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#HANOPRO BẮC NINH là công ty chuyên sản xuất và kinh doanh các loại Băng dính, Bao bì nhựa, Túi PE, PP, HDPE, Pallet, Thùng carton, Hạt chống ẩm.
#Website_băng_dính Hanopro Bắc Ninh có thể cho phép khách hàng tự tối ưu hóa các thẻ SEO cho toàn bộ website, cho từng trang hay cho từng sản phẩm hoặc từng mục tin trên website của mình.
Một số tính năng cơ bản #Website_bán_hàng:
- Giao diện tùy biến chuyên nghiệp (Thiết kế Web Responsive) hiển thị tốt trên mọi thiết bị: Máy tính; Máy tính bảng; Điện thoại di động.
- Hiệu ứng đẹp mắt, nhẹ và hiện đại
- Cho phép đăng bài Giới thiệu - Sản phẩm - Nhà máy Hanopro - Chính sách bán hàng - Thư viện - Tin tức - Liên hệ.
- Ngôn ngữ Tiếng Việt và tiếng Anh (Có thể mở rộng thêm các ngôn ngữ khác).
- Tích hợp Album ảnh, Video Clips và Trang tài liệu. (Có thể mở rộng thêm tính năng khác)
- Module quản lý và đăng các sản phẩm.
- Modul đặc tính sản phẩm giúp làm nổi bật các Hightlight của sản phẩm.
- Chèn Video và tài liệu vào web bán hàng trong từng sản phẩm chỉ bằng 1 thao tác đơn giản.
- Tính năng Zoom, lật ảnh.
- MIỄN PHÍ Tích hợp công cụ chat trực tuyến Facebook / Zalo.
- Hỗ trợ đổi màu chủ đạo miễn phí
- Hỗ trợ tối đa cho việc chăm sóc khách hàng.
- Thiết kế #web_chuẩn_SEO, đầy đủ các công cụ hỗ trợ SEO.
+ URL Thân thiện
+ Thẻ meta chung cho website
+ Thẻ meta cho từng sản phẩm, tin tức
+ Thẻ tags cho từng sản phẩm, tin tức
- Hệ thống quản trị đẹp mắt, thân thiện và dễ sử dụng.
+ CMS quản trị sản phẩm
+ Sửa nhanh/ Tạm ẩn/ Xóa/ Khôi phục sản phẩm
+ Công cụ quản lý đơn hàng
+ Công cụ quản lý khách hàng
+ Tùy chọn cho sản phẩm
+ Thuộc tính cho sản phẩm
+ Báo cáo / nhật ký hoạt động
- Thiết kế web Bắc Việt hỗ trợ nhập 100 bài viết sản phẩm/ Tin tức.
- Hỗ trợ design Banner/ Logo...
- Cung cấp tài liệu hướng dẫn kèm hình ảnh chi tiết.
- Hỗ trợ kỹ thuật trọn đời qua Zalo, Facebook, Máy tính - TeamView...
Hotline & Zalo: 0985299707
thietkephanmem.com/mau-giao-dien-website-bang-dinh-gia-to...
Bluebeam Revu is designed for large and responsive touch displays. Our line of 43″, 49″, 55″, and 65″ displays and touch tables with 3M™ touch technology are the most responsive touch screens available and can support up to 80 simultaneous touch points. Check out Ideum’s Presenter video or read our white paper to see just how responsive our latest generation of displays are. The photo below shows Bluebeam Revu on our adjustable Console Touch Desk. Visit our website to find more about our multitouch tables and touch walls. (Please note: Bluebeam software is sold separately.) Check out Bluebeam Revu on their website to learn more.
Web usage on mobile phones and tablets is on phenomenal rise. But how to go about making a responsive website design or RWD? Before you start worrying, let’s guide you through designing a responsive website.
Meravigliosa Natura!
Privilèges de Montagne...
Inn AMÒR ati della NATURA anche tu!
Il mio tempo in Montagna!
Preoccupiamoci della Natura il nostro futuro dipende da essa!
www.facebook.com/WashiInPuntadiPiedi
La Vallée d'Aoste à ma guise - La Valle d'Aosta a modo mio - Aosta Valley in my own way
Vivre en Montagne, au quotidien, pour satisfaire la Curiosité de la Photographie de la Nature...
Valle d'Aosta - Vallée d'Aoste
(Une Montagne d'émotions...)
Clickalps Photography - Troise Carmine - Washi
I miei Video amatoriali su:
www.youtube.com/user/Washi59/videos
Canon EOS 7D Mark ll / CANON EF 100/400 mm Serie II USM
www.linkedin.com/in/troisecarminewashi?trk=nav_responsive...
Phlip Beesley Workshop October 2015 with CITAstudio
The installation DISSIPATIVE ARCHITECTURES explores the idea of a dynamic responsive architecture. The installation has been constructed during our recent CITAstudio workshop with Philip Beesley.
The opening of the linked exhibition is on Friday 4th at 15.00h in the KADK library: Danneskiold-Samsøes Allé 50 DK 1434 København K.
