The 12 metres (39 ft) main figure on the front of the memorial represents the archangel Michael, considered the "War god of Germans".

Monument to the Battle of the Nations - the structure has two floors, where on the first one is a crypt that is adorned by eight large statues of fallen warriors, each one next to smaller statues called the Guardians of the Dead, while on the second floor is the Hall of Fame that features four statues representing the four legendary historic qualities ascribed to the German people, those being bravery, faith, sacrifice, and fertility.

Visitors were walking on the level where allow them to view the outside scenery.

This version of M45, the Pleiades, represents an intentionally heavily saturated and sharpened processing pass, pushing the data to explore the full extent and structure of the surrounding reflection nebulosity.

By driving saturation and local contrast beyond a natural presentation, the delicate blue dust clouds illuminated by the cluster’s hot young stars are brought forward with greater intensity, revealing complex wisps, folds, and gradients that are otherwise difficult to perceive. Sharpening has been applied to emphasise fine structure within the nebulosity while allowing the star field to remain a luminous anchor within the frame.

This image is part of an ongoing progression rather than a final aesthetic statement — a visual experiment that highlights how far the data can be stretched, and what hidden detail emerges when boundaries are deliberately tested.

The Pleiades lie roughly 440 light-years away in the constellation Taurus, drifting through an interstellar dust cloud that scatters starlight into these characteristic electric blues.

how many MC's

In aprile ho scelto di rappresentare tutti i colori della primavera fotografando i fiori.

In April, I chose to represent all the colors of spring photographing flowers.

Three representives of Lothian's Edinburgh Airport express service from three different eras take up display at the furthest reaches of the SVBM Lathalmond site during the recent Open Weekend: Alexander-bodied Atlantean JSC 869C (869; new August 1967), Plaxton President-bodied Trident SN04 AAJ (664; new March 2004) & ADL E400XLB-bodied Volvo B8L SB19 GNK (1140; new August 2019), the last one representing the latest generation of Airlink vehicles.

Photo Date: 17th August 2019

Représentation

ENGLISH :

Nourished with ancient references, the paint program of the gallery remains rather mysterious. Overall, historians agree to think that the king wished to represent symbolically and in parallel, human life and the royal power

Photo chosen to represent all women of India at the Exhibition I AM in the garden of Indirah Ghandi's former residence in New Delhi Nov 2008 for her birthday celebration.

Poem by Suryakanthi Tripathi

What I mean

I bring the faraway horizon near

because I summon it

I am proud and erect

Feet on the ground

unafraid of effort and distance

I am free

I am here for you to understand

what a woman means

I am laughter. I am music

I am youth, I am experience

I am grace, I am endurance

I am the striving, I am the goal

I am hunger, I am nourishment

I am the devotee, I am the devotion

I am Shakti.

I am she

From Lopamudra to Indira

From Kasturba to Teejan Bai

From she to she

From Chandbibi to Bhikaji

I am stone-breaker and star-gazer

I am she, I am she

The child , the mother, the leader

I am the woman of India from eternity to eternity

I am here

For you to understand

what a woman means

I am freedom

I AM.

La Triade palmipédique ! Quels sombres complots ces trois représentants des syndicats du Crime Palmé ourdissaient-ils avant mon arrivée ? Nous ne le saurons probablement jamais...

Top: REPRESENT - Essential Fury Tee "White"

Sneakers: REPRESENT - Mirror Plated Hightop Sneaker "White"

Accessories: :[P]:- Avera Collar:// Gold

:[P]:- Avera Cuff [Wrist L+R]:// Gold

Union Depot Train Days was held June 3rd and 4th in St. Paul, Minnesota. Featured attractions included Milwaukee Road 4-8-4 261 and E9A 32A, Great Northern NW-5 192, the freshly-repainted “Caritas.” Representing CPKC were a pair of GE locomotives, CP AC44CWM 8074 and KCS ET44C4 5000.

This shot represents what I mean when I said that it is incredibly difficult if not impossible to capture what I saw. While I was pointing my XSi with it's kit 18-55mm lens on in various directions, I noticed a really strong aurora coming from one side, so I followed it along the sky, to directly upwards, and then realized that the entire sky above me was red/purplish and green just...waving... dancing back and fourth with each other.

It really was the highlight of this aurora, an unforgettable moment and experience that, to me, was just something that cannot be captured in one picture. But this was my best attempt at it, I just pointed the camera up, right to the "center" of all the dancing colours and hoped for the best.

Representante de Mossack Fonseca en Venezuela será enjuiciada t.co/QHyGERBvSj #Sucesos #ACN (via Twitter twitter.com/AgenciaCN/status/801381786890760192)

Representing candy without actually using it in the photo.

Representantes de colegios de Loja fueron capacitados en expresión y derecho internacional para exposición de ideas en una sesión formal de la ONU.

(click on the image above to zoom in)

Mark Ottens is represented in the current exhibition "A Marketplace of Mysteries" in the Carlson Tower Gallery of North Park University by this monumental drawing titled "A Torrent Released from an Arm on South Division Avenue, 1988", ink on paper, 99" x 65.5“, 2013

Here is Mark's statement:

There is a sequence of paintings by Theo Van Doesburg which begins with a straightforward depiction of a cow and ends with an abstraction of a cow which looks nothing like a cow.

I set myself the goal of drawing everything. I ended up with something somewhat less than anything and slightly more than nothing.

I guess the interesting thing about it is the decision making involved, in how the ink got from the pen onto the paper. In what the ink came up with, in the trail the pens left behind.

Also in the exhibition Conrad Bakker, Kathleen Mercado and Samantha Haring.

If you are in the Chicago vicinity you don't want to miss this show which runs through November 22. Hours for the Carlson Tower Gallery are Monday - Friday 9 AM - 9 PM.

The represents the kind of views many of my vintage National Geographic magazines from the 1915 to 1920 era would proudly portray as the modern and efficient "Future Of Industry". By the mid 1970s, they looked awfully tired and dated.

I remember reading a book about Jersey City written in the 1930s describing it as a industrial city "without trees". Of course... who needed trees and the niceties of life when you've got countless brick warehouses, hundreds of factories and endless railroads which sliced through every neighborhood? It was all about business, pure business.

The same place today:

www.google.com/maps/@40.7220077,-74.0380614,3a,75y,194.68...

This is a still from a work scan of a Super 8 movie some friends and I shot. When the high-def DVD version returns back from the professional movie scanner, I'll post more images from this film.

