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The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.[2]
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six. A three speed transmission was fitted at first with four speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication and the centre main bearing was made specially large to remove vibration, essentially splitting the engine into two three cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919. Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
During World War I development of the Silver Ghost was suspended, but the chassis and engine were supplied for use in a range of Rolls-Royce Armoured Cars.
The substantial chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever with a pedal operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913, but from 1923, four-wheel, servo-assisted brakes became optional.[3]
Despite these improvements, by the early 1920s the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded. Sales declined from 742 in 1913 to 430 in 1922, and the company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
In all, a total of 7874 Silver Ghost cars were produced from 1907 to 1926 including 1701 from the American Springfield factory, many of them still running to this day.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
This specific car, s/n 026, participated in the 12 Hours of Sebring in 1967 but was taken out of the race due to suspension problems 65 laps in. Nearly two months later, it burned to ashes during practice for the Nurburgring 1000km. After the accident, the chassis was sent back to Maranello to await repairs, but the damage was to such an extent that Ferrari deemed it not worth the expense to repair. In 1969, it was purchased by a French collector, Pierre Bardinon, but the chassis remained untouched and unrepaired. In 1982, the chassis was purchased by Italian Ferrari collector Currado Cupellini. He began a lengthy and comprehensive restoration with help from Ferrari. However, the engine and gearbox were not the same as used in the original. It was an Ex-Tasman 246 F2 unit wîth Hewland gearbox. The car was raced a few times in the mid-90's at tracks such as Mugello and Spa-Francorchamps. In 1997, it participated in Ferrari's 50th anniversary celebration. Shortly after, it was sold to Bernie Carl in Wahsington DC. He sent it to the UK to have a proper engine (Tipo 231B) and gearbox (Tipo 537) fitted to it. The engine used was a rare twin-plug, fuel-injected unit which produces over 240hp.
www.barchetta.cc/english/All.Ferraris/Detail/Dino/026.206...
www.conceptcarz.com/vehicle/z8788/Ferrari-206-S.aspx
The team, Scuderia Filipinetti, was based in Geneva, Switzerland. It no longer exists today.
Herbert Müller (Swiss, 1940-1981) and Günter Klass (German, 1936-1967) were the drivers in the Sebring race. Both drivers died in racing accidents. Herbert was killed in a Porsche 908 at the Nurburgring 1000km in 1981, while Günter was killed in a Dino just like this one at Mugello just under two months after this one burned. While Herbert returned for the Nurburgring 1000km, he was partnered with Jean Guichet (French, 1927- ).
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Narcissus Garden, a site specific installation of one of Yayoi Kusama's most famous works, was installed in the Native Plant Garden at the New York Botanic Garden. It consists of 1,400 mirrored stainless steel balls floating and rearranging themselves in the water. Kusama first performed the Narcissus Garden in 1966 at the 33rd Venice Biennale, where she laid 1500 plastic mirrored orbs on the ground, selling them for $2 apiece to passersby. Named after a myth by Ovid named Echo and Narcissus, Kusama's intention was for everyone to see their own reflection in the orb, and in turn, fall in love with it. In subsequent exhibitions, Kusama had the orbs made from steel instead of plastic and in some installations, set them in bodies of water where they could shift with the course of the wind and current.
KUSAMA: Cosmic Nature, on display from April through October 2021 following a Covid-related postponement, showcases contemporary Japanese artist Yayoi Kusama's lifelong fascination with the natural world beginning with her childhood spent in the greenhouses and fields of her family’s seed nursery.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London.
Kandahar Airfield, Afghanistan Specific 16 Jun 2011
IED disposal at Camp Hero
Master Corporal Chris Wessel, an Operational Mentor and Liaison Team (OMLT) Engineer from Task Force Kandahar provides instruction to Afghan National Army (ANA) Engineer Company Basic Demolition Course at Camp Hero, Kandahar. He is providing instruction on the conventional munitions and IED disposal, to members of the ANA 4th Kandak, 1st Brigade of the 205th (Hero) Corps, Engineer Company.
Task Force Kandahar continues to conduct security operations to help Afghans build a country that is more secure, stable and prosperous, and no longer a safe haven for terrorists. More training of the Afghan National Security Forces is required to meet this goal, and to protect the gains for which Canadian soldiers have fought and sacrificed.
Canadian Forces Image Number AR2011-0233-029
By Cpl. Tina Gillies with Roto 10, Task Force Kandahar, Afghanistan.
_____________________________Traduction
Aérodrome de Kandahar, Afghanistan Le 16 juin 2011
Le Caporal-chef Chris Wessel, un ingénieur de l’Équipe de liaison et de mentorat opérationnel (ELMO) de la Force opérationnelle Kandahar, donne un formation aux participants au Cours élémentaire de destruction – Compagnie du génie de l’Armée nationale afghane (ANA), au Camp Hero à Kandahar. Le cours porte sur la neutralisation des munitions conventionnelles et des IED, et il est dispensé aux membres du 4e Kandak de l’ANA, 1re Brigade du 205e Corps (Hero), Compagnie du génie.
La Force opérationnelle en Afghanistan continue de mener des opérations de sécurité afin d’aider les Afghans à bâtir un pays plus stable et prospère, où règne la sécurité et où les terroristes ne trouvent plus refuge. Pour atteindre cet objectif et pour protéger tout ce pour quoi les militaires canadiens se sont battus et ont fait des sacrifices, les Forces de sécurité nationales afghanes ont besoin de plus d’instruction.
Image des Forces canadiennes numéro AR2011-0233-029
Par le Cpl Tina Gillies avec Roto 10, Force opérationnelle Kandahar, Afghanistan
Anselm Kiefer
I Sette Palazzi Celesti
L’installazione site-specific I Sette Palazzi Celesti, realizzata per HangarBicocca in occasione della sua prima apertura nel 2004, deve il suo nome ai Palazzi descritti nell’antico trattato ebraico Sefer Hechalot – il “Libro dei Palazzi/Santuari” risalente al IV-V sec. d.C. – dove si narra il simbolico cammino d’iniziazione spirituale di colui che vuole arrivare al cospetto di Dio.
L’opera rappresenta il punto d’arrivo dell’intero lavoro dell’artista e sintetizza i suoi temi principali proiettandoli in una nuova dimensione fuori dal tempo: essi contengono infatti in sé l’interpretazione di un’antica religione (quella ebraica); la rappresentazione delle macerie dell’Occidente dopo la Seconda Guerra Mondiale; la proiezione in un futuro possibile da cui l’artista ci invita a guardare le rovine del nostro presente.
