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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.
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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 :
Playing games using multiple monitors provides a way to organize specific elements of gameplay onto separate screens. You may wish to have your inventory, stats, maps or other useful information on one screen and the actual game play on the other. Before setting up your gaming for multiple monitors, its important to ensure that your computer's hardware supports a second monitor. If it doesn't, purchasing a new graphics card normally makes it possible to add a second or even third monitor. Of course, you also need to choose games that support the use of multiple monitors.
Installing a Second Monitor
Make sure that your graphics card supports dual monitors. You'll know by looking at the back of the computer. If there are two or more ports for a monitor then you can simply plug the second monitor in, with the computer shut off, and then start the computer. If the card does not support multiple monitors then you'll need to purchase a new graphics card that has a dual-link graphics card before playing. Installation of a new graphics card usually only takes a few minutes. Just turn off and unplug the computer, open the computer casing and remove the old graphics card. Usually, you'll need to use a Philips screwdriver to release the graphics card from the computer. Then, just slide the new graphics card in place. Don't force the card in; it should slide in easily. Secure the new card and then close the computer case. Once you've done that, simply plug in the monitors and start your system.
Once the computer has started up, go to the display options on your system. Some graphics cards split the computer over two screens, while others have a primary and secondary monitor setup. For computers that use primary and secondary monitors, choose your main monitor and set it as the primary one. The primary monitor will have your desktop, icons and anything else that would appear if you had just a single monitor. The secondary monitor provides space for you to drag items off the primary monitor.
Purchasing Monitors
Check the screen resolution of your current monitor and the overall size of the monitor. Monitor sizes are measured diagonally from one corner of the screen to the other. By choosing monitors of the same size and resolution, you'll avoid problems with flickering and screen freezes while playing the game. If the computer has to work with multiple screen resolutions, the game play will suffer. If you have the money, it's not a bad idea to purchase two of the same monitor. You can always try to trade the old monitor in, pawn it or sell it.
Games Without Dual Monitor Support
There are several reasons to use a second monitor even if the game you are playing doesn't support multiple monitors. For instance, you could have a game walk-through on one monitor and the game play on the other. Multiple monitors are interesting to use; generally, you need to drag any items you want across the screen and on to the other monitor. You can test this by moving your mouse from the edge of the monitor on the right to the edge of the monitor on the left. You'll notice that when the screen ends on the first monitor, the mouse keeps moving over to the second monitor. You can drag word documents, Internet pages, videos or whatever else you want over to the second monitor to view while playing. You could even let another member of your family watch a movie on the computer while you silence the noise in your game and keep playing.
Games With Dual Monitor Support
If the game does support dual monitors then you'll have to go through the list of features to set up the monitor the way you want. You'll need to know your current monitor resolution for this. If the monitor resolution is set at 1900 x 1200, then choose that option. If the game supports stretching the entire game over two images, you'll see an option for a "wide" screen setup. Typically, thesesetups will have a low second number and a high first number. For instance, two monitors with a screen resolution of 1900 x 1200 would have a combined screen real estate of 3800 x 1200. For games that support this sort of resolution, use the combined totals from both your monitors. This is why having two monitors with the same resolution and same size provides the greater benefit.
Alternatives to New Graphics Cards
While not the preferred method of gaming with multiple monitors, you can purchase a port adapter to plug in more than one monitor. To do this, you'll need to purchase the port adapter and attach it to the back of your computer's monitor port. This divides the port into two or more outputs that you can plug more than one monitor into. If you are going this route, make sure that you have plenty of RAM and a fast CPU. Normally, a dual-link graphics card would provide a suitable amount of RAM and processing power to power multiple monitors. Single monitor graphics cards normally don't have enough video memory to support two computer monitors. So, in this case, you'll need additional memory.
With the aging of the Grumman S-2 Tracker and the increasing effectiveness of Soviet submarines, the US Navy issued a requirement for a new carrier-based ASW aircraft. Lockheed won the contract, partnering with LTV to design carrier-specific equipment and Univac to design the ASW suite. The resulting S-3A Viking first flew in January 1972 and entered the fleet in February 1974.
While the S-2 integrated the hunter-killer team concept into a single airframe, the S-3 went one step further by completely computerizing the sub-hunting process, integrating the entire sensor suite into one system rather than in several as on the S-2. Initially, this employed a Univac AN/AYK-10 computer served by Texas Instruments AN/APS-116 radar and AN/ASQ-81 MAD sensor in a retractable tail boom. Flown by a crew of four, the S-3’s interior was so efficient that one aviation writer described it as the most compactly designed aircraft in history.
The S-3A--nicknamed "Hoover" for the sound of its engines-- acquired a reputation for being a reliable, easy to fly aircraft, and spawned a number of variants, including the US-3A carrier-onboard delivery (COD) transport aircraft and the ES-3A Shadow Elint variant. A dedicated KS-3A tanker never went into production, but S-3s were increasingly equipped with buddy refuelling packs. When the KA-6D Intruder dedicated tanker was retired from the US Navy in the mid-1990s, the S-3 took over the role, though its relatively slow speed meant it could not accompany strikes into enemy territory. Despite that, the S-3 always had the capability to carry not only antisubmarine ordnance such as torpedoes and depth charges, but also bombs and later the AGM-84 Harpoon antiship missile and AGM-65 Maverick AGM. The S-3’s antiship capability was used in both Gulf Wars: in 1991, a S-3 sank an Iraqi attack boat with conventional bombs, while in 2003 a S-3 destroyed an Iraqi command post with a Maverick in Basra.
Beginning in 1991, the S-3As in service were modified to S-3B standard, with upgraded avionics and a new APS-127V synthetic-aperature radar, giving the S-3B a significant ship-detection and SAR capability as well. Though the ES-3A was withdrawn from service in the mid-1990s, several S-3Bs were converted to littorial reconnaissance (Gray Wolf) and ground surveillance (Brown Boy) roles. With the reduction of submarine threats to the US Navy, the S-3 fleet is being gradually retired; those remaining in service have had their ASW equipment removed and serve primarily as tankers. Their role has been largely replaced by the SH-60B/F Seahawk series, and, aside from a handful of test aircraft, the S-3 was retired in 2009.
159743 joined the Navy in 1976 as part of VS-28 ("Hukkers"), but served most of its career with VS-24 ("Scouts") off the USS Nimitz (CVN-68). 159743 was with VS-24 in 1991 during the First Gulf War when it became the first S-3 to drop bombs in anger over a land target, when the squadron struck Iraqi positions on the Kuwaiti coast. In 1993, it was transferred to the Navy's test establishment and was retired from VX-20 at NAS Patuxent River, Maryland in 1999. Returned to Lockheed, it was used in airframe fatigue tests at the Lockheed Marietta plant. In 2010, 159743 was donated to the Marietta Museum of History's airpark.
159743 is missing its engines and looks a little worn, but it's good to see that the first S-3 to see combat has been saved. It wears the overall light gray scheme carried by "Hoovers" in the last decade of their career; the "Force" tail emblem is a carryover from VX-20. It is displayed with wings folded.
We specialise in competitive training in the disciplines of mixed martial arts such as : Boxing, Kickboxing, Muay Thai, Takedown and Submission Wrestling, Brazilian Jiu Jitsu etc.We also offer personal training for your specific needs in a welcoming friendly environment.
Drought, combined with a heatwave (which thankfully seems to be over), has dried up the little dam nearest our house once again.
Thanks to everyone who emailed us regarding our welfare in the Australian bushfires. Thankfully they weren't near us but our hearts go out to all who were affected. For those who enquired about donations, they can be made online at www.redcross.org.au. For donations specific to wildlife, please look at www.wildlifevictoria.org.au
...specific type of signal due to the signal box standing at the platform end. A 23 rumbles in with an evening rush hour commuter train (11/4/1974)
Colors: Blush Pink, Black, White + Ivory
What inspired me to produce this specific look and feel came from a set of J.Crew necklaces. It's featured in the 2nd board on the black sweep. Like usual, I fall in love with jewelry; but this time it was for the layered baguette crystal and pearl strands.
The style and mood that seemed to emanate from the necklace was something romantic, modern & European. For the color palette, I went with classical, soft pinkish hues to soften the strong black and white tones. Delicate fabrics like the lace featured on the Vera Wang bridal gown below certainly plays up the romance factor. The bedroom, to the right, totally complements the mood that I am going for.
The perfect flowers to accompany this decor are the white & pink anemones. The soft, frilly petals contrast its dark, graphic center. If you want some matching glitz for the reception tables, check out some of ZGallerie's tabletop accessories like the jeweled tealight holder seen below.
To see more inspiring design projects, visit www.designwithchon.com
Like me on Facebook! www.facebook.com/DesignWithChon
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Design With Chon (DWC), a boutique design studio with defined niches in (1) visual communication, (2) event design and (3) interiors. Each of these industries are huge in themselves, but DWC has an understanding that bridges them together — color, balance, texture, order and a good eye for design. DWC’s goal is to achieve good design in all its various forms, whether it’s from the branding of your business to saying “I do” to transforming a dwelling in your home. Let me, “Chon," be your go-to person for good design, color, great photography and art. A balanced environment makes you feel good, and I am here to inspire your surroundings.