El capitel que representa la Matanza de los Santos Inocentes, situado en el lado norte del arco triunfal de ingreso al presbiterio es, sin lugar a dudas, el elemento más emblemático de este templo y uno de los más interesantes del románico palentino. Aparecen en una escena corrida a lo largo de sus tres caras visibles cinco soldados ataviados con cota de malla ejecutando otros tantos infantes ante la presencia impotente de sus madres, las cuales manifiestan su gesto de desconsuelo llevando las manos a sus rostros. En uno de los ángulos se reconoce la efigie de Herodes, coronado, vestido con túnica, realizando con un dedo de su mano izquierda un autoritario ademán que lo identifica como instigador de la escena y con la mano derecha clavando su espada en el costado de uno de los inocentes.

La ermita de Santa Cecilia de Aguilar de Campoo (Palencia) está situada en la ladera sureste del cerro del Castillo. El templo actual, de estilo románico, se construyó entre los siglos XII a XIII, pero entre los siglos XVI y XVIII se acometieron reformas en las que se sustituyó el ábside original, y en la década de 1960 fue restaurado cuando estaba en estado de ruina. Presenta planta cuadrada irregular, con tres naves separadas por arquerías apuntadas y la nave central se cierra con bóveda de crucería. Entre la nave principal y la cabecera se halla la esbelta y elegante torre que consta de tres pisos, en los que se abren los dos superiores amplios ventanales. La portada se sitúa en el muro sur, cubierta por un tejadillo, y dispone de cuatro arquivoltas de medio punto constituidas por medias cañas y baquetones. En el interior sobresalen sus capiteles historiados, entre los que destaca el dedicado a la Matanza de los Inocentes.

101456

"the artists of the "Casa del Musical" group (House of Musical)".

“gli artisti del gruppo "Casa del Musical".

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

Qi Bo's photos on Fluidr

Qi Bo's photos on Flickriver

www.worldphoto.org/sony-world-photography-awards/winners-...

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

………………………………………………………………………………….

"Ces peintures représentant une vision naïve et décalée de la vie parisienne tel que se l'imagine le touriste lambda" a expliqué le jeune réunionnais Jace .....Pour ma part, je ne suis pas fan.

J'aurais aimé que les panneaux deviennent un lieu d'exposition libre. Cette exposition éphémère sera remplacée cet automne par "des panneaux vitrés", a précisé Bruno Julliard, premier adjoint au maire de Paris.

Et pour celles et ceux qui voudraient avoir une meilleur vision sur le compte PRO de Flickr :

www.macg.co/logiciels/2015/07/yahoo-relance-flickr-pro-av...

The museum represents a noble estate built at the end of the 18th century. The mansion is appeared to be a unique sample of wooden classicism. The history of the estate is tightly connected with the name of the great writer Vladimir Nabokov whose ancestors owned this estate. The mansion is surrounded with a magnificent park with a romantic linden alley that leads to the Holy Source and the Red Cave

My model represents one of the first production Ospreys, which was used during the type's first OpEval (Operational Evaluation) in 1999-2000. Four Ospreys were assigned to USMC squadron HMX-1, which flew them under conditions as close as possible to operational missions, to check whether the Osprey was ready to enter service.

Military innovation unfortunately doesn't usually happen without lives being lost. Unfortunately the OpEval ended in a tragedy. During a night mission at Marana airport, Az on the 9th of April 2000, one Osprey crashed, killing all the Marines on board. A second aircraft made a hard landing and was written-off. When another Osprey crashed a few month's later, in December, all the Ospreys were grounded, while the program underwent a comprehensive review. They returned to flight only in 2002.

These images represent a couple of recent day trips up into the Blue Ridge Escarpment of the Carolinas.

To read about the trip and to see more images of these wildflowers, please go to Jim's Blog...

NEPAL, Royal Chitwan-Nationalpark.

Der Chitwan-Nationalpark ist ein Nationalpark in Nepal, der 1973 als erster Nationalpark des Landes unter dem Namen Royal Chitwan National Park gegründet wurde.

Er nimmt eine Fläche von 932 km² ein und liegt im Terai, den südlichen Vorbergen des Himalaya. Die südliche Grenze des Nationalparks ist zugleich die Landesgrenze zu Indien. Im Osten schließt sich das Parsa Wildlife Reserve an. Im Norden bildet der Fluss Rapti und im Westen der Fluss Narayani eine natürliche Begrenzung zu besiedelten Gebieten. Zusammen mit dem Parsa Wildlife Reserve und dem in Indien gelegenen Valmiki National Park bildet das Gebiet die über 2000 km² große Tiger Conservation Unit (TCU) Chitwan.

Chitwan National Park The first national park in Nepal. It was established in 1973 and granted the status of a World Heritage Site in 1984. It covers an area of 932 km2 (360 sq mi) and is located in the subtropical Inner Terai lowlands of south-central Nepal in the districts of Nawalparasi, Parsa, Chitwan and Makwanpur. In altitude it ranges from about 100 m (330 ft) in the river valleys to 815 m (2,674 ft) in the Churia Hills.[1]

In the north and west of the protected area the Narayani-Rapti river system forms a natural boundary to human settlements. Adjacent to the east of Chitwan National Park is Parsa Wildlife Reserve, contiguous in the south is the Indian Tiger Reserve Valmiki National Park. The coherent protected area of 2,075 km2 (801 sq mi) represents the Tiger Conservation Unit (TCU) Chitwan-Parsa-Valmiki, which covers a 3,549 km2 (1,370 sq mi) huge block of alluvial grasslands and subtropical moist deciduous forests.

Église Notre-Dame-des-Neiges de L'Alpe d'Huez. Une petite chapelle, construite en 1940, plantée au centre de l'Alpe d'Huez, était consacrée au culte marial. Trop petite pour accueillir les nombreux touristes des Jeux olympiques de 1968, le curé Jaap Reuten, Hollandais, imagine le projet d'une nouvelle église et demande en 1960 à Jean Le Boucher et à l'architecte Jean Marol (1930-2010) de faire construire une église en forme de tente (représentant celle du patriarche Abraham). De magnifiques vitraux entourent la nef, de forme ovale, représentant la vie de Jésus-Christ d'après l'évangile de saint Marc, réalisés par l'artiste Arcabas.

As a Pokemon fan, climbing to the top of the park was obviously worth my time.

