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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.
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.
Big Questions for Artificial General Intelligence
2. Can abstract knowledge representation serve as an adequate foundation for the adaptive creation of context-specific knowledge representations?
(and if so, what kind?)
From the opening session: Review of AI and AGI Past Present and Future by Ben Goertzel of Novamente at the The First Conference on Artificial General Intelligence (AGI-08) Ben Goertzel was one of the conference organizers and is a driving force in the AGI community.
Artificial General Intelligence (AGI) research focuses on the original and ultimate goal of AI -- to create intelligence as a whole, by exploring all available paths, including theoretical and experimental computer science, cognitive science, neuroscience, and innovative interdisciplinary methodologies. AGI is also called Strong AI in the AI community.
Another good reference is Artificial General Intelligence : A Gentle Introduction by Pei Wang
I030108 551
The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.[2]
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six. A three speed transmission was fitted at first with four speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication and the centre main bearing was made specially large to remove vibration, essentially splitting the engine into two three cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919. Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
During World War I development of the Silver Ghost was suspended, but the chassis and engine were supplied for use in a range of Rolls-Royce Armoured Cars.
The substantial chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever with a pedal operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913, but from 1923, four-wheel, servo-assisted brakes became optional.[3]
Despite these improvements, by the early 1920s the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded. Sales declined from 742 in 1913 to 430 in 1922, and the company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
In all, a total of 7874 Silver Ghost cars were produced from 1907 to 1926 including 1701 from the American Springfield factory, many of them still running to this day.
Wheel of life - Tibetan Thangka ~ૐ~
" We must look to our past to improve our future "
The Wheel of life is held up to us as a mirror by Yama the god of Death.
Hand painted on silk
Mmm i would think 1920-40s
History
Most older Thangkas were painted under the direction of Buddhist monks for specific religious purposes, not for commercial use or sale to individuals.
Because of this very few that are over a hundred years old are in circulation.
Tibet, once isolated and relatively inaccessible because of its location is now part of the People's Republic of China.
In recent years Tibet has been undergoing change and as with any change some things cease to be, while others that were, are lost.
The rarity of such paintings make them sought after by collectors interested in the Tibetan culture.
Further Information
Source: Wikipedia
"A thangka, variously spelt as tangka, thanka or tanka is a Tibetan Buddhist painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display.
Most thankas are relatively small, comparable in size to a Western half-length portrait, but some are extremely large, several metres in each dimension; these were designed to be displayed, typically for very brief periods on a monastery wall, as part of religious festivals.
Most thankas were intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition.
Thangka serve as important teaching tools depicting the life of the Buddha, various influential lamas and other deities and bodhisattvas.
Thangka perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities.
Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment.
The Buddhist Vajrayana practitioner uses a thanga image of their yidam, or meditation deity, as a guide, by visualizing "themselves as being that deity, thereby internalizing the Buddha qualities".
Thangkas hang on or beside altars, and may be hung in the bedrooms or offices of monks and other devotees."
(Thangka Tangka Thanka Tanka Tibetan Buddhist Painting)
Sharing this piece from my collection.
Here is a contemporary thangka depicting a Bhaivachakra in the form of a Tibetan Wheel of Life and Death.
The bhaivachakra is religious iconography showing what is best described as a chart or diagram rather than a deity. It is an ancient memorization and teaching tool taking diverse forms which, when combined with an accompanying oral tradition, was intended to be useful when presenting Buddhist concepts of cosmology, philosophy, rebirth, karma, etc. to the illiterate; a critical aspect when we consider that only a tiny percentage of people were literate until very recently. Some Buddhists believe that the first bhaivachakra was composed by the Buddha at the request of a king and that he subsequently instructed a copy of it to be placed at the entrance to each Buddhist place of study and someone knowledgeable always available to explain it to the curious. The oldest known bhaivachakra is a fragmentary fresco, painted on the inner porch wall of a monolithic monastery at the Ajanta complex (cave 17) in India, and dates to around the 5th century CE, one thousand years after the Buddha lived. It is hypothesized that the lack of more ancient examples may be explained by the bhaivachakras traditionally being painted on the exterior walls of structures and thus subjected to weathering. It is also hypothesized that the bhaivachakra is actually of much more recent origin, a product of the later Buddhist monastic institution.
