Despite strange French command methods, alien equipment (such as masses of tanks), immature American staff work, and difficulties in communicating with advancing troops, American enthusiasm and willingness to 'finish the job' briefly shattered German defences, caused panic, and ultimately unhinged the Germans' carefully prepared strategic plans".
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
If the 170m rounds were on average two feet long, and if they were laid end to end, they would stretch for 64,394 miles (103,632 kilometres); the line would go round the equator over two and a half times. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
© Akshathkumar Shetty - All Rights Reserved. This image should not be reproduced, published, transmitted in any forum (even via e-mails/or upload to Orkut/or any other networking sites) or in print or in any other physical or electronic forum either in part or in whole without the explicit written consent from the copyright owner. Legal action will be initiated against any individual, organisation, institution, agency, publishing house, etc. who violate the Copyright laws including but not limited to those mentioned here and use the image for any commercial/non-commercial purposes.
If you would like to use any of the photograph displayed here commercially or would like to use for any other use please do contact me via my profile page. Thanks
Published by the American Crayon Company, Sandusky Ohio. A division of the Joseph Dixon Crucible Company. Founded by Cyrus W. Knouff. Most of the 16 or so editions I have were credited to Edward Adams for the visuals, concept, design, and typography.
This particular edition is credited to Robert Kostka for both text and design. This edition is on the Prairie School, and is largely on Frank Lloyd Wright, but it also showcases William E. Drummond, Walter Burley Griffin, and William Gray Purcell. These publications are a find.
from the London County Council Survey of London, Volume XXII published in 1950:
“The name Cardinal’s Hat (or Cap), for a house on the site of the present No. 49 Bankside, and for the narrow alley which runs down beside it, dates from at least the time of Elizabeth and perhaps earlier. The suggestion that it was named in compliment to Cardinal Beaufort is attractive but untenable, for Beaufort died in 1447, and the original Cardinal’s Hat was not built till many years later.
The site was described in 1470 as “a void piece of ground”. It is possible that it was named after Cardinal Wolsey who was Bishop of Winchester from 1529-30, although no buildings are mentioned in a sale of the site from John Merston, fishmonger, to Thomas Tailloure, fishmonger in 1533. Stowe lists the Cardinal’s Hat as one of the Stewhouses but he may possibly have been mistaken, including it only because it was one of the more prominent inns on Bankside in his day.
It is shown in the Token Book for 1593 as in occupation of John Raven and as one of a group of houses which in the book for 1588 is described as “Mr. Broker’s Rentes”. Hugh Browker, later the owner of the Manor of Paris Garden, was in possession of ground there in 1579 and it seems likely that he was responsible for the formation of Cardinal’s Cap Alley if not for the building of the original house.
Thomas Mansfield was the tenant of the inn when Edward Alleyn dined there with the “vestrye men” of St. Saviour’s parish in December 1617.
A few years later John Taylor, the water poet makes reference to having supper with “the players” at the Cardinal’s Hat on Bankside. Milchisedeck Fritter, brewer, who tenanted the house from 1627 to 1674 issued a halfpenny token. He was assessed for seven hearths in the hearth tax rolls.
The freehold was sold by Thomas Browker to Thomas Hudson in 1667. The later died in 1688 leaving his “messuages on Bankside” to his sister Mary Greene, with reversion to his great nieces Mary and Sarah Bruce. It was at about this date that the older part of the present house was built. During the 18th century it was bought by the Sells family who both owned and occupied it until 1830. in 1841 Edward Sells of Grove Lane, Camberwell, bequeathed his freehold messauge and yard and stables, being No. 49 Bankside, then in the tenure of George Holditch, merchant, to his son, Vincent Sells. The house is now owned by Major Malcolm Munthe. It has previously been occupied by Anna Lee, the actress.”
This photograph was published in the Illustrated Chronicle 22 Aug 1916 p7.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
CROP REPORT - A nice-looking potato crop marches off toward the bottom of the Manitoba Escarpment near Morden, Man.
These are the photos for the freelance article I wrote for St. Louis Magazine.
www.stlmag.com/culture/visual-arts/st-louis-glass-artist-...
From Nikhil Joshi, published with permission. You will find much more information on the Nokia 808 PureView, Pureview technology and Rich Recording on www.pureviewclub.com Twitter: @pureviewclub
Revere artists dream of space
Published on Thursday, April 26, 2012
By Sara Brown / The Daily Item
www.itemlive.com/articles/2012/04/26/news/news12.txt
PDF: docs.google.com/document/d/1NbNb6yffirfFfcnDOsUq5u3-0n_0U...
…
Print a Dream Rocket Flyer:
docs.google.com/viewer?a=v&pid=explorer&chrome=tr...
Subscribe: www.feedblitz.com/f/?Sub=757612
Learn how to participate at: www.thedreamrocket.com
Probably won't find this in your Dentist office waiting room, but maybe in your town hall. Circulation of around 80,000. Plus they sent me $250.00!
MISTRA
(Talbot-Rice notes and photos)
MISTRA
(Talbot-Rice notes and photos)
MISTRA
DTR Mistra. Pantanassa. Presentation
Pl. (crossed out) 142
(crossed out) 143
(crossed out) Pl. 140
(crossed out) B
154
(or in colour?)
As seen in Talbot-Rice, D. 1968. Byzantine Painting: The Last Phase. New York. Fig 154
the Presentation in the Temple
by jwcurry.
Ottawa, privately published, states "late 2oo8" [ie 2o june 2oo9]. 24 unique copies numbered & signed in black pencil at colophon, issued in 2 variants:
a) 7 proofs numbered P1-P7 & japanese-sewn red in 4 stitches with head~ & tailstitches, with various railroad scrap paper interleaving, issued 6 july 2oo9;
b) 16 copies numbered 1&-16 as described below, plus one out-of-series proof.
5 leaves as described below laid in 8-1/2 x 1o-1/4 purple coarsewove card folder with 2-1/2" tapered pocket folded from bottom & tipped at leading edge to 1" flange off rear cover, front cover only printed stencil in various colours spraypaint & black rubberstamp.
contents:
i) "for"; 7-11/16 x 9-15/16, white rectogloss card broadside printed purple & black rubberstamp over found 3-colour process offset (dedication concretion to Nelson Ball & Barbara Caruso)
ii) matte Nacre; 7-15/16 x 1o-1/16, filamented tan manila card broadsheet printed red, blue, green & black mimeo, verso purple rubberstamp over found black & red offset CNRail "DANGER" fumigation placard (concrete poem)
iii) bdrrrrrrrrmpq; 8-1/2 x 11, cream mayfair card broadside printed grey, rust, olive & mauve mimeo & purple rubberstamp (visual poem)
iv) or as if there're black & white or; 8-1/2 x 11, mauve mayfair card broadside printed red, blue, green & Black mimeo & purple rubberstamp (visual poem)
v) EMPLOYEE STATISTICAL REPORT; 8 x 1o, white card broadsheet printed found light blue offset with black mimeo addition recto only (colophon on found form CN 337o dated may 1988)
[Taken in Paris (France) - 01Dec07]
Published on www.rue89.com - "Les roms ne veulent plus être "de la chair à expulsion"".
See all my sold, published, and exhibited photos in this collection : [Sold - Published - Exhibited Works]
See all the photos of this demonstration in this set : 01Dec07 - Rom Demonstration [Event]
See all the random portraits in this set : Portraits [Random]
See all the photos with written words in this set : [Messages]