Location: Graffiti Park

Chart representing a flow of products through the UK textile industry from the intake of raw materials to the finished product. Designed by Lock/Petterson Ltd. 1968

This is a wonderful example of New Graphic Design principles working to create a visually pleasing graphic out of very complex subject matter.

Charts, diagrams and graphs are most difficult to give visual form to. The computer

helped change that and the visualization of data entered a new age.

Represents an aeroplane operated by the Air Fighting Development Unit, based at Duxford in 1942, although an original photograph in the Imperial War Museum archives shows AA937 to have had ‘clipped’ wingtips when operating with the AFDU.

Duxford Airfield, Cambridgeshire, UK

17th October 2020

This photo represents me moving on and starting new.

I wanted to create this new account because I really need a fresh start. I created my old Flickr account back in 2009 and, frankly, I loathe my old Flickr URL. It's so bad.

But, please check out some of my old work! There are some hidden gems in there:)

I plan on uploading more. There have been a lot of broken sets that I've never finished and I really want to restart them or just trash them. So yes, I will get back to my Deadly Seven;)

xoxoxox!!

Facebook | Tumblr | Formspring | Youtube

sim build for represent (2017)

This photo represents the first change to waste services for a Sydney council since amalgamations some months ago. Actually there aren’t really any changes, it’s still the same company servicing the same area, just with new trucks and the previous council name is no longer featured. A little while ago I heard that Cleanaway won back the Ashfield contract, but that didn’t make any sense when other councils were extending contracts, due to uncertainty about amalgamations and the need to streamline services once councils did merge. It is on the verge of being 7 years since the current Ashfield/Cleanaway contract started in Nov 2009, but I expected the partnership would extend for a few more years. However, a top bloke I know visited an Iveco dealership and spotted a few new Cleanaway trucks with Inner West Council printed on the side, confirming indeed a new contract had been signed with Cleanaway. These side loaders will likely start work in a couple of weeks, but this time joined by some rear loaders, to service the former Ashfield area under an altered collection regime. I’ve come to the conclusion that the newly formed council decided it wasn’t crucial to standardise waste services and the collection workforce across the former Ashfield, Leichhardt and Marrickville areas yet, so they’ve decided to essentially continue with business as usual for now. I also see the fact that Leichhardt and Marrickville have very young collection vehicles as another influence to put off any changes at this point in time. I’m sure in around 7 years the three separate council waste management systems will have transitioned into one big organisation - it will be a staged work in progress.

Painted to represent a Viscount of British European Airways with the original name Sir John Franklin, Whiskey Foxtrot was the second production aircraft and was delivered to British European Airways in 1953. The last operator was Cambrian Airways and she was retired in 1971 and placed on display at Liverpool Airport with the Viscount Preservation Trust. She was transferred to the Duxford Aviation Society and moved to Duxford by road in 1976.

This photo was taken by a Kowa Super 66 medium format film camera and Kowa 1:4.5/110 lens with a Zenza Bronica 67mm SY48•2C(Y2) filter using Kodak 400 TRI-X film, the negative scanned by an Epson Perfection V600 and digitally rendered using Photoshop.

en.wikipedia.org/wiki/Humpback_whale

The humpback whale (Megaptera novaeangliae) is a species of baleen whale. One of the larger rorqual species, adults range in length from 12–16 metres (39–52 ft) and weigh approximately 36,000 kilograms (79,000 lb). The humpback has a distinctive body shape, with unusually long pectoral fins and a knobbly head. An acrobatic animal known for breaching and slapping the water with its tail and pectorals, it is popular with whale watchers off Australia, New Zealand, South America, Canada, and the United States.

Males produce a complex song lasting 10 to 20 minutes, which they repeat for hours at a time. Its purpose is not clear, though it may have a role in mating.

Found in oceans and seas around the world, humpback whales typically migrate up to 25,000 kilometres (16,000 mi) each year. Humpbacks feed only in summer, in polar waters, and migrate to tropical or subtropical waters to breed and give birth in the winter. During the winter, humpbacks fast and live off their fat reserves. Their diet consists mostly of krill and small fish. Humpbacks have a diverse repertoire of feeding methods, including the bubble net feeding technique.

Like other large whales, the humpback was and is a target for the whaling industry. Once hunted to the brink of extinction, its population fell by an estimated 90% before a moratorium was introduced in 1966. While stocks have since partially recovered, entanglement in fishing gear, collisions with ships, and noise pollution continue to impact the 80,000 humpbacks worldwide.

Taxonomy

Humpback whales are rorquals (family Balaenopteridae), a family that includes the blue whale, the fin whale, the Bryde's whale, the sei whale and the minke whale. The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene.[3] However, it is not known when the members of these families diverged from each other.

Though clearly related to the giant whales of the genus Balaenoptera, the humpback has been the sole member of its genus since Gray's work in 1846. More recently, though, DNA sequencing analysis has indicated the humpback is more closely related to certain rorquals, particularly the fin whale (Balaenoptera physalus), and possibly to the gray whale (Eschrichtius robustus), than it is to rorquals such as the minke whales.[4][5] If further research confirms these relationships, it will be necessary to reclassify the rorquals.

The humpback whale was first identified as baleine de la Nouvelle Angleterre by Mathurin Jacques Brisson in his Regnum Animale of 1756. In 1781, Georg Heinrich Borowski described the species, converting Brisson's name to its Latin equivalent, Balaena novaeangliae. In 1804, Lacépède shifted the humpback from the Balaenidae family, renaming it Balaenoptera jubartes. In 1846, John Edward Gray created the genus Megaptera, classifying the humpback as Megaptera longipinna, but in 1932, Remington Kellogg reverted the species names to use Borowski's novaeangliae.[6] The common name is derived from the curving of their backs when diving. The generic name Megaptera from the Greek mega-/μεγα- "giant" and ptera/πτερα "wing",[7] refers to their large front flippers. The specific name means "New Englander" and was probably given by Brisson due the regular sightings of humpbacks off the coast of New England.

Description

A humpback whale can easily be identified by its stocky body with an obvious hump and black dorsal coloring. The head and lower jaw are covered with knobs called tubercles, which are hair follicles, and are characteristic of the species. The fluked tail, which it lifts above the surface in some dive sequences, has wavy trailing edges.[8] The four global populations, all under study, are: North Pacific, Atlantic, and Southern Ocean humpbacks, which have distinct populations which complete a migratory round-trip each year, and the Indian Ocean population, which does not migrate, prevented by that ocean's northern coastline.