The bhaivachakra represents the Four Noble Truths of Buddhism: The truth of suffering, the truth of the path to suffering, the truth of the end of suffering, and the truth of the path to the end of suffering. It is composed of images of what is called the Desire Realm, the realm in which we all exist. It also depicts Samsara, the cycle of birth, death, and rebirth experienced by all beings in the desire realm until they achieve enlightenment. It is held in the grip of a monster representing the inexorable destructive force of time. It floats in a field of emptiness representing nirvana. The bhaivachakra is full of visual metaphors, symbolism, and analogies intended to elucidate key Buddhist concepts such as universal suffering, rebirth, karma, dependent origination, etc. I believe it is important to first understand that it is being shown, and seen, from an exclusively human perspective and then we may begin with an examination of the individual sections. Generally, the sections are noted as:
•the center
•the ring of karma
•the realms of existence (desire realm)
•the outer rim (links of dependent origination)
•the monster
•the field.
THE CENTER is the most important part of the bhaivachakra to understand. Here we see three animals, a pig, a snake, and a rooster. These animals are meant, by their natures, to represent ignorance, hatred, and greed; called the three poisons. The three poisons and their opposites, wisdom, compassion, and selflessness, cause the accumulation of negative or positive karma through the intentions, thoughts, words, and actions they motivate. This karma is the power that drives the wheel and results in a rebirth into a higher or lower realm of existence. It is no accident that these animals inhabit the central position in the bhaivachakra or that there are lines visibly connecting them to every other part of the wheel.
THE RING OF KARMA surrounds the center. The white half represents good karma; thoughts, words, and acts which are motivated by wisdom, compassion, and selflessness are good karma and eventually lead to a rebirth into one of the higher realms. The black half represents bad karma; thoughts, words, and acts which are motivated by ignorance, hatred, and greed are bad karma and eventually lead to a rebirth in one of the lower realms. The images in these areas represent the actions of good and bad karma on humans.
THE DESIRE REALM lies outside the ring of karma and is here separated into five sections, one for each type of inhabitant; although often six sections may be shown. Some people believe that these sub-realms are best understood as human mental states rather than as physical locations within the Buddhist cosmological belief system. This is a very important distinction since it directly speaks to fundamental Buddhist concepts such as rebirth, universal suffering, and karma.
THE GOD REALM is shown at the top left of the circle. In the god realms, there are said to be 26 of them, live two kinds of divine beings called Devas and Asuras. They differ in that the Devas are generally happy, content, and benevolent while the Asuras are unhappy, discontented, and malign. They are shown fighting each other because the Devas, oblivious to anything but their own comforts and pleasures, keep all of the fruit of the wish-fulfilling tree, whose roots are actually in the Asura area, for themselves. The Asuras are jealous because of this and constantly, although unsuccessfully, make war on the Devas. Though both Devas and Asuras are divine beings they are not immortal and are subject to the same laws of karma as all other beings. One may be reborn into the god realm after accumulating enough good karma. If you do so with wisdom, compassion, and selflessness in your heart you are reborn as a Deva but if you are secretly motivated by the three poisons you will be reborn as an Asura despite your virtuous thoughts, words, and actions.
THE HUMAN REALM is shown in the upper half of the circle to the right of the god realm. The human realm is the most desirable realm to be born into because it is the only realm where one experiences enough suffering to prompt a desire to study the Buddhist teachings and may also have the mental capacity and opportunity to do so. Therefore this realm is the only one in which we may hope to attain enlightenment and escape samsara. The Buddha said a rebirth into the human realm, along with an opportunity to study the dharma, is as rare as searching for and finding one particular grain of sand in the entire earth. When your karma is in a good balance, not too much good or too much bad, you may be born into the human realm.
THE ANIMAL REALM is on the left side of the bottom of the circle, below the god realm. Dull lives spent in complacent ignorance following our animal instincts result in a rebirth in the animal realm. Because they are driven purely by instinct, animal lives are focused on the pursuit of basic necessities like safety, food, comfort, and opportunities to procreate. The animals live in fear of being killed and eaten at all times.
THE HUNGRY GHOST REALM is on the right side of the bottom of the circle, below the human realm. Hungry ghosts are born into a life of endless torment because in a previous life they were motivated by greed. As hungry ghosts they are doomed to a life in which their desire for good things is twisted into a desire for foul things and they are prevented from satisfying even those desires.
THE HELL REALM is at the bottom center of the circle. Beings are reborn into the hell realms, there are said to be 18 of them, as a result of particularly bad karmas generated by lives motivated by hatred and anger. In the hell realms they suffer various terrible torments, some of which are graphically illustrated on the bhaivachakra. Luckily for the Buddhists, rebirths into the lower realms are not for eternity but only last until their stores of bad karma have been discharged.