As seen on the Apple Developer forums. If a title is too long to be displayed, an ellipsis is added, and the overflow is set to hidden. If all the data is displayed, the ellipsis disappears. Very clever.
Benjamin Frazier Cunningham (AMERICAN, 1904-1975)
Torsion 3
Oil on panel
32 in x 24 in
1955
Benjamin Frazier Cunningham is another artist that never received the recognition he deserved. He was included in the 1964, Responsive Eye show at the MOMA, and his work Equivocation is one of the most recognized pieces from the show.
Selected Exhibitions
“The Responsive Eye,” Museum of Modern Art, New York, New York, 1964
Artist Biography
Master of color theory, Ben Cunningham used an intricate structure to formulate his passionate response to visual stimuli. His work combined logic with imagination to add new dimensions to our experience of social confrontation and protest, he reaffirmed the underlying principles of perception that unite humanity. As the critic Lawrence Campbell has observed, he was "in the tradition of the masters of pictorial illusion who sought answers in science to the problems they set for themselves in art and who produced results as irreversible as the invention of photograph and the vacuum tube."
Excerpt from Ben Cunningham, A Life with Color by Cindy Nemser
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Got the new iPhone Friday, and have been slowly getting to play with it. Coming from the iPhone 4, the increase in responsiveness is by far the best improvement. Of course the larger screen, lighter, thinner body are nice improvements too, but its speediness is awesome. And the download speeds on the LTE network rival that of DSL/wifi.
And since they're getting so much grief about their maps, I feel I should defend them a bit: I really LIKE the new maps better. Granted, there are a couple areas where Google maps were better (better zoom detail, ability to access bookmarks from direction fields, and especially the street view ability), but otherwise Apple maps are better imo. Here are a few examples: 1. the turn-by-turn navigation GUI is AWESOME - it's beautifully displays the road ahead far better than Google ever did. 2. and this is big - Apple maps support/rotate for landscape view (why Google's never let you do that when every other app would was beyond me) and 3. when using GPS and viewing your location in a moving car, the map will scroll while the locator stays centered (on Google the locator would run off the map forcing you to scroll to keep up with it. Oh, and 4. I personally prefer the aesthetics of the maps better (but that one's just my opinion). Thought I'd share since there's been so much negative in the media about their maps.
Aside from the maps, the camera is supposed to be even improved from the 4S, which I know takes great pictures (I've playing around some with the new panoramic mode and it's really cool). So I thought a close-up of the front element of the iPhone's camera would make a nice subject to demo the macro capabilities of the Sony RX100.
Hand-held at 1/60sec. ISO 125
website · · · · | · · · · getty · · · · | · · · · vimeo · · · · | · · · · Instagram
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In March 1941 Saab was given the task to design a better fighter than the Seversky Republic P-35s and Reggiane 2000s, at that time the only fighter aircraft Sweden was able or allowed to buy and the air force’s most modern fighters. Several other foreign designs, including the German Bf 109 or even the Japanese Mitsubishi Zero had also been considered.
Anyway, during the ongoing war the procurement of foreign equipment had no predictable future, and so a program for an indigenous fighter aircraft was launched the same year. This resulted in two different designs, which were both initially constructed around an imported German DB 603 engine – a deal which had become possible through the allowance of German transport flights to Norway over Swedish territory, a reason why no Allied equipment was sold to Sweden.
The resulting designs, the L-21 and L-23, differed considerably from each other. The Saab L-21 was a futuristic twin-boom pusher. This unconventional layout was a technological risk, with ejection seat and all, but it was expected to exploit the DB603 engine to the max, with a low-drag airframe (e .g. with a totally buried radiator installation inside of the inner wings) and a well-balanced center of gravity, which was expected to improve handling and turn radius. It was the favored design of Saab’s engineers.
As a fall-back option, though, the L-23 was added. It was a more conservative design with the same DB 603 engine, but with the engine in the classic nose position, a tunnel radiator under the rear fuselage, low tapered wings and a conventional tail. The overall outline resembled the P-51B/C Mustang. Most interestingly, the J 23 was to have a Bofors ejection seat, too, despite its conventional layout.
In December 1941 both designs were approved for prototypes, so that a direct comparison of both layouts could be made. The first of three J 21 prototypes flew on 30 July 1943, while the first three J 23 fighters followed on 10 August, just two weeks later.
Flight tests and evaluation continued until mid-1944 and, despite less weight and size, the J 23 turned out to be fast (Max. speed 626 km/h (388 mph) with the DB 603), but considerably less maneuverable than the J 21, which in itself was also not a perfect aircraft and frequently faced overheating problems.
Faced with two mediocre designs and an urgent need for a modern fighter, it was eventually decided to go ahead with the J 21 for serial production, but a pre-production batch of upgraded J 23 was also ordered for field tests and further development. In the meantime, Sweden had acquired rights to produce the DB 605 in license, and the new fighter was to be adapted to this more modern and powerful engine – it was hoped that the new engine would improve the J 23’s performance, and it was also fitted to the production J 21.