The long black and white tail fin, which can be up to a third of body length, and the pectoral fins have unique patterns, which make individual whales identifiable.[9][10] Several hypotheses attempt to explain the humpback's pectoral fins, which are proportionally the longest fins of any cetacean. The two most enduring mention the higher maneuverability afforded by long fins, and the usefulness of the increased surface area for temperature control when migrating between warm and cold climates.

Humpbacks have 270 to 400 darkly coloured baleen plates on each side of their mouths.[11] The plates measure from a mere 18 inches (46 cm) in the front to approximately 3 feet (0.91 m) long in the back, behind the hinge. Ventral grooves run from the lower jaw to the umbilicus about halfway along the underside of the whale. These grooves are less numerous (usually 14–22) than in other rorquals but are fairly wide.[11]

The stubby dorsal fin is visible soon after the blow when the whale surfaces, but disappears by the time the flukes emerge. Humpbacks have a 3 metres (9.8 ft), heart-shaped to bushy blow, or exhalation of water through the blowholes. Because humpback whales breathe voluntarily, the whales possibly shut off only half of their brains when sleeping.[12] Early whalers also noted blows from humpback adults to be 10–20 feet (3.0–6.1 m) high.

Newborn calves are roughly the length of their mother's head. At birth, calves measure 20 feet (6.1 m) at 2 short tons (1.8 t) The mother, by comparison, is about 50 feet (15 m). They nurse for approximately six months, then mix nursing and independent feeding for possibly six months more. Humpback milk is 50% fat and pink in color.

Females reach sexual maturity at the age of five, achieving full adult size a little later. Males reach sexual maturity at approximately seven years of age. Humpback whale lifespans range from 45–100 years.[13] Fully grown, the males average 13–14 m (43–46 ft). Females are slightly larger at 15–16 m (49–52 ft); the largest recorded specimen was 19 metres (62 ft) long and had pectoral fins measuring 6 metres (20 ft) each.[14] Body mass typically is in the range of 25–30 metric tons (28–33 short tons), with large specimens weighing over 40 metric tons (44 short tons).[15] The female has a hemispherical lobe about 15 centimetres (5.9 in) in diameter in its genital region. This visually distinguishes males and females.[11] The male's penis usually remains hidden in the genital slit.

Identifying individuals

The varying patterns on the tail flukes are sufficient to identify individuals. A study using data from 1973 to 1998 on whales in the North Atlantic gave researchers detailed information on gestation times, growth rates, and calving periods, as well as allowing more accurate population predictions by simulating the mark-release-recapture technique (Katona and Beard 1982). A photographic catalogue of all known North Atlantic whales was developed over this period and is currently maintained by College of the Atlantic.[16] Similar photographic identification projects have begun in the North Pacific by Structure of Populations, Levels of Abundance and Status of Humpbacks, and around the world.

Life history

Social structure

The humpback social structure is loose-knit. Typically, individuals live alone or in small, transient groups that disband after a few hours. These whales are not excessively social in most cases. Groups may stay together a little longer in summer to forage and feed cooperatively. Longer-term relationships between pairs or small groups, lasting months or even years, have rarely been observed. Some females possibly retain bonds created via cooperative feeding for a lifetime. The humpback's range overlaps considerably with other whale and dolphin species—for instance, the minke whale. However, humpbacks rarely interact socially with them, though one individual was observed playing with a bottlenose dolphin in Hawaiian waters.[17]

Courtship and reproduction

Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce, and unrelated males, dubbed escorts by researcher Louis Herman, frequently trail females, as well as mother-calf dyads. Male gather into "competitive groups" and fight for females.[18] Group size ebbs and flows as unsuccessful males retreat and others arrive to try their luck. Behaviors include breaching, spyhopping, lob-tailing, tail-slapping, fin-slapping, peduncle throws, charging and parrying. Whale songs are assumed to have an important role in mate selection; however, they may also be used between males to establish dominance.[19]

Females typically breed every two or three years. The gestation period is 11.5 months, yet some individuals have been known to breed in two consecutive years. The peak months for birth are January, February, July, and August, with usually a one- to two–year period between humpback births. They can live up to 48 years. Recent research on humpback mitochondrial DNA reveals groups living in proximity to each other may represent distinct breeding pools.[20]

Song

Both male and female humpback whales vocalize, but only males produce the long, loud, complex "songs" for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency, and typically lasting from 10 to 20 minutes.[21] Humpbacks may sing continuously for more than 24 hours. Cetaceans have no vocal cords, so whales generate their songs by forcing air through their massive nasal cavities.

Whales within a large area sing the same song. All North Atlantic humpbacks sing the same song, and those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating.[21]

Scientists are unsure of the purpose of whale songs. Only males sing, suggesting one purpose is to attract females. However, many of the whales observed to approach a singer are other males, often resulting in conflict. Singing may, therefore, be a challenge to other males.[22] Some scientists have hypothesized the song may serve an echolocative function.[23] During the feeding season, humpbacks make altogether different vocalizations for herding fish into their bubble nets.[24]

Humpback whales have also been found to make a range of other social sounds to communicate, such as "grunts", "groans", "thwops", "snorts" and "barks"

Ecology

Feeding and predation

Humpbacks feed primarily in summer and live off fat reserves during winter.[26] They feed only rarely and opportunistically in their wintering waters. The humpback is an energetic hunter, taking krill and small schooling fish such as Atlantic herring, Atlantic salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic.[27][28][29] Krill and copepods have been recorded as prey species in Australian and Antarctic waters.[30] Humpbacks hunt by direct attack or by stunning prey by hitting the water with pectoral fins or flukes.

The humpback has the most diverse feeding repertoire of all baleen whales.[31] Its most inventive technique is known as bubble net feeding; a group of whales swims in a shrinking circle blowing bubbles below a school of prey. The shrinking ring of bubbles encircles the school and confines it in an ever-smaller cylinder. This ring can begin at up to 30 metres (98 ft) in diameter and involve the cooperation of a dozen animals. Using a crittercam attached to a whale's back, some whales were found to blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the net by vocalizing.[32] The whales then suddenly swim upward through the "net", mouths agape, swallowing thousands of fish in one gulp. Plated grooves in the whale's mouth allow the creature to easily drain all the water initially taken in.