Le sette torri, del peso di 90 tonnellate ciascuna, hanno altezze variabili tra i 14 e i 18 metri e sono realizzate in cemento armato utilizzando come elementi costruttivi moduli angolari ottenuti dai container utilizzati per il trasporto delle merci. Il loro antecedente è il progetto de La Ribotte a Barjac nel sud della Francia, residenza dell’artista tra il 1993 e il 2007, composto di edifici, cunicoli e gallerie che si snodano su una vasta superficie nella campagna francese.
Anselm Kiefer
The Seven Heavenly Palaces
The site-specific The Seven Heavenly Palaces installation, created for HangarBicocca in 2004, is one of the most important works by the German artist Anselm Kiefer. It takes its name from the palaces described in an ancient Hebrew tract, the Sefer Hechalot or "Book of Palaces", which describes the symbolic path of spiritual initiation of those who wish to enter into the presence of God.
The work represents the culmination of Kiefer's entire artistic career, summing up his main themes and projecting them into a new, timeless dimension. This can be seen in the way it interprets an ancient religion (Judaism) and represents the ruins of the West after the Second World War. It also shows us a projection into a possible future, from which the artist invites us to look back at the ruins of our own present.
The seven towers, which weigh 90 tonnes each and vary in height between 14 and 18 metres – are made of reinforced concrete, using the corner units from goods containers as construction modules. Their forerunner is the La Ribotte project in Barjac, in the South of France, where the artist lived from 1993 to 2007. This consists of buildings, passageways and tunnels that wind their way across a vast area of the French countryside.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
Site-specific construction set / sculpture
Made in Nikola-Lenivets.
Location: Udarnik, Kandinsky Prize Nomination
Width×Length×Height (meters): 6×8×4,5
Materials: Wood, stud fastening, sheets of reflective stainless steel.
Photo by Ilya Ivanov
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
The Faces Behind VA Services – VA Services Showcase
Veterans and Veteran organizations learn about the services available from the VA at the VA Services Showcase in Arlington, Va.
Sharing information on services for Veterans was the primary focus of the VA Services Showcase held VHA National Conference Center in Arlington, Va. on Wednesday, Jan. 29. Representatives from VA program offices, support services and Veteran-related organizations participated in the event, which gave attendees a chance to interact and share resources with each other. VA is working to let Veterans know that there are a wide range of programs and services, and a dedicated workforce –many of whom are Veterans themselves – ready to help them navigate all the possibilities. Present at the showcase – just a few of the many services VA offers. If you are looking for a specific VA program or service, please post it in the comments and we will do our best to connect you with the best place to start.
My HealtheVet – www.myhealthevet.va.gov
My HealtheVet is VA’s 24/7 online personal health record. It is designed for Veterans, active duty Service members, their dependents and caregivers and helps them partner with their health care team as well as opportunities and tools to make informed decisions and manage their health care.
GI Bill – www.benefits.va.gov/gibill
Veterans Crisis Line – www.VeteransCrisisLine.net
VA responders are standing by 24 hours a day, 7 days a week, 365 days a year to provide confidential support by phone or online chat. Assistance is only a phone call or click away. You’ve served us. Now let us serve you.
Help for Homeless Veterans – www.va.gov/homeless
VA provides individualized care through a wide range of services for Veterans who are homeless or at imminent risk of becoming homeless. Veterans of all eras and branches may be eligible for VA services. Make the call and take the first step to access help from VA.
Pension Benefits / VA Benefits for Disabled Veterans- www.va.gov/benefits
VA provides compensation to eligible Veterans who were disabled during or because of their military service. VA also offers compensation to eligible dependents of Veterans, including a surviving spouse, children and/or parents.
eBenefits - www.ebenefits.va.gov
The eBenefits web portal is an online resource for tools and benefits-related information. The portal serves Veterans, Servicemembers, their families and their caregivers.
Blind Rehabilitation Service – www.patientcare.va.gov/rehabilitationservices.asp
The Blind Rehabilitation Service provides lifetime rehabilitation care for Veterans who are visually impaired.
VA for Vets – www.VAforVets.va.gov
VA for Vets is a comprehensive career development program that helps Veterans launch or advance their civilian careers at VA and other federal agencies.
VA for Vets
VA-Guaranteed Home Loan Benefits – www.benefits.va.gov/homeloans
The objective of the VA Home Loan Guaranty program is to help eligible Veterans, active-duty personnel, surviving spouses and members of the Reserves and National Guard purchase, retain and adapt homes.
Center for Minority Veterans – www.va.gov/centerforminorityveterans/
The Center for Minority Veterans is charged with identifying barriers to service and health care access, as well as increasing local awareness of minority Veteran related issues by developing strategies for improving minority participation in existing VA benefit programs.
VHA Women’s Health Services – www.womenshealth.va.gov
Women’s Health Services works to ensure that timely, equitable, high quality, comprehensive health care services are provided in a sensitive and safe environment at VA facilities nationwide.
Center for Women Veterans – www.va.gov/womenvet
VA’s Center for Women Veterans monitors and coordinates the administration of health care and benefits services, and programs for women Veterans. The center serves as an advocate for a cultural transformation in recognizing the service and contributions of women Veterans and women in the military, and works to raise awareness of the responsibility to treat women Veterans with dignity and respect.
Veterans Transportation Service – www.va.gov/healthbenefits/vts/
VA’s Veterans Transportation Service program is used to pick up Veterans and take them to their VA Medical Facility for appointments. Many times, the service staff members are the first and last person Veterans see from the VA on their appointment day.
VetCenter – www.vetcenter.va.gov
Vet Centers are community-based counseling centers that provide a broad range of services to assist in readjusting to civilian life. There are 300 Vet Centers throughout the U.S. and territories.
Make The Connection- www.MakeTheConnection.net
Powerful personal stories and testimonials from Veterans of all service eras and backgrounds are at the heart of Make the Connection, illustrating how Veterans and their families face and overcome issues and challenges.
Volunteer Service – www.volunteer.va.gov
As VA has expanded its care of Veteran patients into the community, volunteers have become involved. They assist Veteran patients by augmenting staff in such setting as hospital wards, Community Living Centers, outpatient clinics, community-based volunteer programs, end-of-life care programs, adaptive sports, creative arts, Veteran outreach centers, national cemeteries, and Veteran benefits offices.
Healthy Living – www.prevention.va.gov / www.move.va.gov
Talk with your health care team about your goals. You will be an active player in this journey and your health care team will be your “coaches.”
National Cemetery Administration – www.cem.va.gov
The National Cemetery Administration honors Veterans and their families with final resting places in national shrines and with lasting tributes that commemorate their service and sacrifice to our Nation.