THE OUTER RIM of the wheel is composed of twelve vignettes called the nidanas, or links of dependent origination. Dependent origination is a religious philosophy by which one seeks to use the rational mind to see through the veil of illusion which our subjective experience of living creates. It forces us to reject the notion that there is anything to be gained in the contemplation of an uncaused cause, to accept as fact that nothing can exist in isolation, that all phenomena that come into existence do so only through a confluence of other phenomena, that they in turn cause still other phenomena to manifest, that all manifested phenomena will inevitably cease to be in time, that this impermanence and emptiness of intrinsic existence is the only and true state of affairs, and that accepting this reality leads us closer to realizing the Buddha nature we are all born with. This philosophy is what the the links of dependent origination seek to illustrate, especially as it applies to the experience of being a human both physically and mentally and to the formation of karma. The circle of links, like all circles, has no beginning and no end. This illustrates the fundamental Buddhist belief in what may be called the beginning-less beginning and the endless ending. It also represents the functional reality of dependent origination in which the actions illustrated by each link are happening continuously, simultaneously, and interactively in this experience we call life. Of course, when describing the links, we must begin somewhere and it is customary to begin at the link that depicts ignorance and thence to proceed sequentially in the clockwise or counter clockwise direction. Proceeding in the counter clockwise direction, the vignettes are:
•Ignorance: this is illustrated by a blind person leaning on a cane. In this context ignorance does not mean willful stupidity or lack of education, it means failure to see through the veil of illusion that our subjective experience of living creates, failure to study the Buddhist teachings if we are aware of them, and failure to see the non dual nature of reality.
•Aging and death: this is illustrated by a man carrying a bundled up corpse to a sky burial ground. In this context death is both an end and a beginning and it represents impermanence and suffering. Our ignorance leads us into suffering.
•Birth: this is illustrated by a woman giving birth. Birth means being born into one of the realms of samsara. Until we understand how to stop generating new karma we will continue being born, suffering, dying, and being born to try again. Once we are born suffering is inevitable.
•Becoming: this is illustrated by a pregnant woman. In this context becoming means setting the stage for being reborn into one of the realms of samsara by generating karma in this lifetime.
•Clinging: this is illustrated by a man picking more fruit from a tree than he can eat or carry. In this context clinging means trying to hold on to what is pleasant or feeling that something can belong to you in a real and lasting way. Clinging is the opposite of giving or letting go and can lead to suffering in this life and the kind of karma that eventually brings a rebirth in the hungry ghost realm.
•Craving: this is illustrated by a man drinking one bottle of wine after another without satisfying his thirst. In this context craving means desire. Desire may take many forms, desire for money, love, happiness, relief from suffering, sensory experience, or even life itself. No matter what it is that we desire it is the intentions, thoughts, words, and actions motivated by the desire rather than desire itself that can cause us suffering and lead us to the poison of greed and the creation of bad karma.
•Feeling: this is illustrated by a man stabbing an arrow into his eye. In this context feeling does not mean emotions but physical sensations. They may be pleasant, unpleasant, or neither. These feelings that we experience may lead to desire or aversion and generate karma.
•Contact: this is illustrated by a couple making love. In this context contact refers to the combination of an object, the sensing of the object, and the consciousness of sensing the object. Contact is what happens when one particular sensation out of the myriad that we encounter at any moment comes to the front and center of our attention.
•The Six Senses: this is illustrated by a house with six windows. In this context the six senses refer to the physical inputs to our nervous system which can lead to misperceptions about reality when they are accepted as something more than our mind working to put meaning into what we encounter based on lessons received from sources prejudiced by ignorance. Judgements based on the senses prompt desire or aversion to any given input, these judgements must be recognized and questioned or they will generate karma.
•Name and Form: this is illustrated by two people in a boat, one paddling and another simply riding. In this context name and form refers to how our minds work to make sense of, or name, the vast array of material and mental things, or forms, we encounter and how that naming can lead us to live in a world of illusion and ignorance where we believe that these things have an intrinsic “selfhood” that we can grasp. This leads us to conceptualize an unexamined reality of dualism, a reality of us and them, good and bad, desire and aversion.
•Consciousness: this is illustrated by a monkey leaping from one branch to another. In this context consciousness refers to the sense of being alive developed in our minds by the ever changing stimulus of the senses and the misperception of selfhood as an intrinsic and separate state of being. This is expressed through our thoughts and actions and creates karma.
•Creation: this is illustrated by a potter at work making pots. In this context creation refers to the incessant rise and fall of phenomena through the actions we take due to ignorance of dependent origination. This creates karma.