Given scarring records, killer whales are thought to prey upon juvenile humpbacks, though this has never been witnessed. The result of these attacks is generally nothing more serious than some scarring of the skin, but young calves likely are sometimes killed.[33]

Range and habitat

Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude, though not in the eastern Mediterranean or the Baltic Sea.They are migratory, spending summers in cooler, high-latitude waters and mating and calving in tropical and subtropical waters.[21] An exception to this rule is a population in the Arabian Sea, which remains in these tropical waters year-round.[21] Annual migrations of up to 25,000 kilometres (16,000 mi) are typical, making it one of the mammals' best-traveled species.

A large population spreads across the Hawaiian Islands every winter, ranging from the island of Hawaii in the south to Kure Atoll in the north.[34] A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres (5,200 mi). Identified by their unique tail patterns, these animals made the longest documented mammalian migration.[35] In Australia, two main migratory populations have been identified, off the west and east coasts, respectively. These two populations are distinct, with only a few females in each generation crossing between the two groups.[36]

Whaling

Humpback whales were hunted as early as the 18th century, but distinguished by whalers as early as the first decades of the 17th century. By the 19th century, many nations (the United States in particular), were hunting the animal heavily in the Atlantic Ocean, and to a lesser extent in the Indian and Pacific Oceans. The late-19th-century introduction of the explosive harpoon, though, allowed whalers to accelerate their take. This, along with hunting in the Antarctic Ocean beginning in 1904, sharply reduced whale populations. During the 20th century, over 200,000 humpbacks were estimated to have been taken, reducing the global population by over 90%, with North Atlantic populations estimated to have dropped to as low as 700 individuals.[37] In 1946, the International Whaling Commission was founded to oversee the whaling industry. They imposed rules and regulations for hunting whales and set open and closed hunting seasons. To prevent extinction, the International Whaling Commission banned commercial humpback whaling in 1966. By then, the population had been reduced to around 5,000.[38] That ban is still in force.

Prior to commercial whaling, populations could have reached 125,000. North Pacific kills alone are estimated at 28,000.[8] The full toll is much higher. It is now known that the Soviet Union was deliberately under-recording its catches; the Soviet catch was reported at 2,820, whereas the true number is now believed to be over 48,000.[39]

As of 2004, hunting of humpback whales was restricted to a few animals each year off the Caribbean island Bequia in the nation of St. Vincent and the Grenadines.[31] The take is not believed to threaten the local population. Japan had planned to kill 50 humpbacks in the 2007/08 season under its JARPA II research program, starting in November 2007. The announcement sparked global protests.[40] After a visit to Tokyo by the chairman of the IWC, asking the Japanese for their co-operation in sorting out the differences between pro- and antiwhaling nations on the Commission, the Japanese whaling fleet agreed no humpback whales would be caught for the two years it would take for the IWC to reach a formal agreement.[41]

In 2010, the International Whaling Commission authorized Greenland's native population to hunt a few humpback whales for the next three years.[42]

Conservation

The worldwide population is at least 80,000 humpback whales, with 18,000-20,000 in the North Pacific,[43] about 12,000 in the North Atlantic,[44] and over 50,000 in the Southern Hemisphere,[45] down from a prewhaling population of 125,000.[8]

This species is considered "least concern" from a conservation standpoint, as of 2008. This is an improvement from vulnerable in 1996 and endangered as recently as 1988. Most monitored stocks of humpback whales have rebounded well since the end of commercial whaling,[2][46] such as the North Atlantic, where stocks are now believed to be approaching levels similar to those before hunting began. However, the species is considered endangered in some countries, including the United States.[47][48] The United States initiated a status review of the species on August 12, 2009, and is seeking public comment on potential changes to the species listing under the Endangered Species Act.[49] Areas where population data are limited and the species may be at higher risk include the Arabian Sea, the western North Pacific Ocean, the west coast of Africa and parts of Oceania.[2]

Today, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution.[2] Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.[50]

Once hunted to the brink of extinction, the humpback has made a dramatic comeback in the North Pacific. A 2008 study estimated the humpback population, which hit a low of 1,500 whales before hunting was banned worldwide, has made a comeback to a population of between 18,000 and 20,000.[51] Saxitoxin, a paralytic shellfish poisoning from contaminated mackerel has been implicated in humpback whale deaths.[52]

The United Kingdom, among other countries, designated the humpback as a priority species under the national Biodiversity Action Plan. The sanctuary provided by US National Parks, such as Glacier Bay National Park and Preserve and Cape Hatteras National Seashore, among others, have also become major factors in sustaining populations.[53]

Although much was learned about humpbacks from whaling, migratory patterns and social interactions were not well understood until two studies by R. Chittleborough and W. H. Dawbin in the 1960s.[54] Roger Payne and Scott McVay made further studies of the species in 1971.[55] Their analysis of whale songs led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the antiwhaling advocates.

In August 2008, the IUCN changed humpback's status from Vulnerable to Least Concern, although two subpopulations remain endangered.[56] The United States is considering listing separate humpback populations, so smaller groups, such as North Pacific humpbacks, which are estimated to number 18,000-20,000 animals, might be delisted. This is made difficult by humpback's extraordinary migrations, which can extend the 5,157 miles (8,299 km) from Antarctica to Costa Rica.[20]

Whale-watching

Humpback whales are generally curious about objects in their environments. Some individuals, referred to as "friendlies", approach whale-watching boats closely, often staying under or near the boat for many minutes. Because humpbacks are often easily approachable, curious, easily identifiable as individuals, and display many behaviors, they have become the mainstay of whale-watching tourism in many locations around the world. Hawaii has used the concept of "ecotourism" to use the species without killing them. This whale-watching business brings in a revenue of $20 million per year for the state's economy

Representing a more modern version of the number 1 bus route is Daimler Fleetline 3780 KOX 780F. The bus is taking part in Wythall Transport Museum's celebration of 100 years of the Birmingham number one bus route. The bus is seen at Westbourne Crescent in Edgbaston.

Copyright Geoff Dowling; all rights reserved

Made with www.last.fm/user/C26000/journal/2006/07/30/195693/

I can see where I changed my playlist algorithm,

and started using a whitelisted-subset ('changerrecent'),

at which point playlist management really takes off.

This was around March, 2006.

Up to that point, it was a 9000 song shuffle ('changer'), so the

graph is all thin slivers. The first large slivers emerge after we

started doing ChangerRecent, a smaller subset (1000 vs 9000).

Then, certain bands taper off and stop -- because we started doing

ChangerRecentToLearnOnly. As songs were learned, they were

removed from the playlist. Catchier bands taper off sooner, thus

you can see, for example, King Missile tapering off by August of

2007 -- way before completely un-catchy Ratos De Parao, which

took until November of 2007.

