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'I think Mary can relate to us in very different ways, from her poverty and her struggle, from her exclusion in her own hometown and having to move from place to place, the difficulty she must have had with her husband...I think every woman can relate to her. She can relate to us on a very human level."
~Paula from Britain
Image of Our Lady at the Gates of Dawn, Ostra Brama, Vilnius, Lithuania.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Someone once said that if you can relate to Edgar Allen Poe then you must be mentally ill. That person was also a simpleton and devoid of any real awareness of the dark corners of the human character. There is no doubt Poe was tortured man, an eccentric man and just maybe towards the end of his life mentally ill due to disease. No one knows for sure. His works are an expedition into love and loss, grief and insanity. They smite our emotions so hard because the human spirit is largely enveloped in feelings of sadness, rage, longing and feeling out of place. We may not perceive these things every second of everyday but they are there occasionally and they are very real for us. You cannot gaze upon the line “And all I loved, I loved alone” and not feel your heart fracture just a little, not because of the simple cluster of words but because we know all too well what he means! We feel it so deeply! That’s a truly great poet! A great poet deserves great homage, a series bridging many artistic journeys through some of the most adored compositions in Poe’s collection, a chance to create our own visions and build so much more on what he gave us.
"The Masque of the Red Death “is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death. He, along with many other wealthy nobles, host a masquerade ball within seven rooms, each decorated with a different color. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. When the figure turns to face him, the Prince lets out a sharp cry and falls dead... Only then do we realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums it up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
立法會鐵路事宜小組委員會視察港鐵金鐘站
立法会铁路事宜小组委员会视察港铁金钟站
LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Relating back to the previous workshop of fashion illustration, I took inspiration to amplify even more human traits in this experiment. For this piece I worked towards a tight deadline - drawing 30 frames tested my consistency, efficiency and ability to work under pressure. Using primary sources of people’s eyes and a mouth with a prop cigarette, I edited them together Adobe Premiere to create a disfigured, but amusing looping video of a chair waking up. It has 6 eyes opening, whilst grunting and falling back to sleep - with some eyes interacting with one another. Unfortunately I added smudges to represent the puffs of smoke billowing from the chair however it was too faint to appear on screen. Regardless I am very pleased with the outcome of my first rotoscope.
Part of the celebrations relating to the 75th anniversary of the British Racing Motors (BRM) team was a parade of many historic cars produced by the marque between 1950 and 1975. Here is a 1964 BRM P261 - as driven by Graham Hill in that year - accelerating through Lodge corner.
A (complex image) with (multiple items) that relate to each other logically, and shows a complete scene in Henry Crater. Individual elements by themselves is anomalous enough, but all together they show a scene and should be considered as one group. This lends credence to the anomalies and to their true existence. singular anomalies can be explained away easier but multiple anomalies or clusters that relate and tell a story are more difficult to explain, such as the case above.
The left of this image crop is the edge of the Narrow-Angle Image from Nasa, so acquiring more information beyond this pictures edge is moot.
The goal here in this crop is to show that this scene is from Nasa's MOC image while asking a few questions along the way.
Is this Circumstantial evidence of other forms of life in the universe? and this is a sign telling travelers of possible dangers on earth? Playing devils advocate, if you wanted to put knowledge somewhere so others in the future can understand the dangers of traveling to earth, and what to expect there while crossing vast spans of time,
Would you?
(a) Put it on the planet your referring too? where humans can destroy it?
or
(b) Put information somewhere desolate and out of reach of human interference.
looks as though the Alien race chose plan (b) from the looks of this image crop, but what other reasons would someone put such a bleak carving on planet Mars? for fun? nothing to do? lots of questions and no real answers. what ever the reason they probably didn't count on humans gazing down on their abode.
Click the button "All sizes" above to see the image closer.
to see the animation of this anomaly go to this Flickr page.
MSSS.com, Henry-Crater, MOC: Mars Chart-12:Arabia.
Mars Orbiter Camera (MOC) image E21-00176
Download the image from MSSS here
MOC narrow-angle image E2100176
Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.
The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.
Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.
This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.
Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.
“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.
With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.
The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.
Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.
Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.
#proyectomicosta
Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.
The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.
Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.
This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.
Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.
“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.
With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.
The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.
Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.
Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.
#proyectomicosta
Image from 'Historical Collections of the State of New York ... relating to its history and antiquities, with geographical descriptions of every township in the State', 000194809
Author: BARBER, John Warner and HOWE (Henry)
Page: 62
Year: 1846
Place: New-York
Publisher: S. Tuttle
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 4 recto (Original Folio 5 recto)
TRANSCRIPTION
(32)
Culphi,ordmatum, et firmatum est per nostra consilia, et sic servabis
q Capitaneus Galearum Culphi sit et esse debeat Capitanens generalis
dictarum galearum, et omnium navigiorum nostrorum armatorum &
disarmatorum, et facere Capitaneariam dones erunt simul.