THE MONSTER holds this bhaivachakra firmly with its claws and teeth, we are always at its mercy. We may name it Impermanence if you like. Many bhaivachakras are held by a wrathful deity such as Mahakala or Yama, shown with a crown, wrathful raiments, jewelry, and so forth. I believe it should be shown this way, with a monster rather than a deity, because in this way the necessary component of impermanence, an extremely important principle in the Buddhist belief system, is incorporated more clearly into the composition. Because all of samsara is in the grip of impermanence, no thing, no place, and no person here can ever hope to provide us with more than transient happiness.
THE FIELD is the remaining area beyond the bhaivachakra and the monster. Here we see that which is outside the desire realm and free from samsara. This illustrates the emptiness and bliss of nirvana. In the top left corner is the moon with an image of a rabbit on it. In Buddhism the moon represents enlightenment. The rabbit on the moon appears in the mythology of many cultures but in this context it recalls a story from Buddhist mythology in which the Buddha, then living in the animal realm in the form of a rabbit, sacrificed his body to provide food for a hungry old man. That old man was Indra, king of the gods, in disguise. He was so moved by the rabbit’s self sacrifice that he restored it to wholeness and placed its image on the surface of the moon to remind us all of this metaphorical story. In the top right corner we see the Buddha pointing to the moon. Here his figure represents not a deity to be worshipped, but the noble path of his teachings that help us to the goal, escape from samsara.
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(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.
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.
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
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 aromor, 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 aleast when you want to paint the interior and hide the seams through PSR.
This standard PA-58N comes with a hand weapon, apperently 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 come 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 .hg. 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 scraped 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 peinted with Humbrol's Polished Aluminum Metallizer. The hand gun 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.
Poison Ivy vines did not pick this specific property to thrive and spread but long periods of abandonment encourages these noxious plants to take over areas. Poison Ivy has bright red berries that some bird species can eat. As for humans, care must be taken to avoid skin contact with the leaves as the oily toxin starts to soak into the skin the moment contact is made. Long sleeves, gloves, and eye-wear are recommended if poison ivy removal is undertaken.
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
Lúa Coderch’s intervention for the "Composiciones" programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms, as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, “The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. “The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics. – Latitudes
Lúa Coderch (Iquitos, Perú, 1982) obtained an MA in Artistic Production and Research (2012) and a degree in Fine Arts at the Universidad de Barcelona (2010). Amongst her individual exhibitions are: ‘Night in a Remote Cabin Lit By a Kerosene Lamp’, Galería Àngels Barcelona (2015); ‘Or’, Fundació Suñol, Barcelona (2014–2015); ‘La parte que falta’, Galería Bacelos, Madrid (2014); ‘La muntanya màgica’, Espai 13, Fundació Joan Miró, Barcelona (2013–14). She has participated in the following group shows: ‘¿Por qué no lo llamas entropía?’, Edición 0 Encuentro de Cultura Contemporánea de Guadalajara, México (2015); ‘The World of Interiors’, The Green Parrot, Barcelona (2014), ‘El futuro no espera’, La Capella, BCN Producció (2014).
Coderch is represented by galería Bacelos (Madrid/Vigo) and àngels barcelona.
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“The Rainbow Statement” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend as part of the “Composiciones” commissions programme.
Curated by Latitudes for the second time (see 2015 edition), "Composiciones" project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
Codon-pair context is species specific.A) Individual codon-pair context maps built for various genomes followed phylogeny indicating that codon-pair context is species specific. For instance, the human ORFeome map is more similar to that of chimpanzee (Pan troglodytes) than to the mouse (Mus musculus) map. B) This result was confirmed using differential display maps (DDM) that subtract two codon-pair context maps. For example, H. sapiens–M. musculus (H.s vs M.m); H. sapiens–P. troglodytes (H.s vs P.t). In these differential display maps major codon-pair context differences (above 15) are shown in light blue and darker maps correspond to species with more similar codon-pair context biases. In the present example, the maps of H.s vs M.m and H.s vs P.t have 6% and 1% of blue cells, respectively. C and D) The same phylogenetical relationship could be detected for bacterial ORFeomes, as exemplified for Escherichia coli, Bacillus cereus and Salmonella typhi. The DDM built with these species have 55% (E.c vs B.c) and 20% (E.c vs S.t) of blue cells. E) Finally, the phylogenetical relationship was maintained when the above species were clustered according to the similarities of the codon-pair context maps. The yeasts Saccharomyces cerevisiae and Schizosaccharomyces pombe were added to include an intermediate group of lower eukaryotes in the tree. Adjusted residuals are colored in the maps according to the color scale shown, so that green cells correspond to preferred and red cells to rejected contexts.