Our first completed CRTL (ChangerRecentToLearn) was 1000

songs, and took ~6 months (May->November) to complete.

Notice Ratos De Paroa at the bottom. This was the VERY LAST

BAND in our ToLearn playlist -- the least catchy -- possibly the worst

music in the playlist. Thus, at the very end, this was all that remained

for a good week until we learned the final songs. Makes it look more

important than it is. (August-October 2007.)

New music was put in once R.D.P. was learned -- but we kept

the ToLearn playlist in the 0-150 song range -- never going up

to 1000 like the first time. That is, we keep up with the new music

nowadays, and never get 1000 behind.

Thus, on the right of the graph, you now see larger, consolidated

blocks of fewer bands. This represents the transformation in how

we listen to music.

After that, there were about 10 concerts in 5 months, so the

decision of what new music to add was based on which bands

we were about to see in concert -- Ozzy Osbourne, Chemlab,

Ween, Gwar, They Might Be Giants, Ministry, etc.

As you can see at the very right of the graph, Ministry is taking

over our playlists, as we prepare for the March Ministry concert.

Ministry now represents about 95% of music listened to in the

past 2 weeks.

Gerasa es el nombre de una antigua ciudad de la Decápolis. Sus ruinas representan una de las ciudades romanas más importantes y mejor conservadas del Próximo Oriente, y se ubican en la región de Gilead, al noroeste de Jordania.

Recientes excavaciones muestran que Jerash ya estaba habitada durante la Edad del Bronce y la Edad del Hierro (3200 a. C. - 1200 a. C.). Después de la conquista romana, en el año 63 a. C., Jerash y sus contornos fueron anexionados a la provincia romana de Siria, y más tarde se integró en la Decápolis. En 90 d. C. se incorporó a la provincia de Arabia, que incluía la ciudad de Filadelfia (actual Ammán). Los romanos garantizaron la paz y la seguridad en el área, lo que permitió a sus habitantes dedicar su tiempo y sus energías al desarrollo económico y a la construcción. En la segunda mitad del siglo I, la ciudad de Jerash alcanzó una gran prosperidad. En 106 el emperador Trajano construyó calzadas que atravesaban las provincias, lo que incrementó las actividades comerciales de la ciudad. Adriano visitó Jerash en los años 129-130. Una inscripción latina registra la dedicatoria religiosa hecha por miembros de la guardia imperial que invernaron allí. El arco de triunfo -o Arco de Adriano- fue erigido para solemnizar la visita.

La ciudad alcanzó un tamaño intramuros de 800.000 metros cuadrados. En el año 614, la invasión persa fue la causa del rápido declinar de Jerash. Sin embargo, la ciudad conoció un nuevo período de esplendor durante la época omeya, como han demostrado recientes excavaciones. En 746, un gran terremoto destruyó gran parte de Jerash y sus alrededores. Durante la época de las Cruzadas, algunos de sus monumentos fueron convertidos en fortalezas, entre ellos el Templo de Ártemis. Continuaron existiendo pequeños asentamientos en la ciudad durante las épocas de los ayyubíes, mamelucos y otomanos, y en 1878 se instalaron en su territorio circasianos procedentes de Asia Central. Desde la década de 1920, las excavaciones y restauraciones de la ciudad han sido casi continuas.

Los más destacados monumentos de la ciudad son: el Arco de Adriano, el circo / hipódromo, dos inmensos templos dedicados a Zeus y Ártemis, el Foro, de forma oval, y rodeado por una hermosa columnata; una larga avenida columnada, dos teatros (el gran Teatro del Sur y el más pequeño Teatro del Norte), dos baños, varios templos de menor importancia y unas murallas casi completas. La mayor parte de estos monumentos fueron construidos gracias a donaciones de los habitantes más ricos de la ciudad. Desde 350 hubo en la ciudad una importante comunidad cristiana y entre 400 y 600 se construyeron más de trece iglesias, muchas de ellas con ricos suelos de mosaico. La catedral fue construida en el siglo IV. Por la calidad y grado de conservación de sus restos arqueológicos, se ha llamado a Jerash la Pompeya asiática. Es la segunda principal atracción turística de Jordania, después de Petra.

IM SERIOUS.

An abstract photo, without representing anything identifiable, can communicate a feeling to the viewer. If I am being honest, I don't know if my abstract photos achieve that goal. Typically, my intent in making the photo is to memorialize and share something cool I found out in nature. Maybe it's a weakness in my work, that I don't start out intending to convey a larger message. Maybe it doesn't matter. Maybe in the digital age, communicating excitement about the natural world is the message itself. It's a big topic and I will leave it for another day.

Rather, today I want to talk about another aspect of abstract nature photography: the detective game. When I see an abstract photo, one of the first things that comes to mind is "what is it?" Is the subject really big, like braided rivers photographed from a plane? Or really tiny, like a marco image of lichen on a rock? Could it be upside down? I think we all do this. It's one of the fun parts of looking at an abstract photo and it can be really satisfying when you solve the puzzle.

It's like breaking a code. The difficulty for the photographer is making a puzzle that is solvable, but not so obvious that it isn't challenging. I remember listening to a podcast where a photographer described all images as falling on a spectrum between obvious and cryptic. After that, I looked at my own photos and placed them on that spectrum. I determined that I like photos that are cryptic, but ultimately decipherable with some effort. I'm not sure there's a golden rule of how long it should take, but if it takes you 5 or 10 seconds to figure it out, I think that's pretty good.

I made this photo here the day I hiked Black Mountain and Blueberry Mountain. I did them as two separate hikes, but the trailheads are so close together they pair very nicely. I call the combo a "Black and Blue". Maybe someone already came up with that. Everyone has walked past a scene like this. It's a photo of direct sunlight dancing on the surface of a little stream. It's a 1/30 second exposure, which allows the twinkling light on the surface enough time to travel and leave a trail. I dropped the black point and darkened the shadow to eliminate any distraction below the surface water. Not sure if it conveys a larger feeling, but I liked it and felt compelled to make an image.

--

I was definitely inspired by the work of T.J. Thorne and James Rodewald when I made this image; I wouldn't have even looked for a photo like this had I not seen their work. Also, the podcast I reference is an episode of the F-Stop Collaborate and Listen podcast with guest Michael Rubin.

This moc represents a scene from the romanian story ,,The bag with two coins" where a rooster finds a pouch with two cois and pass through many adventures to bring the bag to his master.