(33)OMnes bulletas quas extra Venetias fieri facies pro cari eando merca -
tiones in galeis debeas facere ordinate registrari, & seribi in uno qua -
terno ut bene appareant, Et similiter debeas comittere patronis gale -
arum tibi commissarum, q onmes bullete que facte fuerint p te pro car -
ricondo debeant p sim seribam notari facere, & diligenter registra -
ri : Salvando tamen bulletas predictas ne perdantur, quos omnes
quaternos tu, et Patroni praedicti simul cum dictis cedulis dare
teneamini in vestro reditu, & prontare exordinariis quibus com -
missum est q debeant disearricare galeas iuxta formam dictorum
quaternorum et cedularum.
(34)QUicunq patronus approbatus p nostra consilia qui exinerit remane -
re in aliqua parte aliqua causa, nisi causa infirmitatis sue persone
que sit talis : q acceptet per Capitaneum armatae, et ut in isto cau
Capitanei ponant alium sufficientiorem quem poterunt, et contrafacien -
tes cadant ad penam libr quinq pro quolibet, & quolibet vice et com -
misum est advocatoribus comunis in Venetiis, et Capitano ex Venetiis
q predicta faciant observari, & exigant a contrafacientibus penam
predictam de qua haenant medietatem, et reliquum sit cois. Et si ad -
vocatores erunt negligentes ad excutiendum dictam penam, cadant
de tantundem, & Domini de nocte exigant penam ab advocatoribus
et Capitanus vel Advocatores sub pena libr ducenorum pro quolibet
ponente vel consentiente partem in contrarium.
(35)ET teneris dare sacramentum omnibus mercatoribus galearum tibi
Folio 4 recto (Original Folio 5 recto)
POSSIBLE ENGLISH TRANSLATION
32. …................ Culpho, ordered and confirmed by our plans, and so perfect that the said captain Captain General of the said galley Culpho and and all our galleys and boats both armed and unarmed and made accountable to him.
33. All those armed galleys that are in the same trade that that can get together outside of Venice should do so in order to be registered, and at greater length one in four appear as well to be similarly bound to the committee of the patrons of the galleys, yourself have also committed, that all the armed galleys have been made available to you should be noted by the scribe, and carefully registered, so that those armed shall not be lost, and that all four are together with with the above mentioned patrons and to give assurance of committing to a safe return extraordinarily quickly which should be decided upon according to the terms agreed by these four galleys.
34. Whosoever is the patron that is accordingly approved to remain in any part of our plans has any cause, who is such a person, unless it be for reasons of: a person for reasons of: a person the be accepted by the captain of armed men, and that in the case of the captain's account, which will be able to be put by someone else more adequate, and, opposed to the punishment of five pounds for each one, then after it was discussed and at any time, as is common in Venice and from Venice, and the captain may have observed the aforesaid, and, opposed the penalty aforesaid, of which ????? half of the demand and the rest of the costs. And if the advocates carelessly strike off a penalty imposed, so much of the loss, and of the increasing requirements from the penalty of the advocates and the captain or the advocates under the pain of two hundred pounds for each reckoning or with the consent of the other.
35. And being bound to you the secrets of all the merchant's galleys ….............
Objects collected by Iain Sinclair relating to his walks in East London.
Taken in the exhibition
Ghost
The show’s second act, Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.
Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.
Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.
[Somerset House]
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Sad Love Quotes :
QUOTATION – Image :
Quotes Of the day – Life Quote
ExtraMadness – Inspiring & Relatable Quotes
Sharing is Caring
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anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi... -http://anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pictures-relating-to-san-valentin/537 - anime.saqibsomal.com/wp-content/uploads/2016/02/fairy-tai...
A 1697 stone, now preserved in the south porch, relating to Calap (Caleb?) James.
Tradition suggests a church was established here in the 6th Century by Ffwyst, a cleric from Anglesey. It is believed the later "Foist" is an Anglicisation of Ffwyst in an attempt to identify with St Faith, a 3rd Century martyr in Roman Gaul. The main fabric of the current church dates back to the 13th Century, but an 1872 restoration was completed by Crawshaw Bailey Junior in memory of his father who is buried in the churchyard. Various graves relate to people involved in the iron industry including Crawshaw Bailey. There is also a mediaeval cross and an 800 year old yew tree.