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The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project “La Constancia” (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes
Regina Giménez (Barcelona, 1966) has exhibited individually at: ‘Architecture d’aujourd’hui’, The Green Parrot, Barcelona (2015); ‘Art de foc art de badoc’, Nadala 2015 Fundació Joan Miró, Barcelona (2015); ‘Simbols Convencionals’, Museu d’Art Modern de Tarragona (2012). She has recently participated in the following group shows: Biennal de Valls, Tarragona (2015); ‘Modernitat Amagada’, Casa Capell, Mataró (2013); ‘La casa de la playa’ para ‘Cas de estudi’, Can Felipa, Barcelona (2013).
Giménez is represented by Ana Mas Projects, L’Hospitalet/San Juan (Puerto Rico) and by Galería Miquel Alzueta, Barcelona.
––
“La Constancia” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
Sunday at the zoo with my buddy Reggie Bishop. We kept loking for the lionesses, and finally around 1:30pm, they brought one of the Siberians in and let the lionesses out.
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All of my images are under protection of all applicable copyright laws. Unauthorized use and/or duplication of this material without express and written permission from myself is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to dK.i Photography and Edward Kreis with appropriate and specific direction to the original content (website). I can be contacted through the contact link provided on this website.
The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project “La Constancia” (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes
Regina Giménez (Barcelona, 1966) has exhibited individually at: ‘Architecture d’aujourd’hui’, The Green Parrot, Barcelona (2015); ‘Art de foc art de badoc’, Nadala 2015 Fundació Joan Miró, Barcelona (2015); ‘Simbols Convencionals’, Museu d’Art Modern de Tarragona (2012). She has recently participated in the following group shows: Biennal de Valls, Tarragona (2015); ‘Modernitat Amagada’, Casa Capell, Mataró (2013); ‘La casa de la playa’ para ‘Cas de estudi’, Can Felipa, Barcelona (2013).
Giménez is represented by Ana Mas Projects, L’Hospitalet/San Juan (Puerto Rico) and by Galería Miquel Alzueta, Barcelona.
––
“La Constancia” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
Note, the specific plates used are just for example, more common plates can be used with the superstructure from step 01.
Between the promontory and the sea lies the nature reserve of the Laghetti di Marinello with its everchanging landscape following the seasons and the tides. A thin spit of sand hides four characteristic salt water lakes, caused by the sea flowing into the bay. The formation of the lagoon area dates back to about 100 years ago, between 1865 and 1895 , due to specific tectonic processes and also to the unique weather and sea conditions exist along this strip of coast. The lagoon area is located within the " Natural Reserve lakes of Marinello " established in 1998 and operated by the Province of Messina.Within the reserve , which covers about 380 hectares, there are a wide variety of environments : it goes from lacustrine to brackish coastal marine sands , the steep slopes and areas overlooking the sea . It is also a lovely natural cave : Cave Woman Villa , difficult to reach because overlooking the sea , within which are formations of stalactites , stalagmites and columns. An old legend tells that in this cave there lived a witch enchantress ( as the sorceress Circe of Homer ) that if after luring sailors to her singing sublime liberate devouring it . If the prey escaped the witch vented his immense rage against the walls of the cave affossandovi , with all its force , the fingers of his hands. The name of the sorceress was Donna Villa and only a few would be able to escape ! In terms of the impending Shrine of the Black Madonna is located in a sandy area that draws a long spit of sand that juts into the Tyrrhenian Sea to the east. In order to appreciate the good form it is convenient to go up to the shrine from where one has a unique overview: In addition to the long sandy bar you can clearly see the lakes of Marinello. To reach them you have to get to the town of Oliver, and from there head north towards Marinello. The car is left at the entrance of the Natural Reserve lakes of Marinello, and then you can take a walk to find their own lonely corner of the beach. Keep in mind the distance, the sand bar has variable size, depending on the currents and seasons, and you can travel up to about 2 km to reach the tip!