Veteran Population Projection – www.va.gov/vetdata/Veteran_Population.asp
The Veteran Population Model provides the latest official Veteran population projection from the VA.
The VA Chaplain Service – www.va.gov/chaplain
The VA Chaplain Service integrates the spiritual dimensions of health care into all aspects of the VHA missions of patient care, research, emergency medical preparedness, and health care education.
VocRehab – www.benefits.va.gov/vocrehab/index.asp
Veterans may receive help with job training, employment accommodations, resume development, and job seeking skills coaching. Other services may be provided to assist Veterans in starting their own businesses or independent living services for those who are severely disabled and unable to work in traditional employment.traditional employment.
VHA- Office of Rural Health – www.ruralhealth.va.gov
VA’s Office of Rural Health supports the unique health care needs of Veterans residing in geographically remote areas. From transportation, telehealth and care coordination to workforce development, mental health, community outreach and innovative models of care delivery, the VHA Office of Rural Health has a diverse portfolio that is structured to bring quality care closer to home.
VA photos by Robert Turtil.
Read more about how gender-specific knowledge is inspiring change in Kyrgyzstan’s walnut forests here: bit.ly/1gc60KW
Credit: National Academy of Sciences of the Kyrgyz Republic/K.Musuraliev
Read more about Bioversity International's work in Central and South Asia www.bioversityinternational.org/about-us/where-we-work/ce...
www.flickr.com/photos/ugardener/albums/72157666600655501
HANK WILLIS THOMAS
'Blind Memory' and 'Freedom Isn't Always Beautiful'
Feb. 21 - Aug. 20, 2017
The SCAD Museum of Art presents "Blind Memory," a site-specific installation by Hank Willis Thomas in the museum’s Jewel Boxes exhibited concurrently with his exhibition "Freedom Isn’t Always Beautiful" in the Walter O. Evans Center for African American Studies.
Four new works in the exhibition explore the history of the museum complex as a railway depot and its relationship to the agricultural and labor practices of the past. Through the display of commodities that were exported from Savannah during "The Weeping Time" — a two-day period in March 1857, when 436 men, women and children were auctioned at a racetrack in the city (notable for being the largest sale of human beings in the history of the U.S.) — Thomas calls attention to suppressed or forgotten incidents that were nonetheless instrumental in shaping our contemporary social and political reality.
Thomas fills each of the four Jewel Boxes on the façade of the museum with an agricultural product — tobacco, cotton, rice and indigo — produced on nearby plantations by the labor of enslaved individuals. Each box also features an additional layer of archival documents and symbols related to this history. "Blind Memory" is a further iteration of Thomas’ practice exploring the interrelated concerns of the representation of race, the dialectic between images and text and the genealogy of historic iconographies relevant today.
The SCAD Museum of Art continues to explore Thomas’ work through "Freedom Isn’t Always Beautiful," a concise overview of the artist’s socially engaged practice. Composed of works from 2003 to the present, the exhibition explores the artist’s interrelated concerns regarding representations of race, the dialectic between images and text, and the genealogy of historic iconographies and their continued relevance.
Thomas employs stark contrasts, both formal and conceptual, to examine concepts of personhood, agency and commodification. The series "I Am A Man," 2009, uses the iconic Civil Rights Movement slogan as a starting point to explore the descriptive limitations of the phrase, while also paying homage to its original use. "I Am A Woman," "Am I A Man," "I Am Many" — these variations create semiotic slippages and nuances of meaning that reassert the affirmation of humanness and humanity at the core of the phrase's original use. Inscribed on signs carried by protestors during the sanitation workers strike in Memphis, Tennessee, in 1968, "I am A Man" can be traced further back to anti-slavery campaigns of the 18th century that asked "Am I Not A Man And A Brother?"
Through the use of reflective or shifting imagery and materials, including mirrors, holograms and lenticulars, "Freedom Isn't Always Beautiful" investigates the act of spectatorship and complicity. Seeing oneself reflected in the surface of the works implies participation and collusion in what is being represented. In works, such as "His Truth Is Marching On" and "Come Walk In My Shoes And I Will Show You Change," Thomas mines archival images, featuring cut outs from black and white vintage photographs by Spider Martin, taken during the Selma to Montgomery Civil Rights uprising and marches in Alabama, in 1965.
Works such as "Liberty," "From Cain't See in the Morning til Cain't See at Night" and "Icarus" tackle the theme of sport. These artworks draw a correlation between slavery and sport in terms of the commodification of black bodies. The artist also comments on labor, and the implicit stereotypes evident in the representation of such bodies in the media. Continuing his interrogation of modern messaging, Thomas appropriates the language and format of advertising to subvert its intended messages. In the work "Caesar’s Visa," a neon sign flashes between advertising slogans to reveal new readings and wordplay. "Wonder Woman" and "All Power to the People" engage with political messaging and propaganda, both past and contemporary. Manufactured in the form of oversized lapel pins and referencing significant political and social movements that emerged in the 1960s, the pins transcend their significance as tokens of personal political belief, to become amplified and monumental, perhaps even memorials of what they represent.
About the artist:
Hank Willis Thomas is a conceptual photo artist working primarily with themes related to identity, history and popular culture. He cofounded For Freedoms, the first artist-run super PAC. Thomas is a member of the Public Design Commission for the city of New York and has exhibited throughout the U.S. and abroad including at The International Center of Photography, Public Art Fund and Studio Museum in Harlem, New York; The Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris, France; and Cleveland Museum of Art, Ohio, among others. Thomas’ artwork is in numerous public collections including the Museum of Modern Art, Solomon R. Guggenheim Museum, Whitney Museum of American Art and Brooklyn Museum, New York; High Museum of Art, Atlanta, Georgia; and National Gallery of Art, Washington, D.C.
Conceived by Wilfredo Prieto as his project for the Composiciones programme, “Pantalones rotos” (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of the reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in “Pantalones rotos”, this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes
Wilfredo Prieto (Sancti Spiritus, Cuba, 1978) pursued art studies at the Instituto Superior de Arte (Higher Institute of Fine Arts ISA), graduating in 2002. Prieto’s recent solo exhibitions include: ‘Ping Pong Grid’, Museo Nacional de Bellas Artes, Havana, Cuba (2015); ‘Speaking Badly about Stones’, S.M.A.K, Ghent, Belgium (2014); ‘Incidences from the Private to the Public and from the Public to the Private’, NMAC Foundation, Cádiz, Spain (2013); ‘Leaving Something to Chance’, Sala de Arte Público Siqueiros, México (2012); ‘Balancing the curve’, Hangar Bicocca, Milan, Italy (2012); ‘Amarrado a la pata de la mesa’, Centro de Arte 2 de Mayo (CA2M), Móstoles, Madrid (2011); and has participated in group shows such as ‘Under the same sun: Art from Latin America Today’, Guggenheim Museum, Nueva York (2014); ‘Coup d’éclat, En résonance’, Biennale d'art contemporain de Lyon, Francia (2009); ‘Untitled’, 12th Istanbul Biennial, Turquía (2009). Prieto has been awarded the Cartier Award (Frieze Art Fair, London, 2008) and the UNESCO Prize for the Promotion of the Arts (2000).