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta
Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba
Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.
The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.
Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.
This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.
Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.
“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.
With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.
The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.
Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.
Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.
#proyectomicosta
Hieronymus: Vitae sanctorum patrum, sive Vitas patrum [English]. The lyff of the faders. Translated by William Caxton. Westminster: Wynkyn de Worde, [before 21 Aug.] 1495. Page of text (d1v) relating to the life of Saint Machaire of Alexandrye with woodcut illustration. Sp Coll Hunterian Bv.2.13.
with A23H
Alfred 23 Harth’s art works and performances relating to the Korean Demilitarized Zone (DMZ) reflect a deeply layered and nuanced engagement with the physical, historical, and cultural realities of the DMZ area, extending far beyond simple representation. Since establishing his studio near the DMZ around 2007, Harth has explored the militarized border zone as an uncanny and charged site, embodying both intense geopolitical tension and paradoxically, a reserve of rare flora and fauna. Through his artistic practice, he discovered and documented military objects like trenches, bunkers, barbed wire fences with stone inserts and alarm bells, recognizing some as strange art objects in themselves. These findings formed a part of his broader artistic narrative, intertwining historical layers of Korean kingdoms (Silla and Goguryeo) with the contemporary division of North and South Korea symbolized by the DMZ.
Harth’s art is informed by archaeological curiosities he pursued in the vicinity, such as shards of celadon ceramics from ancient Korean dynasties found near the DMZ, and the memory of historic places like the wiped-out 20th-century river port Gorangpo. His work reflects an echo from his excursions near the DMZ rather than direct occurrences, capturing the borderline space as a cultural and political phenomenon. This is apparent in his multimedia installation “DUGOUT” (2013) exhibited at the Artsonje Center in Seoul, where he presents a playful yet serious reflection on the DMZ reality, combining military archival material, ancient history, and contemporary urban experiences. The installation embodies the concept proposed by director David Lynch that for every military installation, there should be a peaceful counterbalance.
Harth’s video artwork “Deconstruct Mental Zymotics” delves into the DMZ as a hyperreal cultural trance zone, layered with illusions and political theater, underscored by philosophical voices like Jean Baudrillard and Vilém Flusser. It highlights the DMZ as a vast open-air contemporary art museum surrounded by leisure spots and tourist attractions, illustrating the paradox between militarization and commodification. He further integrates the political situation of the Korean division into his music and performances, collaborating with Korean artists and producing works imbued with these themes, including his mother-of-pearl CDs “nu:clear re:actor” (2004) and “T_error” (2005) and performances along the DMZ spots guided by his unique perspective.
Moreover, Harth relates the contemporary Korean divide to his personal experience growing up in Cold War Germany, where he initially perceived nuclear threats as theatrical fakes, co-founding the group Duck and Cover to artistically comment on militarism. His art thus bridges personal and historical narratives across geopolitical borders, transforming military overkill into a poetic and conceptual meditation on division, conflict, history, and peace.
In summary, Alfred 23 Harth’s DMZ-related artworks and performances engage the border as a complex multi-dimensional space—melding military reality, cultural memory, ecological paradox, political critique, historical archaeology, and artistic interpretation into a rich, reflective body of work.
For more than a century, there have been countless patents, projects, and concepts relating to tailless airplanes. Many models and prototypes were constructed; most enjoyed only a brief period of development and public interest, and then quickly disappeared. From an engineering viewpoint, a high percentage of these short-lived projects were possibly well founded and deserving of serious consideration and further development. The lack of adequate financial backing, lack of government or public interest, and politics often contributed to the premature end of a worthwhile project. For the most part, these projects were pursued by independent promoters who made little attempt to coordinate their investigations. Gradually, however, a large body of technical data on tailless aircraft was accumulated. Although no organized data-exchange program appeared to have existed during the 1920s and 1930s, articles on tailless projects could be read frequently in aviation journals, both in the United States and abroad. Whether these articles inspired or assisted the competition is conjectural.
This relates to the St David's Day photograph because on the (very grubby) back the name Hannah Aldred is pencilled in twice with the same address as the Edward mentioned on the back of that photo.
Found in Clitheroe, printed with a postcard back.
Posted by Lauren Cohan (Maggie) - i can relate. t.co/mpaFegrShY #LaurenCohen #TWD #TheWalkingDead
Source: walkingdead.affiliatebrowser.com/i-can-relate-httpst-comp...