If you’re interested in sharing an idea or a project, drop me a line at designwithchon[at]gmail.com to start the conversation.
©Design With Chon. All Rights Reserved.
Luke 16:24 (NLT)
“The rich man shouted, ‘Father Abraham, have some pity! Send Lazarus over here to dip the tip of his finger in water and cool my tongue. I am in anguish in these flames.’
DRAWING NOTES:
TIME OF DAY:
There is no specific time of day for this cartoon.
LIGHTING NOTES:
The main lighting in this cartoon comes from the flames of hell. There is also a cooler, bluer glow around Abraham & Lazarus in the background.
CHARACTERS PRESENT:
Abraham (holding a staff in his hand) & Lazarus, in the background. The un-named rich man, in the flames of hell.
RESEARCH/ADDITIONAL NOTES:
There are 2 versions of this scene:
1) The Colour version (see previous Bible Cartoon)
2) The Blue version
The Blue version strongly contrasts the yellows, oranges & reds of the fire with the blues & purples of the rocks, sky. Note also the “halo” of white light above the figures of Abraham & Lazarus, standing on top of the rock chasm that separates Heaven from Hell.
Jesus’ parable talks about the value of money in light of future judgment. Jesus is talking in this parable about the Pharisees’ attitude toward money (which we know from verse 14 that they “dearly loved” it). At first glance this seems like a strong story about wealth, almost as if Jesus is saying that it is wrong to have money. But perhaps it was not the rich man’s wealth which Jesus is pointing at as being “wrong”, but rather his attitude, specifically the rich man’s blatant disregard for Lazarus’ welfare, whilst both men lived upon the earth. The rich man could easily have given Lazarus food from his table, since he had plenty. Upon both men’s deaths, the roles they played in life are reversed. For all eternity: the God-fearing Lazarus, who had very little comfort on earth, goes to bliss, plenty & comfort in heaven, whilst the rich man, who had everything on earth, goes into the flames of hell, for eternal torment. This aspect of role-reversal might have unnerved the Pharisees listening to Jesus’ parable, since, to them, wealth was a sign of God’s blessing, poverty a sign of God’s disfavour. Jesus brought a new teaching & a new way of viewing one’s earthly possessions: the proper use of our wealth is in the alleviation of suffering of all those we come into contact with in this life. It is not merely our possession of wealth that God will judge us by, more so, it is how we have used that wealth: for our own pleasure, or for the benefit of other people’s welfare. The Pharasee’s enjoyed their wealth and did not attempt to bridge the chasm that separated them from the poor. But Jesus’ parable was explaining that another chasm would develop, after death, and that they would find themselves on the wrong side of it, for all eternity.
Regarding the great chasm itself, we read from this parable (verse 26) that no-one can cross over it. The chasm separates those people who have chosen heaven & those people who have chosen hell. We only get to live one life on this earth, and it is here that we make our eternal decision. People cannot wait until after they die to make their relationship right with God, by then it will be too late. God’s judgment of them will have been made on the basis of their choices on earth, whilst they were alive. And once that judgement is made by God, it will be irreversible. Our ultimate judgement & where we will spend eternity is based on our acceptance or rejection of Jesus Christ as our Lord & Saviour. That decision cannot be changed once we die. God’s decision upon death is final.
Fortunately for each & every one of us, it is easy to choose heaven over hell! We read from many other passages in the Bible that...
Acts 3:19 (ANIV)
Repent, then, and turn to God, so that your sins may be wiped out, that times of refreshing may come from the Lord,...
1 Peter 3:18 (ANIV)
‘For Christ died for sins once for all, the righteous for the unrighteous, to bring you to God.’
John 5:24 (ANIV)
(Jesus himself said) "I tell you the truth, whoever hears my word and believes him who sent me has eternal life and will not be condemned; he has crossed over from death to life.”
Romans 10:9-10 (ANIV)
That if you confess with your mouth, "Jesus is Lord," and believe in your heart that God raised him from the dead, you will be saved. For it is with your heart that you believe and are justified, and it is with your mouth that you confess and are saved.
Romans 10:13 (ANIV)
"Everyone who calls on the name of the Lord will be saved."
From these (and many more) scriptures it becomes clear that if we chose to repent of our past sins & believe in Jesus Christ as the only means of our eternal salvation, then we can avoid hell & eternal separation from God, & live a God-centred & God-pleasing life here on earth, confident that Jesus has transferred us from hell into heaven.
It is interesting to note that the rich man in Jesus’ parable recognised that in the flames of hell there was no escape for himself. His thoughts turned to his five living brothers. He requested that Lazarus be sent to them to warn them to repent and change the direction of their lives. However, Abraham's answer must have been a surprise: "They have Moses and the Prophets; let them listen to them" (Luke 16:29). In other words, they, like us, have the Holy Bible (the Word of God.) If they would not listen to God's Word, "They will not be convinced even if someone rises from the dead" (Luke 16:31.) Interestingly, we know from history that the resurrection of Jesus himself (which was witnessed by over 500 people) did not change the minds of the Pharisees. It is an historical fact that Jesus Christ was resurrected from the dead; he ascended to heaven... he did exactly what he said he would. Even when Jesus accomplished this astounding feat, many people refused to believe him. Still many more, in the 2,000 years that have followed that event, have stubbornly refused to believe in Jesus Christ.
In the end, it is our choice where we go to, once we die. God does not send anyone to hell: they send themselves, based on what they “do” with Jesus. If a person chooses to believe in Jesus (as Lazarus, in this parable did) then he/she will go to heaven. If, on the other hand, they choose to reject Jesus, then they will inevitably go to eternal separation from God, in hell. God gives us freedom of choice. It is up to each & every one of us to choose where we would like to spend eternity.
If you would like to read more about how to accept the free gift of eternal life in Jesus Christ, & how to become a Christian, then visit the Links page above. Click on the “Ministry web site” links for more information. Please also consider e-mailing me for further information or discussion.
See this & many more cartoon illustrations on my website: www.biblecartoons.co.uk
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Datca-peninsula is an area little known by the tourists in Turkey. Majority of the
tourists to Turkey unfortunately chooses ( or are obliged to choose) destination
alternatives which are very much touristified such as Alanya, Side and Bodrum.
These destinations are conventional destinations in Turkey and maybe suitable
for them who would like to get sunshine and swimming. What about those over
a specific age, who would like to combine sunbathing with little touched nature,
good rest and cool summer. Then we can point to Datca Peninsula with good
opportunities: The ancient site of Knidos, the cosy town of Datca with Old
Datca with its old Stone houses. We advise Adaburnu Golmar Hotel with
the website www.adaburnu.com
***
Datca halvøya i Tyrkia / Tyrkiet / Turkiet er hvor man kan hvile, bade, oppleve
den milde sommeren. Den byr på alt man ønske seg når man er på ferie. Fine strender
og landsbyer uten så mange turister, med økologiske jordbruksprodukter og
opplevelsesmuligheter.
We anbefaler hotellet Adaburnu Golmar Hotel med nettidene
***
Sakin ortamlar, ılık yaz, güzel koylar istiyorsanız Datça’ya gelin. Burada Adaburnu
Gölmar Hotel’i tavsiye ediyoruz.
Bu resim Norvecce-İngilizce profesyonel kokartlı turist rehberi Sinan Tortum tarafından
yüklendi.
***
This picture was uploaded by the turkish travel agent, licensed tour guide Sinan Tortum
E-Mail : stortum@yahoo.no
Phone : 0090.539.2240093
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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)
Design & construction by e+i architecture,
Eva Perez de Vega Steele
and Ian Gordon
www.epdvs.com/choreographingspace.html
Photography by Brandon Jacobs-Mills
Choreographing Space is made possible by Swing Space, a program of Lower Manhattan Cultural Council, generously supported by the September 11th Fund. Project space is donated by Time Equities.
Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
_
'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Page 7
NOTE: The paragraph in brackets are those of the artist:
THE FIRST ARCH 1949–1951 Ages 17–18–19
Of all of the arches of VATICAN CORRIDOR, A Non-Specific
Autobiography, the events that occurred within this particular
arch are perhaps the most important in that they set indelibly
the direction of the life of the artist emotionally, intellectually,
and creatively. Prior to his seventeenth birthday, there were
many indications of who he was and of what he would
ultimately become. Like the majority of his peers, as a child
and as an adolescent he experienced the familiar problems,
joys, anger, frustration, sexual experimentation, familial
estrangement, and sibling rivalry commensurate with his age.
But he possessed an unbridled and unquenchable curiosity
about nearly everything he encountered and read. He made
toys and sculpted innumerable animals in clay. In high school,
he was an avid and accomplished student admired and praised
by his teachers and was socially adept with and honored by
his peers.
He proved a tenacious and talented art student in high
school. At age seventeen, he received from his art teacher,
Hazel Bartley, his first commission. The resultant INFANT
OF PRAGUE may be considered his first actual sculpture.
Using the coal-fired furnace to melt the copper required,
he cast the sculpture in the basement of his family home in
Toledo, Ohio, burning out the furnace in the process.