Earth Star 4701705

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Operator: Earth Star Transport Inc.

Fleet No.: 4701705

Type of Service: PUB - City Operation

Route: SM Fairview - Alabang via Lagro/Commonwealth

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ENGINE

Maker: Guanxi Yuchai Machinery Co, Ltd.

Model: YC6G270-30 (G5AQP)

CHASSIS

Maker: Xiamen King Long United Automotive Industry Co., Ltd.

Model: XMQ6100R

COACH

Coachbuilder: Golden Asia Automotive Builders, Inc.

Model: XMQ6101Y

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captured at Alabang Viaduct, Muntinlupa City

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NOTE: Errors may be evident with this description. Corrections will be done once verified.

photographer: gobmin Kem :)) model: hiphoper TBC :)) design by: Tomboy crz :))

The Lion of Saint Mark, representing the evangelist St Mark, pictured in the form of a winged lion is the symbol of the city of Venice and formerly of the Republic of Venice. It appears also in both merchant and military naval flags of the Italian Republic. The Lion of Saint Mark is also the symbol of the award of the Venice Film Festival, the "Golden Lion", and of the insurance company Assicurazioni Generali.

Other elements often included in depictions of the lion include a halo over his head, a book, and a sword in its paws.

Venetian tradition states that when St. Mark was traveling through Europe, he arrived at a lagoon in Venice, where an angel appeared to him and said "Pax tibi Marce, evangelista meus. Hic requiescet corpus tuum." (May Peace be with you, Mark, my evangelist. Here your body will rest.) This (possibly apocryphal) tradition was used as justification by Rustico da Torcello and Bon da Malamocco in 828 for stealing the remains of St. Mark from his grave in Alexandria, and moving them to Venice, where they were eventually interred in the Basilica of St. Mark.

St Mark, represented as a lion, is a typical Christian iconography derived from the prophetic visions contained in the verse of the Apocalypse of St John 4:7. The lion is one of the four living creatures described in the book as a place around the throne of the Almighty and they are chosen as symbols of the four evangelists. These "beings" were previously described by the prophet Ezekiel.

"Behold, I send my messenger ahead of you, he will prepare your way."

The voice of the one who cries in the wilderness: "Prepare Ye the way of the Lord, make straight his paths." (Gospel according to Mark 1:1–3)

The lion also symbolizes the power of the Evangelist's word, the wings symbolize the spiritual elevation, while the halo is the traditional Christian symbol of holiness.

However, the lion symbols express also the significance of majesty and power (drawn especially from the upward feline tail), while the book expresses the concepts of wisdom and peace and the halo gives an image of religious piety.

There are many symbolic interpretations with the possible combination of sword and book:

An open book is a symbol of the state's sovereignty (many depictions are of doges kneeling before such representation);

A closed book, however, is considered as a symbol of a delegated sovereignty, and hence the public courts;

An open book (and the sword on the ground is not visible) is popularly considered as a symbol of peace for the state of Venice, but this is not corroborated by any historical source;

A closed book and a drawn sword are popular but mistakenly considered as a symbol of the state in war;

Finally, an open book and a sword are considered as a symbol of public justice.

However, these interpretations are not universally accepted as the Republic of Venice (La Serenissima) never codified its symbols. Rare, but are presented, are also depictions of the lion without a book or a sword and sometimes without the halo (especially in a representation of a statue).

In some depictions the lion rests his front paws on the ground, often in cities with rivers or in ones close to water, indicating the Venetian balanced power on land and sea

The Venetian lion appears in two distinct forms. One is as a winged animal resting on water, to symbolise dominance over the seas, holding St. Mark’s Gospel under a front paw. You can see these mighty animals all round the Mediterranean, usually on top of a classical stone column.

The other form is known as the lion “in moleca”, in the form of a crab. Here the lion is depicted full-faced with its wings circled around the head resembling the claws of a crustacean. It is emerging from water, so that the lion “in moleca” is associated with the lagoon and the city, whereas the standing winged lion is thought to be more associated with Venetian territory around the Mediterranean.

Photographed at the Sacred Heart Catholic Church

Elmwood Wisconsin

* This post represents a major milestone for me, posting here on this outstanding flickr website for 7 years now. Thanks go out to all the very kind and complimentary flickr shooters and flickr viewers out there, who have been very generous with their time in reviewing my work over the years, now up to 1,000 images.

I appreciate each and every review and comment, from places far and wide around the world. It is a great pleasure to be able to share just a little bit of the boundless beauty that defines and enhances this planet. Let's all work extra hard to be grateful and gracious stewards of the land while it's in our hands, so that we might pass it on to others who will follow us.

Many thanks to the entire flickrsphere. I am very grateful for the opportunity to display my creative passion and my vision here on this most delightful site. Now, on to the next 1,000. And that next batch could take awhile. 📷

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I was on one of my daily hikes up the bench, on alternate days

going down the bench, when I spotted this scene that called out for recording.

Those are the Sapphire Mountains in the distance, a line of ponderosa pines and some valley ranch-land in the middle,

and the three lovely wildflowers that I am currently at work to learn the name of nestled there in the grass. (The white wildflowers are yarrow. Thanks E.J.)

Folks generally like the names of things and, certainly, there is

nothing wrong with that. Myself, almost continually with a camera in my hand, generally concern myself with the look of things. Then sometimes ask for the names as an afterthought.

And I am always grateful for the help.

For the record, this lovely landscape is in the northern section of the Bitterroot Valley of west-central Montana, USA, where I am most happy to live, moving out from the eastern US three plus years ago. Way too many folks back where I came from. Just the right amount out here. Sparingly populated..

Nîmes (Gard) - Musée des Beaux-Arts - Mosaïque romaine.

.

Cette mosaïque romaine datant de la seconde moitié du IIe siècle est certainement la plus grande et la plus belle parmi celles trouvées à Nîmes. Elle a été découverte lors de la construction des halles de la ville en 1883 dans un état de conservation remarquable car elle était enfouie à 1,80 m sous terre. Ses dimensions sont exceptionnelles : 8,80 m de long sur 5,94 m de large..

.

Le panneau central représente une scène de la mythologie grecque où Admète, roi des Phères, demande à Pélias, roi d'Iolcos, la main de sa fille Alceste..

Pour la suite des explications voir :.

fr.wikipedia.org/wiki/Mus%C3%A9e_des_beaux-arts_de_N%C3%A...