Sono spettacolari laghetti marini intrappolati da lingue di sabbia proprio sotto l’altissima rupe culminante, nella parte più alta, con la meravigliosa Tindari. Il numero dei laghetti varia a seconda della stagione e delle maree.Sono raggiungibili a piedi dal paese di Marinello passeggiando nel litorale sabbioso. Sul colle dirimpetto, su un fianco del capo, un sentiero conduce alla grotta della Maga (foto, detta anche Donna Villa), che secondo la leggenda attraeva i marinai con il suo canto e la sua bellezza per poi divorarli. Il 17 Agosto del 310, proprio in questa caverna, morì papa Eusebio, esiliato in Sicilia da Massenzio. Per entrare alla grotta bisogna attraversare un piccolo sentiero da contrada Rocca Femmina. Si tratta di una cavità naturale collocata a 76 metri sul livello del mare, costituita da tre piccoli e quasi inaccessibili atri o caverne. All'interno si trovano bellissime formazioni stalattite e stalagmitiche di vario colore (a conferma che nei periodi di scioglimento dei ghiacciai essa è stata sott'acqua) ed un pozzo profondo circa 3 metri. Nelle pareti sono presenti un'infinità di microfori, creati dai litodomi (molluschi marini), mediante erosione; secondo la leggenda questi fori sarebbero stati provocati dalle unghie della maga, che così si sarebbe sfogata ogni volta che non riusciva ad attirare il navigatore di passaggio.La macchia mediterranea è composta da euforbia, canne, mirto, capperi e fichi d’India. La fauna da molluschi in acqua e uccelli migratori attorno.La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari.L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri.Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.
La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari. L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri. Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.
La flora più intressante è costituita da :
Hyparrhenia hirta(barboncino mediterraneo);
Helichrysum italicum (elicriso);
Ruppia maritima (fieno di mare);
Echinops spinosissimus (cardo-pallottola vischioso);
Dianthus rupicola (garofano delle rupi);
Brassica incana (cavolo biancastro);
Lonicera implexa (caprifoglio mediterraneo).
Tra le specie dell'ittiofauna segnalate nella riserva merita una menzione il ghiozzetto macrocefalo (Millerigobius macrocephalus) un piccolo ghiozzo che vive a modeste profondità sui fondali fangosi del laghetto "Verde". Altre specie ittiche presenti sono l'anguilla, il latterino capoccione, il cefalo bosega, il ghiozzo nero, il ghiozzetto minuto, la bavosa pavone e il pesce ago, a cui si aggiungono, negli ambienti a salinità marina, il grongo, la spigola e la mormora.
The essential oils and crystal elixirs that help aid in purification and healing. All oils have been carefully developed to offer specific areas of benefits. To know more visit www.larrysecor.com/
(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.
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
azul profundo água
desenho infinitas dimensões
Specific Abertura: 29, terça, 18h Artista: Francisco de Almeida (CE), Naiana Magalhães (CE), Paulo Jorge Gonçalves (RJ) e Tereza de Quinta (CE) Curadoria: Jared Domicio (CE) Visitação: 30 de janeiro a 02 de março de 2013.
Técnica: pintura/bordado/colagem s/ tecido.
Ano: 2013.1
Here's that image edited more as landscape than as a record of the structure. By the time I increase exposure to show the amount of detail I want for these structures, in this specific situation, and often for dark timber or rusted steel structures, I bleach out the greens. The black and white helps the structural detail to pop. Because I'm shooting bridge structure, I am usually shooting areas below the surrounding terrain, in at least partial shadow. At two o'clock on this bright summer day, the little cumulus clouds and bright blue sky were bleached to get the right exposure for the vegetation. I don't dodge or do any zone processing.
“Associated” is a site specific show in a severely damaged brownstone, currently with a Vacate Order, issued by the DOB. As you may recall, the huge fire on Nov 12th 2010 at the Associated Supermarket on 5th Avenue and 17th Street not only damaged the supermarket building including the Open Source Gallery, but also a brownstone next door. The 3 family house, the Gallery owners’ home, was also rendered uninhabitable by the blaze.
There is no exact date for the show. There will be a 2 week window when the Vacate Order will be dropped and the contractors will start their work. All participating artists are prepared to install their work any day within the next month.
opening up with the
OPEN SOURCE CARNIVAL
The Carnival involves a public celebration combining some elements of circus, performance, public fair and party. We encourage people to dress-up in costumes during the celebration and to bring a little bit of money for the future of OPEN SOURCE.
Participants
Sara Bouchard, Christian Brown, Reamonn Byrne, Wendy Chu, Ethan Crenson, Hubert Dobler, Peter Feigenbaum, Pirmin Hagen, Fumie Ishii, Der Kommissar, Stefanie Koseff, James Leonard, Loadingdock5, Katerina Marcelja, Amanda C. Mathis, Patrick May, Nolan McKew, Annelise E. Ream, Jason Reppert, Raphaela Riepl, Evan Robarts, Frank Scheiderbauer, Allison Read Smith, Miho Suzuki, Kathleen Vance, Letizia Werth, Lily White, Monika Wuhrer
Visiting Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels with Erg (Ecole de Recherche Graphique) students, february 2010.