This re-engined variant was the J 23A, of which twelve aircraft were constructed at the main plant in Trollhättan and delivered from August 1945, too late to be involved in typical interception duties at the Swedish borders.
Deliveries of the favored J 21 started in December of the same year. The latter’s field performance turned out to be unsuited for the interceptor role, and the cooling problems persisted. Relegated mainly into the bomber and CAS role (the J 21 turned out to be a passable ground attack aircraft and a stable gun platform), the limitation of the J 21’s pusher design led to a revival of the front-engine J 23.
The resulting J 23B became the aircraft’s actual production variant, incorporating many improvements which had been developed and tested on the prototypes and the pre-production J 23As. These included aerodynamic modifications like a different airfoil on the outer wings and a lowered horizontal stabilizer, coupled with an extended rear fuselage for better directional stability and a slimmed-down radiator fairing for less drag. These machines were delivered from late 1946 on, and a total of forty-six J 23B airframes were produced until early 1948.
In service, the lighter J 23Bs proved to be a better interceptor than the J 21, with a higher top speed and rate of climb, but its handling was less responsive than the pusher aircraft with the same engine and armament.
Overall the J 23B was regarded as inferior to the very similar J 26 (the P-51D) in almost any respect, and the J 23B was never really popular with its flight or ground crews. Consequently, the J 23Bs active fighter career was short and the machines were only operated by the F 16 fighter wing and the F 20 Air Force Academy, both based at Uppsala Airfield, primarily used for advanced weapon and air combat training.
A new evaluation of the J 21 and the J 23 in 1947 led to the decision to retain the J 21 series but to consider the modification of the airframe to accommodate a jet engine. While production line J 21A series aircraft were first selected for conversion, the initial piston-engine version continued in production in five series "batches" that were completed in 1948–49.
Further J 23B production was not resumed, instead the J 26 and J 27 were procured. Anyway, the age of the piston-engine fighter came soon to a close and the Swedish Air Force entered the jet age. Consequently, the J 23B was already phased out, together with the J 21, after 1954.
General characteristics:
Crew: one
Length: 9.58 m (31 ft 4 in)
Wingspan: 11.3 m (37 ft 8 in)
Height: 3.96 (13 ft 0 in)
Wing area: 20.00 m² (215.28 ft²)
Empty weight: 2,535 kg (5,583 lb)
Loaded weight: 3,445 kg (7,588 lb)
Max. take-off weight: 3,663 kg (8,068 lb)
Powerplant:
1× Daimler-Benz liquid-cooled, supercharged, 60° inverted V12 DB 605B engine,
rated at 1,085 kW (1,455 hp / 1,475 PS) and license-built by SFA.
Performance:
Maximum speed: 680 km/h (367 knots, 422 mph)
Cruise speed: 495 km/h (265 knots, 308 mph)
Range: 750 km (466 mi)
Service ceiling: 11,200 m (36,685 ft)
Rate of climb: 17 m/s (3,340 ft/min)
Armament:
1× engine-mounted 20 mm Hispano-Suiza HS.404 or Bofors cannon,
firing through the propeller hub
4× 13 mm Bofors-built Colt machine guns in the outer wings nose
Underwing hardpoints for various bombs, drop tanks and unguided rockets
The kit and its assembly:
The “Swedish Season” continues! The Saab 23 is another “phantom of the past”, a real world design that never left the drawing board. The J 23 actually started as an alternative to the J 21, but was discarded in late 1941 in favor of the more promising, yet bigger and heavier, pusher design. But that would not stop modelers from trying to build one, even though I have never seen a model of this aircraft? Having recently tried to build a Saab 27 fighter caught me in the right mood for another whiffy Swedish design, so I took a chance on the J 23, too.
At first glance you can mistake the J 23 for a P-51B with an engine from a late Bf 109, some sources describe it as “a Swedish Messerschmitt”. But that’s only superficial, much like the later Griffon-powered J 27 project which can be described as a “Super Spitfire”, but this does not do justice to the aircraft’s construction.
Both were independent developments, even though the P-51 (some early specimen were forced to land in Sweden and closely examined) certainly had a massive impact on both designs.
Anyway, the information basis surrounding the J 23 is worse than the J 27’s, and I only had rather vague profile drawings/sketches at hand for reference. A basis model was also hard to find: the rear section from a P-51B (in this case an Intech kit from Poland) was settled, since the Mustang’s cockpit shape, dorsal section and fin come really close to the J 23. But you cannot simply mate a P-51 with a Bf 109 nose, it would result in a rather wacky Mustang-thing because the proportions are not right.
Finding a good solution was not easy, and I was lucky to find a Hasegawa Ki-61 in the stash – it has a German engine (an earlier DB 601, though) and an overall layout similar to the P-51B. But the Ki-61 is considerably larger than a Bf 109, more in the P-51’s size class. Despite many detail modifications I decided to mate these unlikely aircraft for the J 23s basis – engraved panel lines on both kits made the combination less obvious, too.