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“Pantalones rotos” (2012/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
Conceived by Wilfredo Prieto as his project for the Composiciones programme, “Pantalones rotos” (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of the reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in “Pantalones rotos”, this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes
Wilfredo Prieto (Sancti Spiritus, Cuba, 1978) pursued art studies at the Instituto Superior de Arte (Higher Institute of Fine Arts ISA), graduating in 2002. Prieto’s recent solo exhibitions include: ‘Ping Pong Grid’, Museo Nacional de Bellas Artes, Havana, Cuba (2015); ‘Speaking Badly about Stones’, S.M.A.K, Ghent, Belgium (2014); ‘Incidences from the Private to the Public and from the Public to the Private’, NMAC Foundation, Cádiz, Spain (2013); ‘Leaving Something to Chance’, Sala de Arte Público Siqueiros, México (2012); ‘Balancing the curve’, Hangar Bicocca, Milan, Italy (2012); ‘Amarrado a la pata de la mesa’, Centro de Arte 2 de Mayo (CA2M), Móstoles, Madrid (2011); and has participated in group shows such as ‘Under the same sun: Art from Latin America Today’, Guggenheim Museum, Nueva York (2014); ‘Coup d’éclat, En résonance’, Biennale d'art contemporain de Lyon, Francia (2009); ‘Untitled’, 12th Istanbul Biennial, Turquía (2009). Prieto has been awarded the Cartier Award (Frieze Art Fair, London, 2008) and the UNESCO Prize for the Promotion of the Arts (2000).
––
“Pantalones rotos” (2012/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
18 French start-ups have been selected, by a jury of experts from France and Ireland, on specific criteria such as the potential drive of their products or their offers, the relevance of their Business Plan and their potential for development. These gems, which will benefit from a privileged support, will exhibited at the French Pavilion, in the Web Summit’s main hall. They were also be guests of honour during the French Tech Night, which took take place at the Opium pub on November 4th at 6:30pm.
Axelle Lemaire (born 18 October 1974) is a French Socialist politician who currently serves as a Secretary of State in the French Government.
In 2012, she was elected as Deputy for the Third constituency for French overseas residents in the National Assembly of the French Parliament. In May 2014, Prime Minister Manuel Valls appointed her to the French Finance Ministry as minister responsible for Digital Affairs.
Since joining the Ministry for the Economy, Industry and Digital Affairs in Paris, Lemaire has been a leading proponent of net neutrality legislation. She is a major actor in the French Tech movement, which unites french digital startups worldwide.
French Tech is a label assigned to French metropolises recognised for their startup ecosystem. It is also a name used by technologically innovative French businesses.
The French Tech aims to provide a strong common visual identity to French startups as well as to promote entrepreneurial exchange between them.
Nine French cities received the French Tech label in November 2014 during a first wave of certification. Cities like Strasbourg, Mulhouse, Nice, Avignon, Angers, Brest and Saint-Étienne preferred to wait to register their candidatures later in 2015. In January 2015, Axelle Lemaire announced a budget of €15 million to develop the attractiveness of the French Tech abroad.
Axelle Lemaire also announced the establishment of 'French Tech Hubs' in major international cities like New York City, London, Tokyo, Singapore, Tel Aviv and São Paulo.Two of which (New York City and Tokyo) were already active in October 2015.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
The model and its assembly:
Believe it or not, but this is a real life background and also the model of a real P-51D. I came across this specific airplane rather accidently, but found its unique, improvised camouflage rather challenging – esp. when you build kits with enamels and brush like me. I still had a Hobby Boss P-51D in my vast kit pile, and so I decided to tackle this aircraft as a side project while waiting for parts for another project, since the kit could be built almost OOB, just the decals had to be puzzled together.
I only did minor changes to the kit. One addition is a pilot figure in order to cover the cockpit "bathtub", and a dashboard cover under the windshield inside of the cockpit was added, too. A pitot (made from a piece of wire) was added under the port wing, as well as a retractable landing light inside of the starboard main gear well.
Despite being of simple construction, the Hobby Boss kit shows good surface details, including engraved panel lines. It’s quickly built – the fuselage and the wings are both just single, massive(!) pieces. Due this construction, though, the kit is not a good choice for conversions. And one major flaw is the fact that the canopy frame is a fixed part of the fuselage, even though two canopies are supplies – a single piece for closed position, and separate windshield and hatch for a potentially open cockpit. But the latter can actually not be built, and separating the canopy frame from the massive fuselage is IMHO a messy task, and that’s the reason why I left the cockpit closed… Anyway, it is IMO still a good kit for the money, and a good choice as a basis for a simple livery alternative.
Beyond that, this model comes “clean” without any ordnance. Since I could not find any reference that would show or mention external loads under AURI Mustangs (not even drop tanks), I left the model this way, what underlines the Mustang's clean lines.
Painting and markings
Here, things become more interesting. My model depicts Angatan Udara Republik Indonesia’s F-51D “F-319” and is based (only) on aircraft profiles and sketches, which were themselves only prepared on the basis of poor photographs of AURI Mustangs during late operations against AUREV.
AURI Mustang F-319 (44-13045) took, according to an article in Air Enthusiast No.82, actively part in the fighting of 1958, and it is one of the few (maybe even the only) Mustang to sport a cammo scheme. In general, the AURI P-51Ds were left in a bare metal finish, with colored spinners and a black anti glare panel, sometimes decorated with huge shark teeth. Actually, these aircraft were inherited from Dutch forces after Indonesia' independence, and the national insignia just replaced with the AURI pentagon. Even the tactical codes were kept.
F-319 was obviously hastily camouflaged, and only on the upper sides and wrapped around the lower fuselage, probably in two shades of green, or in green and brown. The exact colors remain unknown, but any profile I found depicts F-319 in two shades of green, so I stuck with it, and it’s a nice color combo. F-319 was reportedly damaged during the attack against Amahai on 10 May 1958, after that the track is lost.
Anyway, key objective of this kit was to replicate that improvised cammo and weathered look that one might expect under harsh climate conditions and frequent use with poor maintenance in front line service.