More info :
Cyttaria gunnii, the myrtle orange fungus, a Gondwanan relic and specific parasite of myrtle beech (Nothofagus cunninghamii) in Tasmania and southern Victoria, Australia.
This book delivers candid, specific inside information about how to get
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To check out more info on this book and find out some expert digital photography tips, visit our website at www.larkbooks.com/digital
Io Aircraft - www.ioaircraft.com
Drew Blair
www.linkedin.com/in/drew-b-25485312/
io aircraft, phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air-Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, defense science, missile defense agency, aerospike,
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
SeaRhythms Massage, Charlottesville, VA offers this specialty massage that works on principles of acupressure This massage involves manipulation of specific reflex areas in the foot that correspond to other parts of the body. Pressure to these reflex zones stimulates body organs and relieves areas of congestion. Reflexology works with the body's energy flow to stimulate healing and balance in your entire body. No oils are used for most of this therapeutic massage, however to complete and enhance the work, I close the session with a gentle foot and lower leg massage using an essential oil blend matched to your needs. Essential Oils applied to the soles of the feet enter the system quickly to do their work of soothing and promoting healing for the mind and body.
The Rolls-Royce Silver Ghost name refers both to a car model and one specific car from that series.
Originally named the "40/50 h.p." the chassis was first made at Royce's Manchester works, with production moving to Derby in July 1908, and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names, but the Silver Ghost title was taken up by the press, and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925, when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
HISTORY
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four-cylinder 20 hp and a six-cylinder 30 hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished, and examples were not provided to the press for testing until March 1907.
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two-cylinder units on the earlier six. A three-speed transmission was fitted at first with four-speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication, and the centre main bearing was made especially large to remove vibration, essentially splitting the engine into two three-cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919.[1] Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.
Development of the Silver Ghost was suspended during World War I, although the chassis and engine were supplied for use in Rolls-Royce Armoured Cars.
The chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever, with a pedal-operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913. Four-wheel servo-assisted brakes became optional in 1923.
Despite these improvements the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded by the early 1920s. Sales declined from 742 in 1913 to 430 in 1922. The company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.
A total of 7874 Silver Ghost cars were produced from 1907 to 1926, including 1701 from the American Springfield factory. Many of them still run today. A fine example is on display at the National Motor Museum, Beaulieu.
THE ALPINE EAGLES
A 40/50 was privately entered in the prestigious 1912 Austrian Alpine Trial by James Radley, but its 3-speed gearbox proved inadequate for the ascent of the Katschberg Pass. A factory team of four cars were prepared for the 1913 event with four-speed gearboxes, and engine power increased from 60 to 75 bhp (56 kW) by an increase in compression ratio and larger carburettor. The team gained six awards including the Archduke Leopold Cup. Replicas of the victorious cars were put into production and sold officially as Continental models, but they were called Alpine Eagles by chief test driver (and later Rolls-Royce Managing Director) Ernest Hives, and this is the name that they have kept.
THE SILVER GHOST
In 1907 Claude Johnson, Commercial and Managing Director of Rolls-Royce, ordered a car to be used as a demonstrator by the company. With chassis no. 60551 and registered AX 201, it was the 12th 40/50 hp to be made, and was painted in aluminium paint with silver-plated fittings. The car was named the "Silver Ghost" to emphasise its ghost-like quietness, and a plaque bearing this name adorned the bulkhead. An open-top Roi-des-Belges body by coachbuilder Barker was fitted, and the car readied for the Scottish reliability trials of 1907 and, immediately afterwards, another 24,000 km test which included driving between London and Glasgow 27 times.
The aim was to raise public awareness of the new company and to show the reliability and quietness of their new car. This was a risky idea: cars of this time were notoriously unreliable, and roads of the day could be horrendous. Nevertheless, the car set off on trials, and with press aboard, broke record upon record. Even after 11,000 km, the cost to service the car was a negligible £2 2s 7d (£2.13). The reputation of the 40/50, and Rolls-Royce, was established.
AX201 was sold in 1908 to a private customer, who used it for his annual vacation to Italy, and recovered by the company in 1948. Since then, it has been used as a publicity car and travelled worldwide. In 1989, the car was restored by SC Gordon Coachbuilders Luton, and P&A Wood, London, UK. It is now owned by Bentley Motors.
In 1984, the car was photographed in great detail whilst in storage in Luton by precision model makers Franklin Mint. This die-cast model went on to become one of their best-selling products.