This equipment relates to certain new and useful improvement in belt tripper. As well known, it is adapted to discharge material from belt conveyor and could be moved longitudinally of belt conveyor in either direction to distribute said material by power derived from moving belt of the conveyor. People could reverse the direction of travel of the tripper carriage longitudinally of the belt conveyor or automatically. widely for stocking raw material when fitted with belt conveyor in metallurgy industry, coal industry, cement industry and food industry etc.
立法會鐵路事宜小組委員會視察廣深港高速鐵路香港段西九龍總站，以及石蔭至海庭道隧道段的建築工地
立法会铁路事宜小组委员会视察广深港高速铁路香港段西九龙总站，以及石荫至海庭道隧道段的建筑工地
LegCo Subcommittee on Matters Relating to Railways visits the construction sites of the West Kowloon Terminus of the Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link & the Shek Yam to Hoi Ting Road tunnel section (2013.06.24)
立法會動物權益事宜小組委員會視察位於西貢的流浪牛遷移地
立法会动物权益事宜小组委员会视察位于西贡的流浪牛迁移地
LegCo Subcommittee to Study Issues Relating to Animal Rights visits a site in Sai Kung for relocated stray cattle (2017.11.14)
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
This photo relates to my blog post
www.heatheronhertravels.com/the-museum-of-costume-in-nuoro/
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
Mary's Fortune's Maternal Grandfather Mr. Clough, c.1915
He came from a very old Sale family. Died in 1927 aged 75.
GB124.DPA/645/1
立法會銀齡咭相關事宜小組委員會參觀樂齡科技教育及租賃服務中心
立法会银龄咭相关事宜小组委员会参观乐龄科技教育及租赁服务中心
LegCo Subcommittee on Issues Relating to the Silver Age Card visits Gerontech Education and Rental Service Centre (2021.07.20)
born 13th July 1951
Roselle Married in 1974 at Chippenham Wiltshire to Alistair Maccoll
A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.
立法會鐵路事宜小組委員會視察港鐵金鐘站
立法会铁路事宜小组委员会视察港铁金钟站
LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Tomorrow's leaders must think and act as global citizens in order to address the challenges facing humanity. Broadly defined, global citizens are people who are consciously prepared to live and work in the complex interdependent society of the 21st century and contribute to improving the common global welfare of our planet and its inhabitants.
The program aims to engage participating students as global citizens, helping them develop the knowledge, skills, values, and commitment to:
- Understand the nature of globalization, including its positive and negative impacts around the world, and realize how it is transforming human society;
- Appreciate the diversity of humanity in all of its manifestations, from local to global, and interact with different groups of people to address common concerns;
- Recognize the critical global challenges that are compromising humanity's future and see how their complexity and interconnections make solutions increasingly difficult; and
- Collaborate with different sets of stakeholders, by thinking globally and acting locally, to resolve these critical challenges and build a more equitable and sustainable world.
The session format includes lectures and discussions with an international faculty as well as formal and informal work in small groups. Topics addressed in plenary lectures and discussions include globalization and global responsibility; the social, economic, and political aspects of migration; the historical legacy of the Holocaust, human rights, humanitarian intervention; sustainable development; and the implications of the United States' influence around the world.
Participants will consider how these issues relate to their current situations and future personal, educational, and professional plans. They will also have the opportunity to develop projects and activities related to the session topic that can be implemented at their colleges and universities, in their local communities, and beyond.
El Comisionado Rodrigo Escobar Gil, Relator de la CIDH sobre los Derechos de las Personas Privadas de Libertad, junto al Presidente de Honduras, Porfirio Lobo, en la residencia del mandatario. En dicha reunión, el Relator y el Presidente discutieron las conclusiones y recomendaciones del Informe sobre la Situación de los Derechos de las Personas Privadas de Libertad en Honduras, que fue entregado en mano al Presidente Lobo. 2 de agosto de 2013
CIE Class K1/372 2-6-0 "Woolwich mogul" No. 383 before or after working the Radio Train at the Broadstone presumably relating to a working on the former MGWR line via Mullingar towards for example Claremorris for Knock where the 4-6-0s would not be permitted. Radio Train specials were a feature or a period around the 1960s.
Photographs by Lawrie Marshall to which I have negatives and provenance trail to enable assignment of copyright.
The scans are not necessarily of a good quality
I Love Russia ! Not only the traditions and unique “know-how” relates “Raketa” and “Tupolev”, but also a strong relationship with a Russian history and the opportunity to position itself as the native Russian brand. «Tupolev» is Russia’s largest aircraft designer and manufacturer. They produce, test and sustain aircrafts designed for the Russian Aerospace Force and civilian use. The Tupolev bureau is also a key actor in technological research and development, contributing to keep ahead the Russian Aerospace industry.