The InTech P-51B gave its tail and the cockpit section (excluding the radiator tunnel and the wing roots), cut away from the rest of the Mustang fuselage with a Z-shaped cut. With a matching cut on the Ki-61’s fuselage, the engine and the whole wing/fuselage intersection were used. Styrene strips held the fuselage sections in place, on the outside the seams were later blended with nitrous compound putty. One benefit of this solution is that the OOB P-51 canopy could be used (even though the rear end fit necessitated some body work), and the resulting cockpit position was just as far forward as on the J 23, right above the wings. As a consequence the rear fuselage behind the cockpit appears to be rather long, but that is AFAIK correct, the J 23 had these slightly odd proportions!
For the J 23’s DB 605 engine a different, bigger spinner had to be mounted – scratched from a massive PZL 23 spinner and single blades (from the Hasegawa Ki-61), together with a metal axis and a styrene tube adapter inside of the nose. Some putty work was necessary to fair over the Ki-61 guns on the cowling, the typical DB 601 front bulge and blend the bigger, new spinner to the rest of the fuselage, but the result looks O.K.
The Ki-61’s original wings and landing gear could, thanks to the original fuselage section from the Hasegawa kit, be carried over and easily mounted, even though the wing tips were clipped for a square, Mustang-esque shape (the J 23’s look in all illustrations I’ve seen like upscaled Bf 109E wings).
The InTech P-51’s horizontal stabilizers were used, but for a J 23 they had to be placed in a different position: further back (so that wedges for the vertical rudder had to be cut out) and considerably lower, necessitating some (more) body work to hide the original attachment points. The new position adds to the impression of an extended fuselage section behind the cockpit, even though the P-51 donor fuselage section is only a little longer than the Ki-61’s. All tail surface outlines were slightly modified, too.
The J 23’s typical, shallow radiator tunnel had to be scratched, the semi-buried construction sits far behind the wings’ training edge. In an initial step, the removed Ki-61 radiator’s gap as well as the P-51 tail wheel well were faired over with styrene sheet and new intake/outlet ramps integrated into the lower rear fuselage. The tunnel itself is the narrow, aerodynamic fairing of a Boulton Paul Defiant’s machine guns behind the turret (raised when not in use), left over from a Pavla kit, opened at both ends.
As a consequence of the new and long radiator tunnel, the P-51 tail wheel well was moved about 5mm further back and the fuselage profile under the tail fin re-shaped.
One of the final steps was the cockpit interior, because I was not sure concerning the relative position of the P-51’s canopy (cut into three pieces for open display) and dashboard and the Ki-61’s cockpit floor panel and seat. But both turned out to match relatively well, and I added a tank and radio dummy behind the seat in order to prevent a clear view into the rear fuselage.
The landing gear was taken OOB from the Ki-61 – it looks similar to the real J 23 arrangement, so I stuck with it. The tail wheel comes from the InTech P-51, just the covers were scratched for the re-located well.
All gun barrels on spinner and wings are hollow steel needles, no ordnance was hung under the wings, even though the Ki-61 hardpoints were retained. After all, it’s a fighter aircraft.
Painting and markings:
Once more a classic, if not conservative, livery for a fictional aircraft – and in this case I chose the simple olivgrön/ljust blågrå camouflage of the late Fourties, coupled with contemporary color-coded letters identifying the individual aircraft and its squadron within the Flygflöttilj group.
The uniform upper surfaces were painted with RAF Dark Green (Humbrol 163). This tone has an olive drab touch and comes IMHO pretty close to the original Swedish color, the frequently recommended FS 34079 is IMHO too blue-ish. For the underside I used Humbrol 87 (Steel Gray), which is a blue-greenish gray. The authentic tone would be FS 36270, but on a model it appears much too dark, so that the lighter Steel Gray is a handy and individual alternative.
A light black ink was applied in order to emphasize the panel lines, some more depth was added through dry-painted panels with lighter shades of the basic colors (in this case, Humbrol 155 and 128).
The cockpit interior was painted in dark gray (Humbrol 32), while the landing gear and the wells became Aluminum (Humbrol 56).
As an aircraft of the air staff flight, this J 23 received a white spinner and a white code letter on the tail. These and other markings came from various sources and spare decal sheets. Some extra color was added with red warning markings on the wings above the flaps, plus some visual markings - all made with generic decal stripes. The cock nose art is a personal addition - taken from a Spanish Bf 109D, but AFAIK such personal markings were not uncommon on Swedish Air Force aircraft in the post WWII era.
An eye-catcher and some variety on the otherwise simple green/gray livery are white high-viz markings on the wing tips and a wide fuselage band. Such additional markings were frequently used in the post WWII-era during exercises, training or public displays. Styles varied considerably, though, between “color blocks” and wide single bands which I used (seen on a J 21) and even dense, thin zebra stripes on wings and fuselage. In this case, the white markings were painted onto wings and fuselage (Humbrol 34).