After graduation from high school, he left home to attend
Alfred University. In the Preparatory Study, he notes
"the necessity/decision/desire to “become;” 17. Leaving
home. The ‘who’ is very strong–young, vital, sexual,
beautiful, naive, fearless, boundless energy, a late emergence
from puberty. David? Theseus?"
With the exception of the INFANT OF PRAGUE, all
other actual work executed by him during that three year
period was the result of specific student assignments, only
rare examples of which have been photographed or are
otherwise recorded. They were purely experimental both of
ideas and materials and reflective of the “styles” and
metaphors of the time. Yet some of those experiments gave
hint of the artist he would become. In later life he spoke
of the period of the First Arch as an awaking from the
emotional and intellectual restraints imposed upon him by
his parents who only wished for him a “normal” life in
which he would use his education at Alfred University to
prepare him to enter a recognized trade, return to the family
fold, marry, reproduce and derive pleasure from playing the
piano and tennis. But his eyes were opening, his imagination
expanding, and the challenges ever more formidable and
freeing. He said: “Compared to the Jewish girls from New
York City, I was merely ignorant, unread, and inexperienced.”
The years at Alfred University proved invaluable
for it was there he recognized the impossibility of pursuing
a course antithetical to his emerging what. Numerous of his
student notebooks and essays have been preserved and these, more than anything else, indicate the formulation of the
ideas and concepts that have been subsequently analyzed and
developed and expanded by him during the decades thereafter. Some of the ideas in gestation during the years
seventeen through twenty, and even until the present, are
addressed by the then forty-two year old artist in the
contemplation of the creation of the First Arch:
[How does “whatness” occur? Does it begin to develop
simultaneously with the developing “who”? Is it created
because of or in spite of an initial flaw within the identity
of the “who”? I would like to believe that the inner-self, the
“what,” is born out of the “who’s” non-acceptance of the
doctrine of linear time–a non-acceptance of death—a desire
to create out of oneself a sphere whose inner walls reflect
the inner desire of all men regardless of time or space. This
would mean an acceptance of all man’s behavior. Nothing
would exist as external to the sphere—neither “good” nor
“evil”—one man=all men. Acceptance eliminates the
doctrine of linear time, and with it the theory of
oppositeness. Within the sphere, “good” or “bad” have no
meaning—neither do life or death; rather, there exists
synonymity, a relating and reflecting of oneself in terms and
degree of the evolving “what.” The possibility for the
creation of “whatness” exists in all men, but it seems such a
fragile and destructible thing. I believe that Everyman at one
point or another within the linear life-span of the “who” is
confronted by the initial choice for the creation of his
“whatness”—and because it is a choice, there are men who
choose not to create, but rather to remain within the
doctrine of linear time—within the theory of
oppositeness…to become historical artifacts stored within
the ever-changing metaphors of the absolute “who.” They
kill and are killed—an endless repetition of the murder of
their own “whatness.” These presences, too, must be
included in Vatican Corridor—but they will exist within the
spaces between the arches.
[If an initial moment of choice must be selected for the
creation of a second or non-linear self, perhaps that moment
would be when “who” one is detaches itself from what one
was in terms of the linear matrix? “Son of…” “Daughter
of…” etc. Because of this detachment and vulnerability of
the “who,” a choice is presented—a reinforcement of the
linear “who” through a posture of “I am me because I am
not you,” or a transposition of linear into spherical
“whatness:” One man=all men…“I am me because I am
you.” The inner wall of the First Arch must somehow carry
the significance of the initial choice—or rather, what it is
that confronts the “who” at the moment of initial
choice——: A blank? An undisturbed volume? A vision existing within a block? A kind of geometric “perfection”? A void? A vacant arch? Shadows of possibilities? A block barely opened or in the act of opening? A concave reflection of the outer-wall? A gestured void corresponding to the convex and volumetric “who”? Certain volumes to exist within the concavity as an indication of some sort of predetermined limitation upon
the “what” in reference to the influences imposed upon the
“who” in terms of the “who’s” linear “whatness”? A kind of
imposed pre-choice identity? In terms of non-specific
autobiography, could or would this imposition be sexual?
Should this indication of pre-choice identity take the form
of a brutalization through the arches until it, too, is
assimilated and accepted in terms of the evolving “what”?
[In this, the First Arch, there are no transpositions from
the outer to the inner walls. It is a statement more of “this is
the way it is” with only two elements specifically to be noted:
the arm of the figure in the outer wall is held back firmly by
the hand of restraint; the hand of the parents, society, the
church, anyone and everything that would disallow a
departure, an escape, from familiar and restrictive traditions,
perhaps. The other is the uncarved top of the head, clearly
indicating that the soon to begin emerging what already is in
possession of the one element that would make full transposition possible: whatness, the universality of Desire.]
At the conclusion of the preparatory study for the inner
wall of the First Arch, Robert Cremean wrote:
[Perhaps gestured outline of concave volumes should relate
to outer wall in terms of a more mature image—a reflection
of the outer wall’s vision rather than a mirrored duplication
of the actual “who” at the specific time of initial choice? The
gestured outline of the concave volumes would thus remain
static as a mature presence or receptacle throughout the series of arches. Would this mean then that the “what” exists as an established form—timeless and unchangeable—a constant
alternative to the mortality of the linear directed “who”?
Would this then also mean that choice is a constant possibility
for Everyman at any stage throughout the evolution of the
“who”? Then the choice for “whatness” is omnipresent? That
“whatness” by its very nature is omnipresent regardless of the
particularized “who”?
[The question of this “omnipresent” “whatness” persists
throughout the entire VATICAN CORRIDOR. For, if the
concept of “whatness” is present but not recognized and
embraced, which of the other transpositions are possible?
And if it is recognized but only partially understood and
accepted, is it possible to progress the full length of the
corridor or are we, as individuals sharing this “non-specific
autobiography,” ultimately locked into a particular “arch”
within this “corridor” of the self?]
The following is written in the Fourth Arch:
Within the evolution of the Inner Wall—the “what”—there
could exist an equation with the First Arch Outer Wall and
the Inner Wall of the Fourth Arch: An awareness of
“beyondness,” an expansion through exposure. The “what”
is very strong—young, vital, sensual, beautiful, naive,
fearless—boundless energy…
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
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)
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
Photo citation: Ted Auch, FracTracker Alliance, 2021.
Each photo label provides this information, explained below:
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Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
Haleakala Crater hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carryon duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstick but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
AMISOM Civil-Military Coordination (CIMIC) officers from all sectors attend a workshop session for the dissemination of the Somalia Country Specific Humanitarian Civil-Military Coordination Guidelines held in Mogadishu, Somalia, on April , 2016. AMISOM Photo/ Omar Abdisalan
self portariat with my camera on the floor.
Project Room
Barry McGee
Site-Specific Loft Installation
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
- Roberts and Tilton Gallery
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it for this exhibit. Barry asked, "Can I build a loft?" And they did. A real interesting space. MORE PHOTOS HERE
Miracle Mile, Los Angeles, CA
12/2006
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)
Suba, bangkas
A bangka is a specific type of outrigger boat used in the Philippines. Outrigger boats are various watercraft featuring one or more lateral support floats known as outriggers, which are fastened to one or both sides of the main hull. In the Philippines, bangkas are typically equipped with outriggers on both sides of the main hull.
Unlike a single-hulled vessel, an outrigger or double-hull vessel generates stability as a result of the distance between its hulls rather than due to the shape of each individual hull. As such, the hulls of outrigger or double-hull boats are typically longer, narrower and more hydrodynamically efficient than those of single-hull vessels.
These vessels were the first true sea-going ships, and are an important part of the Austronesian heritage. They were the vessels that enabled the Austronesian Expansion from Taiwan into the islands of both the Indian and Pacific Ocean from around 3000 BC. They comprise the bulk of traditional boats in Island Southeast Asia, Island Melanesia, Micronesia, Polynesia, and Madagascar.
Cuyo Island is the largest island of the Cuyo Archipelago. The Cuyo Archipelago or Cuyo Islands, is a group of about 45 islands lying to the northeast of the island of Palawan, and part of the province of Palawan, Philippines. Altogether, over 45,000 people inhabit the Cuyo Archipelago. It is centered on the largest island of the archipelago, Cuyo Island, which is about 13 kilometres long, 7.5 kilometres wide, and with an area of 57 square kilometres. Cuyo Island is volcanic. It is under the jurisdiction of the municipalities of Cuyo and Magsaysay.
Cuyo is the oldest town in Palawan with a culture of its own, which was preserved for more than 350 years. During the Spanish colonisation of the Philippines, Cuyo became the second capital of Palawan from 1873 to 1903. Cuyo town and its cultural and natural environs are being considered to be nominated in the tentative list for UNESCO World Heritage Site declaration in the future. Dominating the town centre is Cuyo's church, convent, and fort built by the Spanish and finished in 1680.
(sources: en.wikipedia.org/wiki/Outrigger_boat and en.wikipedia.org/wiki/Cuyo_Archipelago)
1. Video Commercials
Online promotional videos are extremely powerful for grabbing the attention of your target audience, as well as converting more of your prospects into clients.
2. Animated Story-Board Videos
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3. Video Sales Letters
Video Sales Letters are simply videos created with voice over and text only on the screen; as a result, they hold attention and relay your message clearly without any distractions.