The watch Raketa «Pilot TU-160» is based on the 24h mechanism «Raketa Avtomat» calibre 2624. The central topic of the watch has become the image of the missile carrier “TU-160” on the dial. This concept was created by the designers of the Petrodvorets watch factory and engineers of Tupolev bureau. The hands and dial are coated with luminox so it is possible to check time in any extreme conditions or at night.
Packaging may slightly differ in reality.
raketa-shop.com/en/raketa-tu-160-for-pilots/74-pilot-tu-1... Russian pilot watch designed by Tupolev engineers for TU-160 pilots - With a 24 hour dial, this pilot watch is equipped with the legendary Raketa automatic movement ! This time piece is a reference in the Russian air and space industry. Raketa ''TU-160'' - for pilots Movement: Automatic movement, Water resistant: 20 АТМ, Crystal: Sapphire, Case size: 43х11 mm, Gender: Man, Strap type: Genuine leather, Size of the strap: 22 mm, Movement Type: Avtomat 24 hours, Wrist size: 145 - 200 mm Главная, - Raketa watches since 1961, Watches, Raketa ''TU-160'' - for pilots, 24h Russian Watches, Russian Pilot watches, 24 hour dials watches raketa-shop.com/2334/pilot-tu-160.jpg raketa-shop.com/2326/pilot-tu-160.jpg raketa-shop.com/2325/pilot-tu-160.jpg raketa-shop.com/2327/pilot-tu-160.jpg raketa-shop.com/2328/pilot-tu-160.jpg raketa-shop.com/2329/pilot-tu-160.jpg raketa-shop.com/2330/pilot-tu-160.jpg raketa-shop.com/2331/pilot-tu-160.jpg raketa-shop.com/2332/pilot-tu-160.jpg raketa-shop.com/2333/pilot-tu-160.jpg raketa-shop.com/2335/pilot-tu-160.jpg raketa-shop.com/2324/pilot-tu-160.jpg raketa-shop.com/2323/pilot-tu-160.jpg
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 253
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
立法會鐵路事宜小組委員會視察港鐵南港島線 (東段)
立法会铁路事宜小组委员会视察港铁南港岛线 (东段)
LegCo Subcommittee on Matters Relating to Railways visits MTR South Island Line (East) (2016.12.12)
"Sustainability can relate to the memory and preservation of the traditional craftsmanship and in 1.26, we see an extremely innovative way of preserving a craft that might be seen as obsolete by most. Janet Echelman has been inspired by the traditional craftsmanship of fish net weaving and lace making in the construct of her urban sculptures and has re-intepreted the technique to new heights through the technology that she had utilised, allowing all to appreciate traditional crafts in a new form.
In the piece for i Light Marina Bay 2014, Janet Echelman’s luminous 1.26 sculpture will suspend over the floating platform. The form and content has been drawn from observing Earth’s interconnected systems. Echelman used laboratory research from NASA and NOAA which documented the effects of the 2010 earthquake in Chile — the historic shock resulted in the shortening of the earth’s day by 1.26 microseconds, which became the influence for the installation’s name. The colorful volumetric piece takes the shape of a tsunami sweeping across the ocean. In her studio, she generated a three-dimensional model of the tsunami that resulted from Chile’s earthquake, then used software to create an outline of the rendering’s highest amplitude area, realising the silhouette as a sculptural form. The material underscores connectivity — Echelman’s work utilises Honeywell Spectra fibre, a material that is 15 times stronger than steel by weight. The knotted mesh can withstand high winds, but is engineered specifically to imitate the intricacy of handmade lace.
This piece not only reminds us of today’s ever changing face of the earth and the effects natural disasters have on people, but it is also a piece that highlights the courageousness of the survivors and the interconnected populations who are fighting against these effects of climate change in today’s context."
Village: Nayagaon, Block: Lalganj District: Mirzapur, Uttar Pradesh(UP), India, 4 June 2013:.Children look on even as, Child Protection Committee (CPC) members conduct a monthly meeting at the village square, discussing issues relating to protection of children from abuse exploitation and neglect. The CPC is a village level committee, responsible for creating a safe environment for children in the villages, with special focus on prevention and elimination of child labour from communities. UNICEF formed CPCs in collaboration with Government of UP and civil society groups under a Child Rights program supported by IKEA in 5100 villages of eastern UP. .UNICEF India/2013/Prashanth Vishwanathan.
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Life QUOTE :
wordsnquotes:
Topic: Comics, LOL, Relationships || by STAFF
If you are in a long-term relationship…
citations.tn/citations/citation-de-la-vie/life-quotes-15-...