Since most panel lines on the fuselage were lost I painted some new ones with a soft pencil. Finally, after some gun soot and exhaust stains made with grinded graphite as well as some dry-brushed silver on the wings’ leading edges and around the cockpit were added, the kit received a coating with matt acrylic varnish.
Another scratch build of an obscure Swedish aircraft that never reached the hardware stage – and pretty successful, IMHO. This sleek J 23 model looks just as harmless and innocent, but involved massive construction work in almost every area as the kitbashed J 27 before. It’s actually the first model rendition of the J 23 I have seen so far – and another funny fact is that this “Swedish Messerschmitt” was built without any Bf 109 part at all!
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Scaled Composites ARES - Model 151 - sn 90001 - N151SC
----------------------------
AGILE RESPONSIVE EFFECTIVE SUPPORTS (ARES)
The ARES, Scaled Model 151, was designed initially in response to a U.S. Army request for a Low Cost Battlefield Attack Aircraft (LCBAA). A design study was performed by Rutan Aircraft Factory in 1981 for such an aircraft. Its mission goals were low-altitude, close air support, with long endurance, and with adequate field performance to operate from roads.
Scaled followed up with the concept, and ultimately decided to build a demonstrator aircraft with internal funds. The ARES first flew on February 19, 1990. ARES has flown more than 250 hours, and demonstrated all of its design performance and handling qualities goals, including departure-free handling at full aft stick. During November of 1991, tests of the GAU-12/U gun system installed in ARES were performed, with outstanding results.
Movie buffs may also remember the ARES in its role as the secret ME-263 jet in the screen classic Iron Eagle III.
----------------------------
More info:
www.ares.info/turbofan-killer-bee-rutan-ares-mudfighter-f...
Phlip Beesley Workshop October 2015 with CITAstudio
The installation DISSIPATIVE ARCHITECTURES explores the idea of a dynamic responsive architecture. The installation has been constructed during our recent CITAstudio workshop with Philip Beesley.
The opening of the linked exhibition is on Friday 4th at 15.00h in the KADK library: Danneskiold-Samsøes Allé 50 DK 1434 København K.
Sharmeen Obaid-Chinoy, Documentary Film-maker, SOC Films, Pakistan speaking during the session: Responsive and Responsible Leadership in 2017 at the Annual Meeting 2017 of the World Economic Forum in Davos, January 20, 2017
Copyright by World Economic Forum / Greg Beadle
In a very sleek and contemporary design, this tie company knows the importance of having a responsive website design for e-commerce.
Participants during the Responsive and Responsible Leadership Session at the World Economic Forum, Annual Meeting of the Global Future Councils 2016. Copyright by World Economic Forum / Benedikt von Loebell
Sadaf Hosseini, Head of Growth, Partnerships and IMM, UpLink, World Economic Forum, Jan Gould, Founder, Responsive Drip Irrigation, USA,
Samet Serdar Yildirim, Founder and Chief Operating Officer, Orbillion, USA speaking in the „Food Innovation in Drought“ session at the Annual Meeting of the New Champions 2023 in Tianjin, People's Republic of China, 28 June 2023. Tianjin Meijiang Convention Center "Innovators Hub" Room - Copyright: World Economic Forum/Jakob Polacsek
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Starring Steve Reeves, Sylva Koscina, Sylvia Lopez, Gabriele Antonini, Primo Carnera, Patrizia Della Rovere, Sergio Fantoni, Carlo D'Angelo, and Marisa Valenti. Directed by Pietro Francisci.
Hercules (Steve Reeves) made the main character, the film slowly builds to the epic journey to find the Golden Fleece. As the film begins we see Hercules save Princess Iole (Sylva Koscina), the daughter of the current king of Jalco, from going over a cliff in her runaway chariot. He was en route to Jalco at King Pelias' (Ivo Garrani) request to train both his army and his obnoxious son Iphitus (Mimmo Palmara) in the ways of war. The princess informs Hercules about the details of the current state of political upheaval in Jalco. After the previous king was killed under questionable circumstances, Jason, the rightful heir to the throne of Jalco, was forced into hiding so that the king's brother Pelias could usurp control of the city for himself. Gone missing along with Jason is the fabled Golden Fleece, symbol of prosperity and success for the country. In recent years the waning fortunes of Jalco have made times difficult. There is a growing percentage of the population that believes a possible reason for this bad turn of luck is that King Pelias murdered his brother and the missing Fleece adds to the increasing unrest. Making the king more nervous is a prophecy from the oracle Sybil (Lidia Alfonsi). She foretells that a man will come to Jalco wearing only one sandal, and that this man will bring doom to Pelias.
Curious as to who really killed the previous king, Hercules nevertheless sets about teaching the enthusiastic men of Jalco the skills they'll need to be fighting men. They are very responsive to his tutelage except for Iphitus, who proves himself to be a pompous, spoiled ass. Unable to best young Ulysses in an archery contest, he challenges Hercules to a test of skill and runs off when he loses. Hercules should've smacked the boy around to teach him manners and courtesy but his growing affection for his sister Iole tempers his actions.