4. Video Ads
Video ads are paid advertisements that are video based. Many different online advertising platforms offer the ability to run a video ad, which in turn, allows you to reach a wider audience.
5. Customer Testimonial Videos
Nothing speaks louder than a customer on video explaining how your product or service has helped them achieve a specific goal.
6. Case Study Videos
A video that gives an in-depth explanation from start to finish about how your product or service has helped a customer can be extremely valuable.
7. In-the-Street Interview Videos
Usually reserved for building buzz around upcoming events, this is a spontaneous way to interview random people about topics related to your industry.
8. Customer Interview Videos
You can interview your customers on video about their experiences with your products and services, or even industry experts, and share them with your online audience.
9. Product Introduction Videos
Videos allow you to introduce your new product or service with an emphasis on the BENEFITS it will provide to your customers.
10. Product Demo Videos
Product or service demonstrations done on camera provide your prospects with an inside view of what you offer; removing some of the barriers they may have when it comes to making a purchase.
video production tips
"Do you want to marry the person you like? But you are facing many problems. In such a situation 'Dua For Getting Married To The Person You Want' can help you. It is a very powerful dua to get married to someone you love.
To know more, You can read this article about Dua To Get Married To A Specific Person You Want. duaforistikhara.com/dua-to-get-married-to-specific-person/
You can also take help from an Islamic expert who can help you to perform this dua in a proper way. If you are looking for such a person you can contact Ghulam Ali Dehlavi by calling at 91-9041350758 (Whatsapp, Telegram, Viber)."
Re-shoot of a sandy bridge core. I have not taken a picture of this specific chip before, but I have taken pictures of sandy bridge cores in the past. This one has less scratches and I have removed the dust in post processing. I'm not sure why, but the stitching software just does not like sandy bridge chips and I can never stitch a full one without significant warping. I'm working on seeing if I can correct for it in Photoshop.
I'm not exactly sure which CPU this is but it is probably a Pentium G630 or something like that, it has 2 cores.
Camera: SONY A6000
Number of Images: 27? Cropped.
Panorama Y Axis: 3 Images
Panorama X Axis: 9 Images
ISO: 100
Shutter Speed: 2"
Light Source: LED Attached to Objective
DIC: No
Overlap: 50%
Microscope Objective: 5X
Microscope Eyepiece: DSLR Mount
Grid Used: 4x4 (Panning Movement Aid)
Capture Motion: ZigZag
Stitching Software: Autopano Giga
Other Software: Photoshop for sharpening, color correction and dust removal, gimp for scaling and JPG compression.
Image Type: JPG, 99% Quality.
This build was a simple one: an original PA-58N "Halk" from Gunze Sangyo from 1983 (not an Aoshima re-release from 2008), built out of the box and in its original livery from the TV series. In fact, this blue PA-58N is not a specific armor, but rather the "bread and butter" infantry piece of Earth's Defence Forces, much like the Stormtrooper in Star Wars.
As such, it is the lightest and smallest Powered Armor model from the Dorvack series, and these compact PA models normally only carry light hand weapons, not the integrated and much heavier armament of the bigger models that are uses by artillery units and commanding staff.
I had this kit stashed away for this purpose for a long while, and I was just in the mood to eventually tackle it.
Nothing was changed, and the build is pretty simple and straightforward - I'd recommend the PA-58 for anyone who wants to try one of the PA models, because the fit is quite good and there are no real big surprises. The only thing to watch out for are the arms, because the halves that make up each upper and lower arm are specific to each side. They are easy to confuse!
Furthermore, the typical "Matryoshka" construction of the legs (finish the feet first, then you add the lower legs like a clamshell, and finally the upper legs in a similar manner) takes time, patience and care - at least when you want to paint the interior and hide the seams through PSR.
This standard PA-58N comes with a hand weapon, apparently some kind of automatic weapon, that the model holds with both hands. If you want this configuration for your model, too, you HAVE to search for the original Gunze Sangyo kit. Even though the Aoshima re-release double combo contains this blue PA-58N variant, it comes with a clumsy, two-handed rocket launcher which I personally do not find very attractive. Thankfully, the kit contains beyond the sprue for the weapon with hands that hold it another pair of open/empty extra hands if you want to display it without the weapon.
Furthermore, the kit offers as an option the weird lens radome that commanders frequently carry on top of their PAs, also on bigger PA models like the PA-36.
As a side note, there's also another PA-58N kit in a desert camo (called "Halk Sovat") with a similar configuration, just carrying a kind of Bazooka (which also comes in the Aoshima re-release, but again with a different, two-handed weapon, not the original one).
The paint scheme on this PA-58N is 100% authentic, I stayed close to the rather simple appearance of this mecha in the TV series. I have seen models of the "Halk" (I wonder if this name is a Japanese malaproprism of the English "Hulk"?) with more sophistication, e.g. with fine yellow trim lines along the legs - but these do not appear in the TV series. There's also a lot room for interpretation concerning the color of the ball joints, which are silver or just grey like the upper arms and legs?
The helmet section was painted pure black (Humbrol 21), the light grey is Humbrol 127 (FS 36375). For the blue I originally wanted to use Humbrol 109, but the paint turned out to be a turd from the horrible Belgian production batch a couple of years ago - it did not dry at all!!! So, I scrapped any initial enamel paint off and replaced it with French Blue from Testors, which is much brighter and a bit darker, but I think that it was in the end even the better color.
A white box (Humbrol 22) was added to the front as well as some red (Humbrol 19) highlights around the visor and the helmet. The ball joints were painted with Humbrol's Polished Aluminum Metallizer. The handgun was painted in orange (Humbrol 82).
The only thing that is not original are the decals, though: the OOB sheet (from 1983!) has become blind over the years, so that I had to replace the set from a 2008 Aoshima re-release of this kit.
The whole kit received a black ink wash and some post-shading treatment, as well as light dry-brushing with medium grey. Some soot stains were added to the gun nozzle and under the exhaust of the jump booster on the back.
In a final step, the whole model received a matt acrylic varnish coat and the visor elements were laid out in silver and painted with clear paint in blue and pink.
A colorful model, and another PA for the "authentic" department of my growing model collection.
Specific date: 7/22/1936
Draftsman: Zachariah. Pencil on tissue. Plan, section and key map. LN: 35.25 X HT: 23.625
Tune into radio station 106.9 when in the vicinity. RENEE PETROPOULOS
“PERSHING SQUARE/TITLE”
Curated by Susan Horowitz- Independent Curator for Phantom Galleries LA
PERSHING SQUARE/ TITLE GUARANTEE BUILDING LOFTS
1929-31 JOHN & DONALD PARKINSON ARCHITECTS
CITY OF LA HISTORIC-CULTURAL MONUMENT- DESIGNATED 1984
411 West 5th Street Los Angeles, 90013
car radio (106.9 fm) when traveling in the vicinity
Exhibit runs: April 22- June 30, 2008.
Pedestrian viewing 24/7
PERSHING SQUARE/TITLE is a site-specific visual and sound installation by artist Renee Petropoulos. This project continues Renee Petropoulos' exploration of the relationship between the architectural and social culture of LA. The starting point for this project is the original function of the building which housed the Title Guarantee and Trust Co., a business comprised of holding the deeds to LA properties. The work consists of a series of audio commentaries by various voices (people) revealing their points of view on different LA locations. Both amateur and authoritative voices are included and the often poetic, emotional nature of the language of these perceptions reveals unexpected passions for the historic and the current elements of the city. Descriptions of hospital rooms, immigration offices, cinema locations and palatial pink factories serve to illuminate our cumulative and collective response to LA. The fusion of the public and private perceptions of the city furthers ideas about architecture, ownership and individual interior reflection.
The project will be in constant evolution reflecting a changing situation through both audio and visual encounters. The audio component of the interviews will be broadcast from the building being available at street level, and through your car radio (106.9fm) when traveling in the vicinity and via the PhantomGalleriesLA.com website, excerpts made of vinyl lettering, culled from the interviews will be added one sentence at a time on a weekly basis to the Title Guarantee Building Art Space Windows.
“PERSHING SQUARE/TITLE” at the Art Deco/ Zigzag Moderne LA Historic-Cultural Monument on Pershing Square, presents a compelling urban street experience of encountering diverse perspectives of LA. The Pershing Square area is central to Downtown LA’s extraordinary urban transformation as a vital place to work, live and visit. It is a resonant place to consider the issues raised by this public art work.
Media contact Phantom Galleries LA:
Liza Simone
213.626.2854
Liza@PhantomGalleriesLA.com
Upcoming Title Guarantee Building Art Space Exhibits:
July curated by Dangerous Curve DangerousCurve.org
August curated by LACDA lacda.com
September curated by Edgar Varela Fine Art EdgarVarelaFineArts.com
LA artist Renee Petropoulos has produced permanent public art here including her mural in the rotunda of the LA Central Library, installations in Culver City and the Metro Green Line in El Segundo. She has exhibited her work extensively and produced temporary and permanent installations internationally. Her recent 2007 exhibition, Social Arrangements, featured five related ongoing projects encompassing painting, sculpture and audio. She is represented here by the Rosamund Felsen Gallery (rosamundfelsen.com/petropoulos/index.php). and is currently a professor in the graduate division of the Otis College of Art and Design.