Right and left of the house are the two old wells by Josef Gasser. They represent opposing worlds. On your left, it depens on your position: "music, dance, joy, levity", right: "Loreley, sadness, love, revenge". This one stands for music...

History of the Vienna State Opera

132 years house on the Ring

(you can see pictures by clicking on the link at the end of page!)

State Opera (K.K. Court Opera) 1901

About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.

The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of ​​the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .

State Opera (K.K. Court Opera) 1903

The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.

1869 - 1955

On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.

However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.

In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.

Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.

Technique: Lithography

from www.aeiou.at

In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.

staatsoper_81.jpg (28138 bytes)

The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.

The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.

But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.

staatsoper_84.jpg (14707 bytes)

Visitors flock to the opera. Reopening on 5th November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.

staatsoper_83.jpg (33866 bytes)

State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak

1955 to 1992

The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:

staatsoper_82.jpg (13379 bytes)

Performance for the reopening of the Vienna State Opera on 5 November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.

It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.

The era Ioan Holender (1992 to 2010)

After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.

His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.

State Opera - © Oliver Thomann - FOTOLIA

Image : Vienna State Opera

In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).

Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).

At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.

more...

Directors since 1869

Franz von Dingelstedt 07/01/1867 - 18/12/1870

Opening 5/25/1869

Johann von Herbeck 12/19/1870 - 30/04/1875

Franz von Jauner 01/05/1875 - 18/06/1880

Director College:

Karl Mayerhofer, Gustav Walter and

Emil Scaria 19.06.1880 - 31.12.1880

Wilhelm Jahn 01.01.1881 - 10.14.1897

Gustav Mahler 10/15/1897 - 31/12/1907

Felix Weingartner 01.01.1908 - 28.02.1911

Hans Gregor 01.03.1911 - 14.11.1918

Franz Schalk 15.11.1918 - 08.15.1919

Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924

Franz Schalk 1/11/1924 - 8/31/1929

Clemens Krauss 01/09/1929 - 15/12/1934

Felix Weingartner, 01.01.1935 - 08.31.1936

Erwin Kerber 09/01/1936 - 08/31/1940

Henry K. Strohm 09.01.1940 - 19.04.1941

Walter Thomas 02.01.1941 - 19.04.1941

Ernst August Schneider 04/20/1941 - 02/28/1943

Karl Böhm 03.01.1943 - 30.04.1945

Alfred Jerger,

State Opera in the Volksoper 01.05.1945 - 14.06.1945

Franz Salmhofer,

State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955

Karl Böhm 01.09.1954 - 31.08.1956

Herbert von Karajan 01.09.1956 - 31.03.1962

Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963

Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964

Egon Hilbert 01.09.1964 - 18.01.1968

Heinrich Reif- Gintl 19.01.1968 - 31.08.1972

Rudolf Gamsjager 01.09.1972 - 31.08.1976

Egon Seefehlner 01.09.1976 - 31.08.1982

Lorin Maazel 01.09.1982 - 31.08.1984

Egon Seefehlner 01.09.1984 - 31.08.1986

Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991

Eberhard Waechter 01.09.1991 - 29.03.1992

Ioan Holender 01.04.1992 - 31.08.2010

Dominique Meyer since 01/09/2010

Opera world premieres

Abbreviations:

Od = the Odeon

Ron = Ronacher

TW = the Theater an der Wien

1875 10:03. Goldmark The Queen of Sheba

1877 04:10. Brüller Der Landfriede

1880 26.05. Riedel The Accolade

15.12. Brüller Bianca

1883 04.01. Leschetitzky The first fold

21.02. Bachrich Muzzedin

1884 26.03. Bachrich Heini of Styria

1886 30.03. Hellmesberger jun. Fata Morgana

4:10 . Hager Marffa

19.11. Goldmark Merlin

1887 03:04. Harold pepper

1889 27.03. Fox The Bride King

4:10. Smareglia The vassal of Szigeth

1891 19:02. Mader Refugees

1892 01.01. J. Strauss Ritter Pasman

16.02. Massenet Werther

19.11. Bulk Signor Formica

1894 20.01. Heuberger Miriam

1896 21.03. Goldmark The Cricket on the Hearth

1899 17:01. The Goldmark prisoners of war

1900 22:01. Zemlinsky It was once

1902 28.02. Forster The dot mon

1904 18:02. Wolf The Corregidor

1908 02.01. Goldmark The Winter's Tale

1910 12:04. The musician Bittner

18.05. Goldmark Götz von Berlichingen

1911 09:11. Bittner The mountain lake

1912 16.03. Oberleithner Aphrodite

1913 15.03. Schreker The game works and the Princess

1914 01.04. Schmidt Notre Dame

1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)

1917 23.11. Zaiszek-Blankenau Ferdinand and Luise

1919 10.10. R. Strauss Die Frau ohne Schatten

1920 13.05. Weingartner Champion Andrea/The Village School

1921 09.04. The Bittner Kohlhaymerin

1924 20.09. Beethoven/R. Strauss The Ruins of Athens

1925 24.02. Kienzl Sanctissimum

27.03. Frank The image of the Madonna

1931 20.06. Wellesz The Bacchae

1932 10:11. Heger The beggar Nameless

1934 20.01. Lehár Giuditta

08.12. Bittner The violet

1935 26.12. Salmhofer lady in dream

1937 06.02. Wenzl - Traun rock the atonement

17.04. Frank The strange woman

18.11. Weinberger Wallenstein

1938 09.03. Salmhofer Ivan Tarasenko

1939 02:02. Will King ballad

1941 04:04. Wagner Régeny Johanna Balk

1956 17.06. Martin The Storm

1971 23.05. The visit of an old lady

1976 17.12. A Love and Intrigue

1989 25.11. The blind Furrer (OD)

1990 06:12. Krenek last dance at St. Stephen's (Ron)

1995 20.05. Hölszky The walls (TW)

26.05. Schnittke Gesualdo

2002 15.06. Cerha Der Riese vom Steinfeld

2007 15:04 Naske The Omama in the apple tree

2010 28.02. Reimann Medea

2010 10:05. Eröd dots and Anton

www.wien-vienna.at/index.php?ID=484

Hoy domingo 5 de Abril, dos representantes de Valladolid, Sowhat (www.flickr.com/photos/sowhat0/) y Elena, se han desplazado a la provincia palentina para visitar el mirador de Autilla del Pino; antes de llegar llevaron a cabo la parada de rigor de todo aquel que el domingo necesita beber mucho agua. Se encontraron con ésto.