At this point the film seeks to include one of the legendary Twelve Labors of Hercules into the story. The Nemedian Lion is reported to be attacking people in an outlying area so Hercules rushes off to stop it. But the vain Iphitus follows and, although Herc kills the beast, the king's son and heir is fatally wounded by it. Pelias is crushed by this and even though he fears Hercules he is pushed by a plotting subordinate (Arturo Dominici, Black Sunday) to punish the demigod in some way as revenge. The king banishes him from Jalco until he fights the Cretan Bull — another of the Twelve Labors. When Herc turns to Iole for sympathy, the weeping girl rejects him.
A confused Hercules leaves the city and goes to visit the Sybil for answers. Expressing his frustration at his inability to strongly feel the higher emotions of love or hate, he seeks a way to become more like the people he lives amongst. Cursing his birthright, he renounces his immortality and sets off with just the strength of a mortal man to fulfill his destiny. Of course, this makes offing that big bull pretty damned hard! And after a rough day kicking bull butt Herc stumbles across the now grown-to-manhood Jason (Fabrizio Mioni) just as Chiron, his last protector, dies. Chiron explains that Jason must reclaim the Golden Fleece and the throne of his murdered father to set things right. Hercules pledges to help the young man in his quest with both of them urged on by Chiron's revelation that the name of the person who killed Jason's father is written on the Fleece.
From here on the adventure kicks into high gear with fights, nefarious plotting and mythological monsters being the order of the day. The only slow spot in the second half of the story is the stretch on the isle of the Amazons but even with the lady's sadly modest costumes this is a diverting interlude. Having watched a fair number of peplum over the years I can see how this film really did set both the tone and structure for what followed. Very much a film of separate tales strung loosely together it still manages to keep its momentum (most of the time) and the script weaves just enough of the legend of Hercules in to make it feel like a larger than life myth. This is the film that made Steve Reeves a star and it's easy to see why. Filling the role of Hercules wonderfully, Reeves comes off as a fierce warrior comfortable with the weapons of war as well as a confused man striving to fit in with people he is naturally superior to. He looks great with a muscular build that makes him stand out without being overly large and bulky. He looks realistic and at the same time towers over all the other muscular men surrounding him. I began to wonder if at times he wasn't somehow being photographed in some special way to make him look so spectacular. This might not be too off the mark when you realize Mario Bava was responsible for the lighting and special effects in the film. Still a couple of years away from assuming the director's chair for his own Hercules movie (the fantastic Hercules in the Haunted World), Bava instills amazing mood and texture into nearly every scene. His trademark colored lighting is in evidence much of the time, with Herc's prophetic scene with Sybil being a great example of set design and skillful lighting creating a masterful piece of cinema. (This film was followed by a direct sequel, Hercules Unchained, in 1959.)
Hercules Unchained (Ercole e la Regina di Lidia, "Hercules and the Queen of Lydia") picks up right where the first film left off. Having completed his voyage with the Argonauts, our hero disembarks in Greece with his new bride Iole (the gorgeous Sylva Koscina) and young Prince Ulysses (Gabriele Antonini). Ulysses, heir to the throne of Ithaca, is accompanying them to receive mentoring from Hercules and to tour the city-state of Thebes, Herc's home town. Even before they arrive there's trouble. (And I'm not counting the sappy ballad, "Evening Star", which Iole sings during the journey — though I certainly could've done without it. It's the worst dubbing in the picture.) While passing through a rocky, bone-strewn valley, their wagon is stopped by a loudmouthed, boastful giant named Antaeus (Italian pro wrestler Primo Carnera) who demands not only their horses and provisions as tribute, but the lovely Iole as well. Hercules isn't going to stand for that, of course (he hasn't been married long enough), so he and Antaeus have to fight. It's an amusing — and alas, all too short — sequence, as Herc is genuinely puzzled that each time he coldcocks him Antaeus gets right back on his feet, laughing maniacally. Ulysses provides the crucial information that the giant draws renewed strength whenever he touches the ground, so Hercules picks Antaeus up and tosses him off a cliff into the sea.
Hercules Unchained just isn't as fun as the first Reeves-Herc flick. Modern viewers will probably find it tedious. It could certainly use more action. Once waylaid by the Waters of Forgetfulness nearly 45 minutes goes by before Herc recovers his wits and realizes it's clobbering time. In between we get love scenes with Omphale, Ulysses' outwitting of the queen's guards, Eteocles ranting and Iole pining. Oh, and of course there's the obligatory floor show courtesy of Omphale's dancing girls — it just wouldn't be a peplum without a dance number! (You might notice the zipper up the back of the lead dancer's costume... Didn't know they had those in the Bronze Age, huh?) When Herc finally does break bad it's the usual statue throwing, bar bending kind of stuff you'll get in virtually every other pepla. Things pick up considerably near the end, though, which sees Reeves wrestling tigers and leading the soldiers of Thebes in a big cast-of-thousands battle against the mercenaries. Better late than never, I suppose.