Susan Horowitz is an independent curator and artist. She is working with Phantom Galleries LA to curate exhibits that illuminate contemporary urban issues. Her photo/text art work focuses on an exploration of the complex relationship between the individual, nature, and architecture of the urban West. Her current exhibition LA CONTINUUM, a collaboration with Carol Bishop, is a collection of glimpses of the flux of urban land, development and architecture. Hennessey and Ingalls Art and Architecture Books in Santa Monica (hennesseyingalls.com).
WEBSITE - susanhorowitz-laprojects.com
Phantom Galleries LA is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Title Guarantee Building Lofts
While the exterior architecture has qualified the building for inclusion on the Nation Historic Register, the completely reconstructed interiors are perfect for today’s modern living. Experience the excitement of the new Downtown Los Angeles and live in a landmark. For further information about The Title Guarantee Building Lofts contact 213. 627.3939 or titleguaranteebuilding.com
For further information about this exhibit contact - susanhorowitzproject@mac.com
For further information about Phantom Galleries LA contact Liza@PhantomGalleriesLA.com www.PHANTOMGALLERIESLA.COM
INSTALLATION IMAGES + STREAMING AUDIO ON PHANTOMGALLERIESLA.com
Phantom Galleries LA is proud to announce their invitation to curate and oversee exhibits showcasing the Art and Culture of Downtown Los Angeles at the new Title Guarantee Building Public Art Window Space. Exhibits are curated by Downtown LA Arts Organizations, Galleries, Independent Curators, and Artists and/or focus on topics about Downtown Los Angeles.
Candid shot captured during "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
A Report to the Michigan Bird Records Committee
1. Species.
Spotted Redshank, Tringa erythropus
2. Number of individuals.
One
3. Date and time of sighting. (Please be sure to indicate how long your observations lasted.)
On 2 November 2018, discovered at 4:20 PM (DST) and last observed at 5:00 PM (DST), within this time span observed and photographed for at least 23 minutes
4. County.
Washtenaw County
5. Exact location. (Please be as specific as possible, including nearest crossroads; include GPS coordinates if known, as well as coordinate system and receiver type.)
Southeast of Scio Church Road and Parker Road intersection in Section 6, Lodi Township and northeast of this intersection in Section 31, Scio Township.
6. Detailed description of appearance. (Please be as specific as you can, and include if possible: size; shape; bill, eye and leg characteristics; color and pattern of plumage; and any other features that you observed. This is the most important part of your submission.)
A dusky, smoky-brown shorebird with long orange-red legs caught Margaret Jewett's eyes. It was on a mud flat in a marshy pond located about 150 feet to the east of Parker Road in Section 6 of Lodi Township. It had a typical Tringa shape and a long, fine straight bill; its size appeared somewhat smaller than that of an accompanying Greater Yellowlegs Tringa melanoleuca. With effort Margaret called my attention to this bird; at the time I was contemplating taking photos of a Pectoral Sandpiper Calidris melanotos. As soon as I had focused my binoculars on Margaret's bird, it took flight, revealing an oval white back patch that clearly contrasted with the dusky mantle, dusky wings and gray tail. These characteristics plus the orange-red tarsi clinched its immediate identification. Nevertheless I found it hard to believe what I had just seen. With binoculars I followed its flight to where it landed beyond a curtain of cattails and brush at the extreme north end of the marsh in Section 31 of Scio Township. Once relocated, I observed and photographed it at distances of 60 to 100 feet as it foraged, preened and dozed.
By direct comparison with eight Greater Yellowlegs, its overall form appeared more delicate and its movements more elegant than that of the yellowlegs. It frequently waded up to its belly, sometimes even swimming for several feet. Ongoing photographs viewed through my camera's LCD and later through Margaret's scope revealed the so-called kink or droop near the tip of the upper mandible. The bill was between 1.25 times to 1.3 times the length of the head in lateral profile. The basal one-third to almost one-half of the lower mandible was orange-red, but the hue was less intense than the orange-red of the tarsi. The rest of the bill was almost black. Also, photos revealed the hind toe and the small web between the outer two toes.
The Spotted Redshank was a hatch-year bird for the most part in first-basic plumage and it was in preformative molt: some of the scapulars of the bird's left and right side, as well as some of the mantle feathers, exhibited the plain-gray feathers of fresh formative plumage.
The white super-loral stripe was a notable facial feature, separating the dark brown lores from the gray-brown forehead. Above the postocular line was a patch of white post-ocular spots. A white upper and lower eye arc framed the dark eye. The ear coverts were marbled light gray.
The cream-white vent, flanks and under tail-coverts were closely barred with gray, whereas the cream-white belly had sparse gray barring. The throat, neck and breast were streaked gray and white. The forehead, crown and nape were gray-brown with delicate white streaks or tiny spots. The mantle was gray-brown with small white spots. The darker margins of the gray-brown scapulars, tertials and greater coverts had white notches. Likewise, the upper wing coverts were gray-brown with white marginal notches or spots.
Three primary tips extended beyond the tertials and fell short of the tail tip. Rectrix one and two (the top of the tail) were gray; their margins had white notches, between which black blobs extended as faded dark-gray bars toward the shaft. The margins of the closed lower rectrices appeared as a pattern of black and white spots.
7. Description of voice.
Sometimes, when taking flight across a stretch of water to rejoin the Greater Yellowlegs, the Spotted Redshank called with a brief series of disyllabic notes of changing tone, the rising inflection of which was utterly different than that of the single monotonic “teu” notes of the yellowlegs.
8. Behaviors observed.
My patience, a necessity for photography, coupled with six-and-a-half decades of bird observation, transformed this encounter into an experience of sheer pleasure, the kind that only an unimaginable surprise gives—almost nothing went unnoticed as a bit of the Palaearctic world unfolded before my eyes. During my slow, extremely cautious approach of stop and go, the Spotted Redshank stood stark still and alert with head held high, giving the occasional characteristic head-nod of the Tringa genus. I stood behind my tripod with mounted camera and lens in order to partially shield from view my upright stance. Except for slight movements of my head and hands for photography, I remained motionless throughout my observation. After accepting my presence, the bird foraged actively where patches of muddy shoreline protruded into open water, often wading up to its belly, even swimming across narrow stretches of deeper water. Foraging was by bill-probing into water or mud. Small prey items, usually pea size or smaller, were extracted with the bill and immediately swallowed. Two prey items were identified, each being a leech Hirudinea, one of which upon being snatched coiled itself around the bird's bill only to be swallowed whole.
Sometimes the Spotted Redshank foraged in loose association with one of eight Greater Yellowlegs. It seemed to have a subordinate position, for its tendency was to give way to the direct advances of any of the Greater Yellowlegs. After actively foraging, the Spotted Redshank became stationary, preening its body plumage, then dozing intermittently with eyes closed and head pulled in. Upon becoming active again, it foraged on a mud flat among the prostrate branches of a long-dead, fallen tree. As a result I could no longer take unobstructed photos nor continuously view it. Therefore I returned to Parker Road and rejoined Margaret Jewett. Together we relocated the bird from Scio Church Road and through her scope watched it forage, rest and preen.
9. Habitat
Habitat is a small wetland surrounded by agrarian fields and partitioned by two paved highways. A portion of the wetland is a pond at very low-water stage having broken stretches of mud flat. The marshy portions have patches of Typha and some shrubbery such as Salix, Cornus and Cephalanthus, as well as collapsed dead trees and standing stubs. A thick growth of Calamagrostis, Phalaris and Bidens partially covers the soggy outer edges of the marsh.
10. Similar Species and how eliminated
The possibility of the observed bird being an aberrant yellowlegs with orange tarsi was ruled out. Yellowlegs lack the following three characteristics which this Spotted Redshank had.
First, the bill structure did not conform to that of a Lesser Yellowlegs, being far too long in comparison to that of the head length. Nor did the bill conform to that of the Greater Yellowlegs, being far too thin and terminating into that peculiar droop which the Spotted Redshank is noted for. Furthermore, the basal portion of the lower mandible was notably orange-red and extended for a little over one-third the bill length, a colorful feature that yellowlegs lack.
Second, the oval white patch reaching up the back as revealed in flight is something that yellowlegs lack.
Third, the vent and belly of yellowlegs lack the gray barring that this juvenile Spotted Redshank had.
Last but not least, the Spotted Redshank lacked the stunning white secondaries of the Common Redshank Tringa totanus.
11. Previous experience with this species and similar species.
I’ve studied Spotted Redshanks as wintering birds in Morocco and as spring arrivals in Finland. I’ve observed Common Redshanks within a span of 27 years in Iceland, Denmark, Norway, Sweden, Finland, Morocco and Japan. My experience with both species of yellowlegs reaches back to 1960 in North America.
12. Distance from bird(s) and how measured or estimated (indicate which).
Observation distances ranged from 60 to 100 feet. A Google Earth map at a 50-foot scale was used to approximate these distances.