All interior surfaces were painted in a zinc chromate green finish. I used Humbrol 150 as a basis color and added dry-brushed Testors 1715 on top of that. The landing gear was kept in Aluminum (HUmbrol 56). Everything "standard".
The model's lower sides were painted with 'Polished Aluminum' Metallizer from Testors. The upper surfaces, which would later be concealed by camouflage, were painted with acrylic paint, 'Aluminum' from Revell. The same color was also used for some contrast panels on the lower surfaces. Onto this basic finish, the decals were applied as a next step. AURI F-319 appears to have had its cammo scheme painted around its original markings and some access hatches, and simulating this would be IMHO achieved the easiest way by simply duplicating the process on the kit!
The decals themselves were puzzled together from several aftermarket sheets. The AURI insignia/national markings come from a generic TL Modellbau sheet, the tactical code and the “AURI” letters under the wing were cut and re-arranged from "USAF" letters in 1:72 scale. Improvisation rules, and the frugal modeler.
After the decals had been applied ans secured under a thin coat of clear, acryllic varnish, I used water and salt to mask panel lines and leading edges with tiny mottles and irregular "spot clusters". It’s actually a method that works well when you simulate rust and flaking paint on 1:35 tanks and such with an air brush, but I thought that it might also work here, too, since I wanted to let a lot of bare metal shine through the rather thin cammo paint.
After having thoroughly dried, the camouflage scheme was applied with a broad but flat, soft brush, with slightly thinned enamel paint and only with gentle strokes. An air brush would have been better suited, not to stir the masks on the metal paint below, but on the other side a brush allows a more tattered, uneven look, enhancing the flaked and worn effect and the realism of the finish.
The basic camouflage colors are Humbrol 120 (FS 34227, Light Green) and Humbrol 91 (Black Green). They create a good contrast - but BW pictures are hard to interprete. After this basic cammo paint had dried up, the salt masks were rubbed away, supported by hard brushes and even fine sand paper. Surely, some repair and additions had to be made, e .g. around the insignia and the tactical codes. In some areas, the chipping effect was enhanced with some dry brushing, e .g. with Humbrol 78, 75, and 116. A wash with thin black ink was applied in order to emphasize the kit’s engraved panel lines and the many surface details.
More to come...
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
Phosporescence @ my clock
Phosporescence is a specific type of photoluminescence related to fluorescence. Unlike fluorescence, a phosphorescent material does not immediately re-emit the radiation it absorbs. The slower time scales of the re-emission are associated with "forbidden" energy state transitions in quantum mechanics. As these transitions occur less often in certain materials, absorbed radiation may be re-emitted at a lower intensity for up to several hours.
In simpler terms, phosphorescence is a process in which energy absorbed by a substance is released relatively slowly in the form of light. This is in some cases the mechanism used for "glow-in-the-dark" materials which are "charged" by exposure to light. Unlike the relatively swift reactions in a common fluorescent tube, phosphorescent materials used for these materials absorb the energy and "store" it for a longer time as the subatomic reactions required to re-emit the light occur less often.
Most photoluminescent events, in which a chemical substrate absorbs and then re-emits a photon of light, are fast, on the order of 10 nanoseconds. However, for light to be absorbed and emitted at these fast time scales, the energy of the photons involved (i.e. the wavelength of the light) must be carefully tuned according to the rules of quantum mechanics to match the available energy states and allowed transitions of the substrate. In the special case of phosphorescence, the absorbed photon energy undergoes an unusual intersystem crossing into an energy state of higher spin multiplicity (see term symbol), usually a triplet state. As a result, the energy can become trapped in the triplet state with only quantum mechanically "forbidden" transitions available to return to the lower energy state. These transistions, although "forbidden", will still occur but are kinetically unfavored and thus progress at significantly slower time scales. Most phosphorescent compounds are still relatively fast emitters, with triplet lifetimes on the order of milliseconds. However, some compounds have triplet lifetimes up to minutes or even hours, allowing these substances to effectively store light energy in the form of very slowly degrading excited electron states. If the phosphorescent quantum yield is high, these substances will release significant amounts of light over long time scales, creating so-called "glow-in-the-dark" materials.
Most examples of "glow-in-the-dark" materials do not glow because they are phosphorescent. For example, "glow sticks" glow due to a chemiluminescent process which is commonly mistaken for phosphorescence. In chemi-luminescence, an excited state is created via a chemical reaction. The excited state will then transfer to a "dye" molecule, also known as a (sensitizer, or fluorophor), and subsequently fluoresce back to the ground state.
The study of phosphorescent materials led to the discovery of radioactivity in 1896.
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Avui no volia escriure gaire, així que fet un copy-paste d'aquest article a la Wikipedia.
Today I didn't feel like writing, so I've copy-pasted this article from Wikipedia.
After studies have been conducted on the specific group of users, it’s switched right into a profile or user persona that imitates a genuine customer. Basically, a persona is personified data produced from user behaviours, attitudes, discomfort points, as well as their wants and needs inside a particular product. Instead of tailoring an software developer to meet the requirements of the generic group, a persona was created having a specific number of users in your mind.
Personas illustrate the goals and behaviors of users while areas examine patterns in census for example age, location, sex, salary, and so forth. Both of them are essential however, personas offer lots of advantages throughout the development process.
1. Promote User-Focused Outcomes
Frequently, an application can morph in to the desires from the designer as opposed to the user. To avert this, the expansion process must focus on a person-focused goal all actions should be created using the consumer in your mind. With this to happen, they must adopt the outlook during the finish user to create an application that resonates using its users. Personas ought to be used through the development process and never as just one phase. Reinforcing the consumer persona through the entire process will be sure that the entire team remains centered on their primary goal. Without having done this, the end result from the final software developer might not match the users’ wants.
lady-smartphone-girl-technology
2. Establishes Consensus During Development
Raw information is frequently hard to interpret however, a persona encapsulates the study and communicates the trends to other people in a manner that they are able to understand and visualize. Inside a team of developers, you will find usually individuals with different skills and expertise that could cause a positive change of opinions. A person persona is a superb tool to prevent confusion and miscommunications through the development process. The persona communicates ideas and ideas using the team of developers, stakeholders, and users. Effectively, it helps to ensure that everybody is on a single page and understands who the prospective audience is.
Startup Stock Photos
3. Validates All Decisions
An application idea is made, but could it be really exactly what the user needs and wants? While it’s important to determine who the application will target, it’s more essential to understand the consumer particularly desires. Without validation, the end result won’t deliver just what the finish user needs and can ultimately be pointless. All decisions and actions which are made throughout the development process must have a person-focused reasoning. When the development process starts to stray from concentrating on meeting the users’ needs, the application will likely fail.