So why not a lower film rating, then? It a word: cheese. When I was 8 years old I remember taking these movies (and TV shows like Sons of Hercules) very seriously. Now they're just silly fun. This isn't to say these films are ineptly made. In the case of Hercules Unchained, the production values, special effects* etc., are as good as anything out of Hollywood from that time. But the dubbing, voice acting and dialog are often laughable, and the acting can sometimes be over-the-top. (With the Eteocles character all these elements are combined.) As femme fatale Omphale, Lopez is caked with so much makeup she looks like a plastic animatronic figure in Disneyland's Vegas Showgirls of the Ancient World attraction. (Were there such a thing, that is... And did I mention the über-scary eyebrows? I did?) Hercules is really grouchy in this film, too. It's amusing to watch Reeves bellow with indignation — his voice dubbed by someone else, even though his line readings are in English — as he muscles his way through one situation after the other.
While Hercules Unchained may provide some unintentional laughs, the film is certainly too slow and creaky for action fans who just want to see the Greek demigod doing what he does best: picking up big, heavy things and whuppin' ass. At least it's Steve Reeves in the role and not Reg Park or Alan Steel. I'm giving it an extra rating point for that aspect alone.
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Pictured: UN Women Executive Director Sima Bahous meets with Ukrainian refugee women, children and the elderly at a temporary placement centre in Costesti, 20 km from capital Chisinau, Moldova.
The Executive Director visited the Republic of Moldova from 8 to 10 April 2022 to reaffirm UN Women’s commitment as a key partner to advance gender equality and women’s leadership in the country. During her visit, Bahous emphasized UN Women’s determination to support Moldova’s efforts as a host country to the thousands of refugees fleeing the war in neighbouring Ukraine.
In cooperation with local authorities and civil society organisations, UN Women supports 2000 refugee women and their children in temporary placement centres in Moldova by providing most essential needs. In coordination with the border police, UN Women provided wheelchairs and walkers to assist elderly people and women with small babies at the border crossings. Meanwhile, through the Women, Peace and Humanitarian Fund, UN Women is financially supporting civil society organisations to raise awareness about sexual and gender-based violence and respond to the most urgent needs of women and children.
UN Women is working with partners to ensure that there is up-to-date data on and analysis of the gender dynamics of the refugee crisis which is critical for supporting humanitarian actors in ensuring a gender-responsive refugee response. UN Women and IOM issued a survey which offers important data and analysis on refugee needs, intentions and displacement patterns.
Photo: UN Women/Aurel Obreja
Geoff Cutmore, Anchor, CNBC, United Kingdom speaking during the session: Responsive and Responsible Leadership in 2017 at the Annual Meeting 2017 of the World Economic Forum in Davos, January 20, 2017
Copyright by World Economic Forum / Greg Beadle
Pictured: UN Women Executive Director Sima Bahous visits the Palanca – Mayaki-Udobnoe Border crossing in southeastern Moldova where thousands of refugees arrive every day to escape the war in Ukraine. She spoke to the border police, volunteers and the refugees crossing the border. “What I have seen here is a very dignified, organized, and disciplined reception of mostly women and children. UN Women is supporting the efforts here and collaborating with the police and government of Moldova. The important thing is that, as UN Women and the UN System, we ensure that the refugees are protected and well taken care of, and that women are engaged as leaders in the response.”
The Executive Director visited the Republic of Moldova from 8 to 10 April 2022 to reaffirm UN Women’s commitment as a key partner to advance gender equality and women’s leadership in the country. During her visit, Bahous emphasized UN Women’s determination to support Moldova’s efforts as a host country to the thousands of refugees fleeing the war in neighbouring Ukraine.
In cooperation with local authorities and civil society organisations, UN Women supports 2000 refugee women and their children in temporary placement centres in Moldova by providing most essential needs. In coordination with the border police, UN Women provided wheelchairs and walkers to assist elderly people and women with small babies at the border crossings. Meanwhile, through the Women, Peace and Humanitarian Fund, UN Women is financially supporting civil society organisations to raise awareness about sexual and gender-based violence and respond to the most urgent needs of women and children.
UN Women is working with partners to ensure that there is up-to-date data on and analysis of the gender dynamics of the refugee crisis which is critical for supporting humanitarian actors in ensuring a gender-responsive refugee response. UN Women and IOM issued a survey which offers important data and analysis on refugee needs, intentions and displacement patterns.
Photo: UN Women/Aurel Obreja
Portrait of Anne Kuriakose, Senior Social Development Specialist, World Bank while addressing during Global Gender Summit 2019 - Climate investment funds Event at Kigali Convention Centre, Rwanda on November 26, 2019.
Il mio tempo in Montagna!
www.facebook.com/WashiInPuntadiPiedi
La Vallée d'Aoste à ma guise - La Valle d'Aosta a modo mio - Aosta Valley in my own way
Vivre en Montagne, au quotidien, pour satisfaire la Curiosité de la Photographie de la Nature...