13. Optical equipment used.
Swarovski EL 10X42 binoculars; Canon Lens EF 500mm with Extender 1.4x and Canon camera EOS 5D Mark IV; Margaret Jewett’s Leica 10X42 binoculars and her Swarovski 25X-60X 85mm spotting scope.
14. Light (sunny versus cloudy, position of sun in relation to bird[s] and you).
The entire sky was low with clouds.
As I faced the bird, its position in the marsh ranged from due east to north by northeast from me. As Margaret Jewett and I faced the bird, its position from us on Scio Church road was north by northwest. Therefore, the sun’s position would have been on the right side of my back in the marsh and on the left side of our backs while on the road (considering the Sun’s southward position on that date and time).
15. Other observers:
Margaret Jewett.
Subsequently, there were hundreds of other observers from around the country.
16. Did the others agree with your identification? (Please give contact information)
Margaret Jewett agreed with my identification. Her description of field marks as seen through her scope was submitted to eBird and included: Shorebird smaller than greater yellowlegs with striking red legs and lower mandible; long, thin bill with a slight droop at tip of bill(seen in photographs); brownish gray tertials with white margins interrupted by black notches looking like stitching; white fore-supercilium and red lower mandible highlighting pre-ocular black line connecting the eye to the black upper mandible; in combination with the red legs, the diagnostic white elliptical patch on the back observed when preening; first calendar year bird showing several all gray formative feathers on the upper scapulars and juvenile barring along the flanks.
Subsequently, hundreds of other observers from around the country agreed with this identification.
17. When did you first write down notes describing the bird(s) in question? (If you have field notes or notes written within a few days after returning from the field, then please include scans or photocopies of them with your submission.)
I did not take field notes. I have 177 photos ranging from very good to excellent showing all aspects of the bird in detail. Margaret took note of the field characteristics as I outlined them to her in the field. She submitted her description (above) to eBird within 24 hours of the sighting.
18. Books and other references consulted.
I did not need to consult books and references. The primary reference was the photos of the bird. Margaret Jewett referred to her Sibley’s and National Geographic Field Guides as well as Shorebirds: an identification guide by Peter Hayman, John Marchant, and Tony Prater.
19. Were the references consulted before or after you first wrote down a description?
Margaret looked at the field guides in her car for a general description after first spotting the shorebird with the red legs. The guides were not in hand when she viewed the bird and observed its characteristics.
20. How did the references influence the description?
The references did not influence the description. The references, in conjunction with the photographs, corroborated the identification.
21. Were photographs obtained?
One hundred seventy-seven photographs were obtained
22. Your name.
Alan J Ryff
Date you filled out this form.
10 November 2018
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Michael Warren (born 1950 in Gorey, County Wexford, Ireland) is an Irish sculptor who produces site-specific public art.
Inspired by Oisín Kelly, his art teacher at St Columba's College, Michael Warren studied at Bath Academy of Art, at Trinity College, Dublin and, from 1971–75, at the Accademia di Brera in Milan. He now lives and works in Co. Wexford.
He has a number of very visible works in Ireland, including the large sweeping wood sculpture in front of the Dublin Civic Offices. Wood Quay, where the civic offices stand, was the centre of Viking Dublin and the sculpture evokes the form, and the powerful grace, of a Viking ship. It also reflects vertically the horizontal sweep of the nearby Liffey as it enters its bay. A complex balance of meanings matching a delicate, though massive, balance of substance is typical of his work. Warren himself describes the useful ambiguity of abstraction (Hill 1998)
With Roland Tallon he created Tulach a' tSolais (Mound of Light), a memorial to the 1798 rebellion. Here, a room was hollowed out of a small hill; the room contains two abstract curved oak forms and is illuminated by natural light falling through a long slot in its ceiling and walls. Despite the unusual and abstract constitution of this memorial and despite the fraught political resonance of the rebellion, Tulach a' tSolais is popular and something of a local attraction. His Gateway in Dún Laoghaire was less popular with some local people and it was eventually removed and returned to the artist.
At the northern entrance to the village of Leighlinbridge, County Carlow, is a sculpture by Michael Warren, depicting the thrones of the ancient seat of the Kings of South Leinster at Dinn Righ (The hill of the Kings). The Kings of Leinster lived near the village.
Candid shot captured during "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
Examine the Anvil sizing graph for specific Guy's as well as Female's t-shirt sizes. Food product Showcases Vaping, Vaporizer, Keep one's cool Vape On, Vaper, Girls That Vape, Unisex T-shirt Lightweight, Standard fit, TearAway tag, Double-needle sleeve as well as lower hem Have you made the button from cigarette smoking to vaping?
www.vapestore.wupples.com/index.php/2016/02/07/vape-t-shi...
Yellow-billed stork
Geelbek ooievaar
Nimmersat
(Mycteria ibis)
The yellow-billed stork (Mycteria ibis), sometimes also called the wood stork or wood ibis, is a large African wading stork species in the family Ciconiidae. It is widespread in regions south of the Sahara and also occurs in Madagascar.
The yellow-billed stork is closely related to 3 other species in the genus Mycteria: the American woodstork (Mycteria americana), the milky stork (Mycteria cinerea) and the painted stork (Mycteria leucocephala). It is classified as belonging to one clade with these 3 other species because they all display remarkable homologies in behavior and morphology. In one analytical study of feeding and courtship behaviours of the wood-stork family, M.P. Kahl attributed the same general ethology to all members of the genus Mycteria, with few species-specific variations. These four species are collectively referred to as the wood-storks, which should not be confused with one alternative common name (wood-stork) for the yellow-billed stork.
Before it was established that the yellow-billed stork was closely related to the American woodstork, the former was classified as belonging to the genus Ibis, together with the milky stork and painted stork. However, the yellow-billed stork has actually long been recognised as a true stork and along with the other 3 related stork species, it should not strictly be called an ibis.
It is a medium-sized stork standing 90–105 cm (35–41 in) tall. The body is white with a short black tail that is glossed green and purple when freshly moulted. The bill is deep yellow, slightly decurved at the end and has a rounder cross-section than in other stork species outside the Mycteria. Feathers extend onto the head and neck just behind the eyes, with the face and forehead being covered by deep red skin. Both sexes are similar in appearance, but the male is larger and has a slightly longer heavier bill. Males and females weigh approximately 2.3 kg (5.1 lb) and 1.9 kg (4.2 lb) respectively.
Colouration becomes more vivid during the breeding season. In the breeding season, the plumage is coloured pink on the upperwings and back; the ordinarily brown legs also turn bright pink; the bill becomes a deeper yellow and the face becomes a deeper red.
Juveniles are greyish-brown with a dull, partially bare, orange face and a dull yellowish bill. The legs and feet are brown and feathers all over the body are blackish-brown. At fledging, salmon-pink colouration in the underwings begins to develop and after about one year, the plumage is greyish-white. Flight feathers on the tail and wing also become black. Later, the pink colouration typical of adult plumage begins to appear.
These storks walk with a high-stepped stalking gait on the ground of shallow water and their approximate walking rate has been recorded as 70 steps per minute. They fly with alternating flaps and glides, with the speed of their flaps averaging 177–205 beats per minute.They usually flap only for short journeys and often fly in a soaring and gliding motion over several kilometres for locomotion between breeding colonies or roosts and feeding sites. By soaring on thermals and gliding by turns, they can cover large distances without wasting much energy. On descending from high altitudes, this stork has been observed to dive deeply at high speeds and flip over and over from side to side, hence showing impressive aerobatics. It even appears to enjoy these aerial stunts.
This species is generally non-vocal, but utters hissing falsetto screams during social displays in the breeding season. These storks also engage in bill clattering and an audible “woofing” wing beat at breeding colonies Nestlings make a loud continual monotonous braying call to beg parental adults for food.
The yellow-billed stork occurs primarily in Eastern Africa, but is widely distributed in areas extending from Senegal and Somalia down to South Africa and in some regions of western Madagascar. During one observation of a mixed species bird colony on the Tana River in Kenya, it was found to be the commonest species there, with 2000 individuals being counted at once.
It does not generally migrate far, at least not out of its breeding range; but usually makes short migratory movements which are influenced by rainfall. It makes local movements in Kenya and has also been found to migrate from North to South Sudan with the rainy season It may also migrate regularly to and from South Africa. However, little is actually known about this bird’s general migratory movements. Due to apparent observed variation in migratory patterns throughout Africa, the yellow-billed stork has been termed a facultative nomad. It may migrate simply to avoid areas where water or rainfall conditions are too high or too low for feeding on prey. Some populations migrate considerable distances between feeding or breeding sites; usually by using thermals to soar and glide. Other local populations have been found to be sedentary and remain in their respective habitats all year round.
Its preferred habitats include wetlands, shallow lakes and mudflats, usually 10–40 cm deep but it usually avoids heavily forested regions in central Africa. It also avoids flooded regions and deep expansive bodies of water because feeding conditions there are unsuitable for their typical grope and stir feeding techniques.
This species breeds especially in Kenya and Tanzania. Although it is known to breed in Uganda, breeding sites have not been recorded there. It has been found to breed also in Malakol in Sudan and often inside walled cities in West Africa from Gambia down to northern Nigeria. Still other breeding sites include Zululand in South Africa and northern Botswana,[12] but are rarer below northern Botswana and Zimbabwe where sites are well-watered. Although there is no direct evidence of current breeding in Madagascar, young birds unable to fly have been observed near Lake Kinkony during October.