User personas are valuable for everybody throughout the development process to be able to boost the quality and efficiency of the work. A persona increases product quality since it directly addresses the finish users discomfort points and fixes issues that software developer presently experience. Understanding and meeting a particular categories of users’ needs will be sure that the application is really a success. Narrowing in on the specific group of users will yield greater download rates and most importantly, it'll keep up with the engagement from the users.
The Vienna Stock Exchange, founded in 1771 as one of the oldest stock exchanges in the world, is now a modern, customer- and market-based financial services company. It not only operates the only securities exchange in Austria, but the Austrian electricity EXAA and the CEGH Gas Exchange of the Vienna Stock Exchange. The main business areas include trading in the cash market (equity market, bond market), at the futures market and in structured products. Additional services include sales data, index development and management, and financial market specific seminars and courses. The Vienna Stock Exchange is the initiator and as well as the stock exchanges of Budapest, Ljubljana and Prague, a 100 % subsidiary of the CEE Stock Exchange Group (CEESEG), the largest exchange group in Central and Eastern Europe.
History
The Vienna Stock Exchange was founded by Maria Theresa and is one of the oldest stock exchanges in the world. Initially, only bonds, bills and foreign exchanges were traded. The Austrian National Bank was in 1818 the first public company listed on the Vienna Stock Exchange.
In the middle of the 19th Century, the growing industrialization brought a huge economic boom and many companies financed themselves with stock issues on the bourse. A liberal economic policy favored hasty and sometimes unsound business ventures. These factors set off a wave of speculations that on 9 May 1873 with the Vienna stock market crash ended abruptly. About half of public companies disappeared from the exchanges. It took years till the stock market of the Vienna Stock Exchange recovered from this setback .
Old stock exchange building in Vienna's Ringstrasse, built in 1877 by Theophil von Hansen.
New regulations and stock exchange laws had become necessary in order to handle the increasingly lively trade in an orderly fashion. 1875 third exchange law was enacted in the history of the Vienna Stock Exchange, which guaranteed the complete autonomy of the Vienna Stock Exchange and a smooth trading process. 1877, the by Theophil von Hansen designed historic stock exchange building on Scots ring (Schottenring) was inaugurated.
From the end of the 19th Century until the outbreak of the First World War, the situation on the capital market further consolidated. During the First World War, the stock market was closed. Not until the end of 1919, the official stock trading was resumed and the Vienna Stock Exchange experienced again a strong inflow and a boom, which ended abruptly with a crash in March, 1924. Share prices rebounded in Vienna in the following years just slowy. However, the fall in prices on the New York Stock Exchange in October 1929 had no significant impact on Vienna.
Although the position of the Vienna Stock Exchange was severely diminished as a financial center by the fall of the monarchy, it kept for South Eastern Europe continued importance. Among the 205 shares that were traded on the Vienna Stock Exchange in 1937, yet there were 75 from the Succession States.
With the annexation of Austria to the German Reich in 1938, the Vienna Stock Exchange lost its independence and was subordinated to the German stock exchange law. Securities trading itself was - albeit very limited - continued until shortly before the end of the Second World War. In 1948 the stock market was reopened. The stock market suffered after the war by the nationalization of individual industries a certain narrowing. The bond market, however, had recovered after the currency reform in 1952.
A major fire on 13 April 1956 destroyed a part of the exchange building. The building was re-opened in December, 1959.
While the bond market of the Vienna Stock Exchange grew steadily, the stock trading continued to lead a shadowy existence. The big change came only in 1985, when an American analyst triggered a stock market boom by drewing the attention to the extremely high potential of the Austrian capital market. After two decades of stagnant rates, it came to price increases of 130 %. Revenues increased six-fold. That changed the hitherto rather subdued setting of economic policy to the stock market. A number of large companies in the following years went on the market, such as RHI, OMV (1987), Austrian Airlines, Verbund (1988), EVN (1989). From mid-1988 on the Vienna stock exchange once again began a stock market boom, which lasted until August 1990.
In December 1997, the Vienna Stock Exchange with the Austrian Futures and Options Exchange (ÖTOB) was fused to the new Wiener Börse AG.
In January 1998, the Vienna Stock Exchange moved to premises of the OeKB at Strauchgasse 1-3 and in the Wallnerstraße 8, 1014 Vienna.
Following the decision to privatize the Vienna Stock Exchange, the Exchange Chamber was dissolved in June 1999 and the ownership shares (50% of the shares) the Austrian issuers (except banks) offered to buy.
Since November 1999, the trade in securities takes place via the fully electronic trading system Xetra ®.
End of 2001, the Vienna Stock Exchange moved to the Palais Caprara-Geymüller.
The Vienna Stock Exchange had remained untouched by the market declines, as the major international exchanges experienced in late 2002. 2003, the cash market of the Vienna Stock Exchange began to revive. Austrian companies managed to position themselves after the EU enlargement in Eastern Europe well, which had a positive impact on the performance of the ATX. The rise of the Vienna Stock Exchange increased the interest of both domestic and international investors in the Austrian capital market.
An Austrian consortium of Austrian banks, the Vienna Stock Exchange, and OeKB, acquired in 2004 the majority of the Budapest Stock Exchange. This partnership was the foundation for an exchange network that has been steadily expanded through cooperation agreements with many exchanges in the Southeast European region, such as Bucharest, Zagreb, Belgrade, Sofia, Sarajevo, Montenegro, Macedonia and Banja Luka.
In July 2004, climbed the ATX, which represents the 20 largest listed companies in Austria, for the first time over the 2,000 point mark, in June 2005, it reached the 3,000-point mark and in May 2006 the ATX broke through the 4,000-point mark. In 2008, the Vienna Stock Exchange was unable to escape the turmoil in the international financial markets. Especially in the second half of the year had the ATX experienced large losses and closed at 1,750.83 points by the end of 2008. Was 2009 at the beginning of the year still overshadowed by the financial and economic crisis, which had in the previous year reached its peak, began after repeated strong losses from mid-March a rally. The boom on the Vienna Stock Exchange turned out in comparison to other international financial centers even significantly above average, and although the ATX in recent months tended sideways, it closed in 2009 with an increase of approximately 42.5 % at 2,495.56 points.
After the acquisition of majority stakes in the three neighboring exchanges of Budapest, Ljubljana and Prague in June 2008, the Vienna Stock Exchange in 2009 devoted to the intensive formation of the CEE Stock Exchange Group - initially in the form of a common brand. On 14 January 2010, the holding company CEESEG was entered in the commercial register. Subordinaded to it are now the stock exchanges of Vienna, Budapest, Ljubljana and Prague equally as affiliates. Sole shareholder of Wiener Börse AG is now the CEESEG, the previous shareholders of Wiener Börse AG are now shareholders of CEESEG.