Valle d'Aosta - Vallée d'Aoste
(Une Montagne d'émotions...)
Clickalps Photography - Troise Carmine - Washi
I miei Video amatoriali su:
www.youtube.com/user/Washi59/videos
Canon EOS 7D Mark ll
www.linkedin.com/in/troisecarminewashi?trk=nav_responsive...
It's an enjoyably quick and informative read, but there's something ironic about how the tables in Responsive Design appear on my Kindle.
UN Women Executive Director with the UN Resident Coordinator Simon Springett and UN Women Representative to Moldova Dominika Stojanoska.
While in Moldova, the Executive Director met with Springett and the UNHCR Representative Francesca Bonneli to discuss the role and contribution of UN Women to the coordinated refugee response, as well as the UN support to the implementation of the development agenda, particularly regarding gender equality.
The Executive Director visited the Republic of Moldova from 8 to 10 April 2022 to reaffirm UN Women’s commitment as a key partner to advance gender equality and women’s leadership in the country. During her visit, Bahous emphasized UN Women’s determination to support Moldova’s efforts as a host country to the thousands of refugees fleeing the war in neighbouring Ukraine.
In cooperation with local authorities and civil society organisations, UN Women supports 2000 refugee women and their children in temporary placement centres in Moldova by providing most essential needs. In coordination with the border police, UN Women provided wheelchairs and walkers to assist elderly people and women with small babies at the border crossings. Meanwhile, through the Women, Peace and Humanitarian Fund, UN Women is financially supporting civil society organisations to raise awareness about sexual and gender-based violence and respond to the most urgent needs of women and children.
UN Women is working with partners to ensure that there is up-to-date data on and analysis of the gender dynamics of the refugee crisis which is critical for supporting humanitarian actors in ensuring a gender-responsive refugee response. UN Women and IOM issued a survey which offers important data and analysis on refugee needs, intentions and displacement patterns.
Pictured (L-R): UN Women Executive Director Sima Bahous, Simon Springett, United Nations Resident Coordinator for Moldova, and Dominika Stojanoska, UN Women Moldova Country Representative
Photo: UN Women/Aurel Obreja
Frans van Houten, President and Chief Executive Officer, Royal Philips, Netherlands speaking during the session: Responsive and Responsible Leadership in 2017 at the Annual Meeting 2017 of the World Economic Forum in Davos, January 20, 2017
Copyright by World Economic Forum / Greg Beadle
Responsive Design
Platform: Coppermine
www: zendayagallery.com
Designed by: João Almeida Design
Coded by: heismauri
E-mail: vbamauricio@gmail.com
Testing on multiple browsers is so 2012. Since we are getting ready to launch a new website, our developers are testing the site on multiple phones & tablets.
Expert Group Meeting on Strategies to Achieve Gender Equality and Empower all Women and Girls through the Gender-responsive Implementation of the 2030 Agenda for Sustainable Development held at UN Headquarters on 30 May 2017.
Presenters included: E. Courtenay Rattray, Permanent Representative of Jamaica to the United Nations; Jan Kickert, Permanent Representative of Austria to the United Nations; Lakshmi Puri, Assistant Secretary-General and Deputy Executive Director of UN Women; Juwang Zhu, Director, Division for Sustainable Development, UN DESA;
Photo: UN Women/Ryan Brown
Driving Change: Gender-Responsive Practices in Business
Driving Change: Gender-Responsive Practices in Business brought together distinguished figures from business, politics and leading research institutes. The panellists discussed the growing need for companies to innovate and embrace diversity within their organisation and their customer base in order to remain competitive in times of economic turbulence, both at home and internationally.
Award Ceremony -
Since 2005, the discussion panel has been followed by a Women in Business awards ceremony. The 2015 awards were presented to three winners from the EBRD region who have proved to be the most advanced in applying gender diversity measures in their businesses.
This year the discussion panel and awards ceremony was complemented by a signing ceremony for the EBRD’s Women in Business programme in the Eastern Partnership countries. Local financial institutions signed letters expressing their interest in participating in the programme, which combines finance and advice for women-led small and medium-sized enterprises (SMEs). The programme will be launched in Georgia in 2015 as part of a regional drive that will benefit more than 2,000 women entrepreneurs.
Thursday, 14 May 2015, 14.00 – 16.15, Room 2, Parliament Building
Moderator:
Tanya Beckett, @bbctanyabeckett Presenter, World Business Report, BBC World News
Speakers:
Mariam Valishvili, Deputy Minister, Ministry of Energy, Georgia
Julia Dawson, Managing Director of Thematic Research, Credit Suisse Securities
Dana Denis-Smith, @ddenissmith, Founder and CEO, Obelisk Support.
The experts looked at key questions including:
How do firms need to innovate and embrace diversity both within their organisation and their customer base?
Why has the solution for advancing gender diversity not been found yet?