Their diet comprises mainly small, freshwater fish of about 60-100mm length and maximally 150g, which they swallow whole. They also feed on crustaceans, worms, aquatic insects, frogs and occasionally small mammals and birds.
This species appears to rely mainly on sense of touch to detect and capture prey, rather than by vision. They feed patiently by walking through the water with partially open bills and probe the water for prey. Contact of the bill with a prey item is followed by a rapid snap-bill reflex, whereby the bird snaps shut its mandibles, raises its head and swallows the prey whole. The speed of this reflex in the closely related American woodstork (Mycteria americana) has been recorded as 25 milliseconds and although the corresponding reflex in the yellow-billed stork has not been quantitatively measured, the yellow-billed stork’s feeding mechanism appears to be at least qualitatively identical to that of the American woodstork.
In addition to the snap-bill reflex, the yellow-billed stork also uses a systematic foot stirring technique to sound out evasive prey. It prods and churns up the bottom of the water as part of a “herding mechanism” to force prey out of the bottom vegetation and into the bird’s bill. The bird does this several times with one foot before bringing it forwards and repeating with the other foot. Although they are normally active predators, they have also been observed to scavenge fish regurgitated by cormorants.
The yellow-billed stork has been observed to follow moving crocodiles or hippopotami through the water and feed behind them, appearing to take advantage of organisms churned up by their quarry. Feeding lasts for only a short time before the bird obtains its requirements and proceeds to rest again.
Parents feed their young by regurgitating fish onto the nest floor, whereupon it is picked up and consumed by the nestlings. The young eat voraciously and an individual nestling increases its body weight from 50 grams to 600 grams during the first ten days of its life. Hence, this species has earned the German colloquial common name “Nimmersatt”; meaning “never full”.
Breeding is seasonal and appears to be stimulated by the peak of long heavy rainfall and resultant flooding of shallow marshes, usually near Lake Victoria. This flooding is linked to an increase in prey fish availability; and reproduction is therefore synchronised with this peak in food availability. In such observations near Kisumu, M.P. Kahl’s explanation for this trend was that in the dry season, most prey fish are forced to leave the dried-up, deoxygenated marshes that cannot support them and retreat to the deep waters of Lake Victoria where the storks cannot reach them. However, fish move back up the streams on the onset of rain and spread out over the marshes to breed, where they become accessible to the storks. By nesting at this time and providing that the rains do not end pre-maturely, the storks are guaranteed a plentiful food supply for their young.
The yellow-billed stork may also begin nesting and breeding at the end of long rains. This occurs especially on flat extensive marshlands as water levels gradually decrease and concentrate fish sufficiently for the storks to feed on. However, unseasonal rainfall has also been reported to induce off-season breeding in northern Botswana and western and eastern Kenya. Rainfall may cause local flooding and hence ideal feeding conditions. This stork appears to breed simply when rainfall and local flooding are optimal and hence seems to be flexible in its temporal breeding pattern, which varies with rainfall pattern throughout the African continent.
As with all stork species, male yellow-billed storks select and occupy potential nest sites in trees, whereupon females attempt to approach the males. The yellow-billed stork has an extensive repertoire of courtship behaviours near and at the nest that may lead to pair formation and copulation. Generally, these courtship behaviours are also assumed to be common to all Mycteria species and show remarkable homology within the genus Mycteria. After the male has initially established at the nesting-site and the female begins to approach, he displays behaviours that advertise himself to her. One of these is the Display Preening, whereby the male pretends to strip down each of his extended wings with the bill several times each side and the bill does not effectively close around the feathers. Another observed display among males is the Swaying-Twig Grasping. Here, the male stands on the potential nesting-site and bends over to gently grasp and release underlying twigs at regular intervals. This is sometimes accompanied by side-to-side oscillations of the neck and head and he continues to pick at twigs in between such movements.
Reciprocally, approaching females display their own distinct behaviours. One such behaviour is the Balancing Posture, whereby she walks with a horizontal body axis and extended wings toward the male occupying the nesting-site. Later, when the female continues to approach or already stands near an established male, she may also engage in Gaping. Here, the bill is gaped open slightly with the neck inclined upward at about 45o . and often occurs in conjunction with the Balancing-Posture. This behaviour ordinarily continues if the male accepts the female and has allowed her to enter the nest, but the female usually closes her wings by this time. The male may also continue his Display-Preening when standing next to the female in the nest
During copulation, the male steps onto the female’s back from the side, hooks his feet over her shoulders, holds out his wings for balance and finally bends his legs to lower himself for cloacal contact, as happens in most birds. In turn, the female holds out her wings almost horizontally. The process is accompanied by bill clattering from the male as he regularly opens and closes his mandibles and vigorously shakes his head to beat his bill against the female’s. In turn, the female keeps her bill horizontal with the male’s or inclined downward at approximately 45 degrees.] Average copulation time in this species has been calculated as 15.7 seconds.
The male and female build the nest together either in high trees on dry land away from predators, or in small trees over water. Nest building takes up to 10 days. The nest may be 80–100 cm in diameter and 20–30 cm thick. The female typically lays 2-4 eggs (usually 3) on alternate days[ and average clutch size has been recorded as 2.5. The male and female share duties to incubate the eggs, which takes up to 30 days. As in many other stork species, hatching is asynchronous (usually at 1- to 2-day intervals), so that the young in the brood differ considerably in body size at any one time. During food shortage, the smaller young are at risk of being outcompeted for food by their larger nest-mates.
Both parents share duties of guarding and feeding the young until the latter are about 21 days old. Thereafter, both parents forage to attend to the young’s intense food demands. Alongside parental feeding by regurgitation of fish, parents have also been observed to regurgitate water into the open bills of their nestlings, especially on hot days. This may aid the typical thermoregulatory strategy of the young (common to all stork species) to excrete dilute urine down their legs in response to hot weather. Water regurgitated over the young serves as a water supplement in addition to fluid in their food, so that they have sufficient water to continue urinating down their legs to avoid hyperventilation. Additionally, parents sometimes help keep the young cool by shading them with their open wings.
The nestlings usually fledge after 50–55 days of hatching and fly away from the nest. However, after leaving the nest for the first time, the offspring often return there to be fed by their parents and roost with them for another 1–3 weeks. It is also thought that individuals are not fully adult until 3 years old and despite lack of data, new adults are thought to not breed until much later than this.
Fledglings have also been observed to not differ considerably in their foraging and feeding strategies from adults. In one investigation, four adult, hand-reared yellow-billed storks kept in captivity showed typical grope-feeding and foot stirring shortly after they were introduced to bodies of water. Hence, this suggests that such feeding techniques in this species are innate.
These birds breed colonially, often alongside other species; but the yellow-billed stork is sometimes the only occupant species of a nesting site. A subset of up to 20 individuals may nest close together in any one part of a colony; with several males occupying potential nest sites all in the same place. If many of these males do not acquire mates, the whole group moves on with the unpaired females to another tree. These “bachelor parties” are a noticeable feature of colonies of this species and usually consist of 12 or more males and at least as many females. As many as 50 nests have been counted all at once in a single breeding area.
Despite their gregariousness during breeding, most individuals generally ignore each other outside nesting-sites; although some hostile encounters may occur. Some of these encounters involve one individual showing an unambiguous attack or escape response if there is a large difference in social status between the two individuals. However, if two individuals are equally matched, they slowly approach each other and show a ritualised display called the Forward Threat. Here, one individual holds its body forward horizontally and retracts the neck so that it touches the crown, with the tail cocked at 45 degrees and all feathers erect. It approaches the opponent and points its bill at it, sometimes gaping. If the opponent does not capitulate, the attacker may grab at it with its bill and the two may briefly spar with their bills until one retreats in an erect stance with compressed plumage.
Hostility can also arise between opposite sexes when a female approaches a male on a potential nest site. Both sexes may display a similar aforementioned Forward Threat, but clatter their bills after grabbing with them at the other stork and extend their wings to maintain balance. Another hostile behaviour between sexes is the Snap Display,whereby they snap horizontally with their bills while standing upright. This may occur during and immediately after pair formation, but subsides later in the breeding cycle as the male and female become familiar with each other and it eventually disappears.
Nestlings show remarkable behavioural transformations at 3 weeks of age. During the constant parental attendance before this time, the young show little fear or aggression in response to intruders (such as a human observer), but are found to merely crouch low and quietly in the nest. After this time, when both parents go foraging and leave the young in the nest, a nestling shows strong fear in response to an intruder. It either attempts to climb out of the nest to escape or acts aggressively toward the intruder.