Corporate Structure
The Vienna Stock Exchange is a 100 % subsidiary of CEESEG. This is 52% of Austrian banks and 48% of Austrian companies.
Largest securities offerings
Biggest IPOs:
2007: Strabag SE, € 1,325.4 million
2005: Raiffeisen International, € 1,113.8 million
2000: Telekom Austria, € 1,008 million
2003: Bank Austria Creditanstalt, € 957.9 million
2006: Austrian Post, € 651.7 million
Largest capital:
2006: First Bank, € 2,918 million
2007: IMMOEaST, € 2,835 million
2006: IMMOEaST, € 2,752 million
2009: First Group, € 1,740 million
2007: Raiffeisen International, € 1,237 million
Indices
Wiener Börse calculates and distributes a number of indices, including several Eastern European indices which are known under the name "CECE indices".
The most important index calculated by the Vienna Stock Exchange is the trade flow index ATX, which comprises the 20 most liquid Vienna values.
CEE stock indexes are available for the Czech Republic (CTX - Czech Traded Index), Hungary (HTX - Hungarian Traded Index), Poland (PTX - Polish Traded Index), Croatia, Serbia and Bulgaria as well as indexes for the entire region (CECE Composite Index, SETX, CECE CECE MID , NTX). Furthermore significant, a total of 10 CIS indices.
In addition, the Vienna Stock Exchange is calculating the China Traded Index (CNX) from the closing prices (about 8:45 clock).
ABI Resources Anime Art
What is Anime?
Anime refers to a specific style of cartoon produced or inspired by Japanese animation. Think of it this way: all anime shows are cartoons, but not all cartoons are anime. The art style associated with anime is very unique and recognizable. You’re probably familiar with the large eyes, wild hair, long arms and limbs, and more. This exaggerated design helps the characters more easily express emotions of which there are plenty in anime.
#anime #Japanese #animation #Japanimation #Japanime #manga
Connecticut home-based supported living and community care.
Brain Injury Awareness
Sharing and Caring with extraordinary people making a positive difference in the lives of others. ABI Resources supports terrific people and families alongside DSS, DMHAS, CCC Connecticut Community Care CCCI, SWCAA, WCAAA Connecticut Area on Ageing, and Allied. ILST Companion RA PCA Employment Jobs
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
On May 18, Solange performed "An Ode To," an interdisciplinary performance piece and meditation, that examined themes from "A Seat at the Table." Through movement, installation, and experimentation with reconstructed musical arrangements, Solange transformed the iconic Frank Lloyd Wright rotunda with her mesmerizing site-specific performance and melodic vocals. This performance was part of the Red Bull Music Academy Festival.
Photos: Carys Huws, Stacy Kranitz, and Krisanne Johnson
Etnik/ Explosion
Installazione site-specific
A cura di Alessandra Ioalé
dal 2 al 31 luglio 2012
Firenze, Libreria Brac
Via de’ Vagellai 18r
Orari: da lunedì a sabato 11.30-24; domenica chiuso
Installazione site-specific ideata dall’artista Etnik per la libreria La Brac di Firenze. L’installazione è la realizzazione tridimensionale di una delle sue metafore critiche sugli agglomerati urbani, che caratterizzano le grigie periferie cittadine, elaborando il concetto di "gabbia urbana" in cui l'uomo è intrappolato.
Masse geometriche s’intersecano violentemente su piani opposti e punti di vista spiazzanti per rappresentare un cemento sempre più costrittivo e un equilibrio sempre più precario nella vita quotidiana di ognuno di noi. Costellazioni di linee sospese e fluttuanti in uno spazio indefinito in cui possiamo riconoscervi spaccati di linee metropolitane intrecciate ai profili delle grandi costruzioni di periferia, caratterizzati della massiccia presenza industriale; o l’intersezione di sagome di classiche costruzioni storiche, quali campanili e abitazioni rurali, alle tipiche dei cantieri edili. È l’elaborazione del concetto di “gabbia urbana” in cui l’uomo è intrappolato, attraverso l’esplorazione dell’incastro architettonico delle diverse strutture fortemente caratterizzanti le aree urbane periferiche. Cosa succede se una di queste micro-costellazioni conquistasse la terza dimensione, librandosi realmente nello spazio? In una sorta di dialogo, che Etnik intesse con gli spazi della libreria La Brac, luogo deputato al ristoro e alla lettura, l’opera site-specific “Explosion” ci permette di scoprire le suggestioni e le emozioni provocate ai giovani avventori, intenti a leggere o a gustarsi un buon pasto, che ne divengono osservatori dal basso. Il nucleo attorno a cui si sviluppa tutta l’installazione, studiata e realizzata ad hoc per lo spazio, è la scultura “Cubo”, da cui si sprigiona tutta una serie di elementi. Come nel sistema solare, Cubo rappresenta il pianeta attorno a cui ruotano, come satelliti, frammenti di specchio che, da angolature differenti, ne rimandano continuamente l’immagine riflessa, e parallelepipedi che, come piccole parti del tutto, ne ripropongono in sé alcuni elementi caratteristici ingranditi, portando alla luce ciò che costituisce e realizza l’incastro urbano.
Dopo vent’anni passati a dipingere spazi urbani di periferia e a cercarne di nuovi, Etnik inizia a riflettere molto sul concetto di “città”, scorgendone un nuovo punto di vista, assai diverso dal resto della cittadinanza, fino a farne soggetto principale di studio, aprendosi così al disegno, alla pittura e alla scultura in generale. Parallelamente alla creazione di murales infatti, Etnik porta avanti una personale ricerca artistica che nel 2003 vede la luce sotto il nome di “Città prospettiche”, di cui la scultura “Cubo” ne è la traduzione tridimensionale. Nel caso specifico, il concetto di città come “gabbia urbana” subisce un processo interpretativo diverso, sia nella trasposizione scultorea che in quella installativa, trovando maggior spettacolarità e arditezza. Non a caso l’installazione reca in sé due livelli interpretativi complementari: il primo risiede nel gioco ridondante di rimandi d’immagini riflesse e di particolari ingranditi della struttura, operando un’analisi ancora più profonda del punto di vista dell’artista sulla città e le parti di cui si compone; un secondo livello di lettura è da riconoscersi nel concetto di città nella città, dove il piccolo agglomerato urbano, “Cubo”, è inglobato nella magica atmosfera della piccola realtà della libreria, un’oasi ricavata a sua volta proprio nel cuore della città di Firenze in cui l’artista mette in atto la sua ironica e personale critica dietro cui si sottende il rapporto conflittuale che intrattiene con la città stessa, accentuando così la carica concettuale del messaggio primario dell’opera.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
For this specific image, I wanted to take two different, yet similar objects, and place them carefully in a way that seemed messy, but allowed the image to properly showcase each of the packets. I spent a lot of time looking for opposite yet similar objects until I came across some simple salt and pepper packers, and decided this is what I would use for this specific shot. I laid them out carefully across a counter, aimed my desk light towards me, and shot the picture. I guess this goes to show anything could be turned into artwork if I hard enough. Parts of the photo almost look out of focus, but my goal was to at least keep half of the image nice and sharp. Was that a good decision?
Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010
The model and its assembly:
Believe it or not, but this is a real life background and also the model of a real P-51D. I came across this specific airplane rather accidently, but found its unique, improvised camouflage rather challenging – esp. when you build kits with enamels and brush like me. I still had a Hobby Boss P-51D in my vast kit pile, and so I decided to tackle this aircraft as a side project while waiting for parts for another project, since the kit could be built almost OOB, just the decals had to be puzzled together.
I only did minor changes to the kit. One addition is a pilot figure in order to cover the cockpit "bathtub", and a dashboard cover under the windshield inside of the cockpit was added, too. A pitot (made from a piece of wire) was added under the port wing, as well as a retractable landing light inside of the starboard main gear well.
Despite being of simple construction, the Hobby Boss kit shows good surface details, including engraved panel lines. It’s quickly built – the fuselage and the wings are both just single, massive(!) pieces. Due this construction, though, the kit is not a good choice for conversions. And one major flaw is the fact that the canopy frame is a fixed part of the fuselage, even though two canopies are supplies – a single piece for closed position, and separate windshield and hatch for a potentially open cockpit. But the latter can actually not be built, and separating the canopy frame from the massive fuselage is IMHO a messy task, and that’s the reason why I left the cockpit closed… Anyway, it is IMO still a good kit for the money, and a good choice as a basis for a simple livery alternative.
Beyond that, this model comes “clean” without any ordnance. Since I could not find any reference that would show or mention external loads under AURI Mustangs (not even drop tanks), I left the model this way, what underlines the Mustang's clean lines.
Painting and markings
Here, things become more interesting. My model depicts Angatan Udara Republik Indonesia’s F-51D “F-319” and is based (only) on aircraft profiles and sketches, which were themselves only prepared on the basis of poor photographs of AURI Mustangs during late operations against AUREV.
AURI Mustang F-319 (44-13045) took, according to an article in Air Enthusiast No.82, actively part in the fighting of 1958, and it is one of the few (maybe even the only) Mustang to sport a cammo scheme. In general, the AURI P-51Ds were left in a bare metal finish, with colored spinners and a black anti glare panel, sometimes decorated with huge shark teeth. Actually, these aircraft were inherited from Dutch forces after Indonesia' independence, and the national insignia just replaced with the AURI pentagon. Even the tactical codes were kept.
F-319 was obviously hastily camouflaged, and only on the upper sides and wrapped around the lower fuselage, probably in two shades of green, or in green and brown. The exact colors remain unknown, but any profile I found depicts F-319 in two shades of green, so I stuck with it, and it’s a nice color combo. F-319 was reportedly damaged during the attack against Amahai on 10 May 1958, after that the track is lost.
Anyway, key objective of this kit was to replicate that improvised cammo and weathered look that one might expect under harsh climate conditions and frequent use with poor maintenance in front line service.
All interior surfaces were painted in a zinc chromate green finish. I used Humbrol 150 as a basis color and added dry-brushed Testors 1715 on top of that. The landing gear was kept in Aluminum (HUmbrol 56). Everything "standard".
The model's lower sides were painted with 'Polished Aluminum' Metallizer from Testors. The upper surfaces, which would later be concealed by camouflage, were painted with acrylic paint, 'Aluminum' from Revell. The same color was also used for some contrast panels on the lower surfaces. Onto this basic finish, the decals were applied as a next step. AURI F-319 appears to have had its cammo scheme painted around its original markings and some access hatches, and simulating this would be IMHO achieved the easiest way by simply duplicating the process on the kit!
The decals themselves were puzzled together from several aftermarket sheets. The AURI insignia/national markings come from a generic TL Modellbau sheet, the tactical code and the “AURI” letters under the wing were cut and re-arranged from "USAF" letters in 1:72 scale. Improvisation rules, and the frugal modeler.
After the decals had been applied ans secured under a thin coat of clear, acryllic varnish, I used water and salt to mask panel lines and leading edges with tiny mottles and irregular "spot clusters". It’s actually a method that works well when you simulate rust and flaking paint on 1:35 tanks and such with an air brush, but I thought that it might also work here, too, since I wanted to let a lot of bare metal shine through the rather thin cammo paint.
After having thoroughly dried, the camouflage scheme was applied with a broad but flat, soft brush, with slightly thinned enamel paint and only with gentle strokes. An air brush would have been better suited, not to stir the masks on the metal paint below, but on the other side a brush allows a more tattered, uneven look, enhancing the flaked and worn effect and the realism of the finish.
The basic camouflage colors are Humbrol 120 (FS 34227, Light Green) and Humbrol 91 (Black Green). They create a good contrast - but BW pictures are hard to interprete. After this basic cammo paint had dried up, the salt masks were rubbed away, supported by hard brushes and even fine sand paper. Surely, some repair and additions had to be made, e .g. around the insignia and the tactical codes. In some areas, the chipping effect was enhanced with some dry brushing, e .g. with Humbrol 78, 75, and 116. A wash with thin black ink was applied in order to emphasize the kit’s engraved panel lines and the many surface details.
F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...
Front: 18x9.5" ET22 with 275/35-18 Nitto NT01
Rear: 18x11" ET44 with 305/35-18 Nitto NT01
Factory M4 Competition Package Alignment Specs
Lowered on Macht Schnell Competition Springs w/ Factory EDC
Owner:
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Lauren Breunig performing in "Asylum", the first immersive, site-specific, interactive theatrical play in the style of Punch Drunk’s "Sleep No More", taking place in Phoenix Arizona. The show is produced by Vessel, co-directed by Rachel Bowditch and Eileen Standley, designed by a team of six designers featuring 5 dancers, 4 actors, and an aerialist.
Location: The Ice House
Tajin is the symbol of Moroccan cuisine. It's cooked in specific pottery plate with peaked lid. Traditionally it's eaten by right hand using bits of bread.
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)