WIkipedia
Sow Thistle
s specific epithet oleraceus means "vegetable/herbal".[9][10][a] The common name 'sow thistle' refers to its attractiveness to pigs, and the similarity of the leaf to younger thistle plants. The common name 'hare's thistle' refers to its purported beneficial effects on hare and rabbits.[11]
Invasiveness
Annual sowthistle is considered an invasive species due to its rapid growth, prolific seed production, and wide dispersal. The plant thrives in disturbed environments, such as roadsides and agricultural fields, spreading aggressively through wind-dispersed seeds. It forms dense populations that outcompete native vegetation by quickly establishing in open areas, particularly after soil disturbance. Sowthistle's resilience to various soil types and its ability to reseed itself make it difficult to control in many regions.[12][13][14]
In Australia it is a common and widespread invasive species, with large infestations a serious problem in crops.[15]
Uses
Green salad with carrot, cucumber, onion, sowthistle leaves, and tomato slices
The leaves are eaten as salad greens or cooked like spinach. This is one of the species used in Chinese cuisine as kŭcài (苦菜; lit. bitter vegetable).[citation needed] The younger leaves are less bitter and better to eat raw. Steaming can remove the bitterness of older leaves.[16] The younger roots are also edible and can suffice as a coffee substitute.[17]
Nutrition
Nutritional analysis reveals 30–40 mg of vitamin C per 100g of plant, 1.2% protein, 0.3% fat, 2.4% carbohydrate. Leaf dry matter analysis per 100 g (likely to vary with growing conditions) shows: 45 g carbohydrate, 28 g protein, 22 g ash, 5.9 g fibre, 4.5 g fat; in all, providing 265 calories.
Minerals
Calcium: 1500 mg
Phosphorus: 500 mg
Iron: 45.6 mg
Magnesium: 0 mg
Sodium: 0 mg
Potassium: 0 mg
Zinc: 0 mg
Vitamins
A: 35 mg
Thiamine (B1): 1.5 mg
Riboflavin (B2): 5 mg
Niacin: 5 mg
B6: 0 mg
C: 60 mg
Herbalism
Sonchus oleraceus has a variety of uses in herbalism. It also has been ascribed medicinal qualities similar to dandelion and succory.[11] When the plant was introduced to New Zealand, the Māori people found it similar to and as palatable as their native pūhā or S. kirkii (also known as raurōroa),[4] thus also picked up S. oleraceus (since also named rauriki) for similar food and medical use.[18][19]
Native Americans had many uses for this plant. Pima used its gum as a "cure for the opium habit," as a cathartic, and as a food, where the "{l}eaves and stems {were} rubbed between the palms of the hands and eaten raw" and sometimes "boiled." The Yaqui used the plant as a vegetable, where the "{t}ender, young leaves boiled in salted water with chile and eaten as greens." The Kamia (Kumeyaay) "boiled {the} leaves {and} used {it} for food as greens." The {Houma} used it as an abortifacient where an "{i}nfusion of {the} plant {was} taken to 'make tardy menstruation come;'" an antidiarrheal; for children that were teething; and as hog feed.[20]
The Samaritans eat the leafs of this bitter plant on the feast of passover. The bitter leafs are eaten together with Paschal lamb and unleavened bread, as dictated by the Bible (Exodus 12, 8): “ They shall eat the flesh that night, roasted on the fire; with unleavened bread and bitter herbs they shall eat it.” Thus, the Samaritans identify Sonchus oleraceus with the bitter herbs.
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)
Apparently there were only three 1300 Coupes imported into New Zealand by Campbell Brothers in 1967 – but these figures are hazy as no specific records for Hino were kept, or merged with other sales. So take these figures anecdotally.
I now have photos of two of the three – if this is the case (?)
Outside New Zealand, only Netherlands and Israel saw Hino cars.
Nope, not even the Aussies got em!
More here on this project to be found here:
www.hinosamurai.org/Contents/projects/future_project_NZ/f...
Photos were taken in 2001 as far as I can ascertain – anyone got an up-date on how things are going?
Two photos in this series.
North Meadow National Nature Reserve | Cricklade | Wiltshire
Snakeshead fritillaries, the plants, are exquisite springtime things which grow only in a very specific habitat: hay meadows in lowland flood plains. And since we (in Britain) have lost more than 97 per cent of our old-fashioned hay meadows, to the plough and to intensively grown monoculture grassland, Fritillaria meleagris has become a very rare flower indeed, occurring in fewer than 30 sites in the whole country.
Yet one fritillary site has always been reliable, and not only reliable, but profuse and splendid in its offerings: North Meadow at Cricklade in Wiltshire, the charming small town on the infant Thames. North Meadow is vast, nearly a mile long and covering well over 100 acres and, because its damp surface has never been “improved” with artificial fertilisers or pesticides, it still has its original and magnificent species-richness, containing more than 250 different kinds of plant; yet what makes it perhaps the most celebrated wild-flower meadow in all of England is its fritillary congregation.
There are about 500,000 of them. (No one knows precisely how many, of course, but that’s the conventional estimate.) They represent about 80 per cent of all the fritillaries in the country. Imagine: half a million stems of one of our rarest plant species, all packed into a single field.
Cricklade
My hometown of Cricklade, a 9th Century Saxon settlement, is one of the best places in Britain to experience spring at its blooming best! The rare Snakes Head Fritillary flower can now be seen. It's early days & currently only a few can be seen. However, if you walk along the Northern side of the meadow following the Blue & Orange route you will already be able to see a fine display.
Usually in mid-late April we get a nice showing. However, we've had a very wet winter (wetter than normal), so I'm keeping a close eye out for the developments on the meadow to see if we'll be lucky again (like I was with this shot in 2014).
History
Cricklade North Meadow (a National Nature Reserve protected by Natural England) is an ancient flood plain on the banks of the upper Thames, which is renowned as one of the best examples of a lowland hay meadow in Europe. Before the days of intensive farming, many British meadows used to be covered in wild flowers. Today Cricklade is a living example of how our meadow used to look with its lush carpet of meadow flowers. The meadow continues to be managed through an ancient Leet or manorial court which appoints a Hayward to supervise the grazing and upkeep of the meadow. Ancient farming methods have protected the meadow from development and preserved many wonderful flowers.
One of the most striking is the Snakeshead Fritillary, a rare plant which flourishes in this grassland habitat. The pretty, purple, bell shaped flowers are at their best in Mid-Late April. Cricklade is home to 80% of the UK's population of this rare flower, so-named after the snake-skin pattern and the shape of its bud before it opens. Picking is strictly forbidden, and visitors are asked to keep to the designated footpaths.
Because the meadow has been left to grow hay for the spring and summer, the fritillaries are left untouched to complete their natural annual cycle of growth and seeding before the hay is cut. Look carefully and you'll see the stone markers showing where the meadow was once split into plots for hay making. As well as Fritillaries, the whole meadow is a wild flower haven with flowers such as striking yellow Marsh Marigold, the bright green Adders' Tongue, and the pale lilac Cuckooflower. If you're lucky you might also see the first of the early Marsh Orchids. The edges around the meadow are also full of wildlife with birds such as Cuckoos, Reed Buntings, Chaffinch and Whitethroat.
Taking This Shot
I took this shot in the spring of 2014, when there was a fantastic display of Fritillaries. I had been scouting around for macro shots of individual flowers, but there was such a lovely display on show, I had to shoot this panoramic scene of the meadow as well. I'm glad I did as it turned out to be my best shot of the day!
Visiting In 2016
North Meadow National Nature reserve is situated in North Wiltshire, at the western end of the Thames Valley. The meadow lies to the north-west of the Town of Cricklade, between the River Churn to the north, and the River Thames to the south. The site is approximately seven miles south-east of Cirencester, and eight miles north-west of Swindon.
North Meadow is about 20 minutes walk north-west of Cricklade town centre.
If you are planning to visit this year mid April is usually a good time to see the fritillaries, however as of 4th April there are still no visible fritillaries on show (not that I could see from the marked paths anyway).
I've included some links for anyone interested in visiting, which I hope you will find helpful:
--Natural England: North Meadow
If you do visit Cricklade, be sure to check out The Barista in Cricklade, where you can enjoy seeing this image on display (proudly hung on their wall) as well as the best cup of coffee in Wiltshire!
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
A very specific motorcycle with powerful engine, made specially for the Six Days race, only this one was made.
1997-present
(Site-specific installation on the corner of 6th and Howard St. in San Francisco)
This multi-disciplinary sculptural mural involves seemingly animated furniture; tables, chairs, lamps, grandfather clocks, a refrigerator, and couches, their bodies bent like centipedes, fastened to the walls and window-sills, their insect-like legs seeming to grasp the surfaces. Against society’s expectations, these everyday objects flood out of windows like escapees, out onto available ledges, up and down the walls, onto the fire escapes and off the roof. “DEFENESTRATION” was created by Brian Goggin with the help of over 100 volunteers.
The concept of “DEFENESTRATION”, a word literally meaning “to throw out of a window,” is embodied by both the site and staging of this installation. Located at the corner of Sixth and Howard Streets in San Francisco in an abandoned four-story tenement building, the site is part of a neighborhood that historically has faced economic challenges and has often endured the stigma of skid row status. Reflecting the harsh experience of many members of the community, the furniture is of the streets, cast-off and unappreciated. The simple, unpretentious beauty and humanity of these downtrodden objects is reawakened through the action of the piece. The act of “throwing out” becomes an uplifting gesture of release, inviting reflection on the spirit of the people we live with, the objects we encounter, and the places in which we live.
The ground level has served as a rotating gallery for the vibrant artwork of street muralists.