The Silver Ghost is considered the most valuable car in the world; in 2005 its insured value was placed at US$35 million.
WIKIPEDIA
This specific image took some time to compose because of the weird pose. I have the initial idea but I was trying to figure out what was the best suitable angle for it.
Alice in Wonderland was the inspiration in creating this image. I love the movie because it has a lot of weird things happening throughout that it's just plain awesome.
Jean de Hangest wears rather early all-enclosing plate armour on the limbs of a specific style.
The poleyns and couters are quite large, with always one lame in between the rerebraces, vambraces, cuisses and greaves.
Note the hinges on the outside of the greaves, though the carver didn’t depict straps on the inside.
Some mail can be seen where the greaves and sabatons, consisting of five lames, meet.
A surcoat with a fairly flowing skirt, ending in trefoils on all of its edges, is probably worn over a coat-of-plates.
The surcoat has got a slit on the right side for the dagger, now lost, protruding from under the coat-of-plates.
Also the hilt of the sword is lost.
A mail standard with the usual scalloped edge is worn on the neck. Also note the forked beard and curly hair of the time.
The inscription on the tomb possibly dates from the early 16th century, during the time when the church was rebuilt.
Jean de Hangest died in 1363 in London, as an hostage of King John the Good of France, who was captured by the English at the Battle of Poitiers in 1356.
Jean de Hangest wears rather early all-enclosing plate armour on the limbs of a specific style.
The poleyns and couters are quite large, with always one lame in between the rerebraces, vambraces, cuisses and greaves.
Note the hinges on the outside of the greaves, though the carver didn’t depict straps on the inside.
Some mail can be seen where the greaves and sabatons, consisting of five lames, meet.
A surcoat with a fairly flowing skirt, ending in trefoils on all of its edges, is probably worn over a coat-of-plates.
The surcoat has got a slit on the right side for the dagger, now lost, protruding from under the coat-of-plates.
Also the hilt of the sword is lost.
A mail standard with the usual scalloped edge is worn on the neck. Also note the forked beard and curly hair of the time.
The inscription on the tomb possibly dates from the early 16th century, during the time when the church was rebuilt.
Jean de Hangest died in 1363 in London, as an hostage of King John the Good of France, who was captured by the English at the Battle of Poitiers in 1356.
The Waste Management fleet of trucks each are assigned to pick up specific types of waste: non-recyclable materials, recyclable materials, and green waste. They service 48 states within the United States, Canada, and Puerto Rico.
"Waste Management, Inc., doing business as WM, [ is a waste management, comprehensive waste, and environmental services company operating in North America. Founded in 1968, the company is headquartered in the Bank of America Tower in Houston, Texas."
"The company's network includes 346 transfer stations, 293 active landfill disposal sites, 146 recycling plants, 111 beneficial-use landfill gas projects and six independent power production plants. Waste Management offers environmental services to nearly 21 million residential, industrial, municipal and commercial customers in the United States, Canada, and Puerto Rico. With 26,000 collection and transfer vehicles, the company has the largest trucking fleet in the waste industry. Together with its competitor Republic Services, Inc, the two handle more than half of all garbage collection in the United States."
"As of 2017, Waste Management, Inc. employed more than 42,300 people."
"In February 2022, Waste Management announced the company would be rebranding to be referred to simply as WM. This comes with an increased emphasis of WM's strategy to focus on sustainability and environmental services and not just waste collection and disposal." (Wikipedia)
en.wikipedia.org/wiki/Waste_Management_(company)#History
KONSTRUCTIVE IOLITE
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TECHNISCHE DATEN DES ABGEBILDETEN BIKES
Modell: IOLITE XX1 PRO Bike
Größe / Gewicht Bike / Gewicht Rahmen: Large / 8,3 kg / 1.050 g
Design Style: Konstructive Pure Carbon
High-Performance 29er Mountain-Bike
•Most advanced carbon fabrication methods
•Developed in Germany, handmade in Europe
•Highly comfortable ride with very good damping characteristics
•Excellent stiffness-to-weight-ratio
•Large selection of configurable options to create the ultimate DREAM BIKE
•Extras: Custom tailored frame size and geometry
SPECIFICATIONS OF THE PICTURED BIKE
Model name: IOLITE XX1 PRO Bike
Size / Bike weight / Frame weight: Large / 8,3 kg / 1.050 g
Design Style and color: Konstructive Pure Carbon
Konstructive Cycles Berlin
Further details via Revolution Sports Distribution. www.revolutionsports.eu
WHO
Konstructive Cycles is a German cycling brand. Konstructive Custom Dream Bikes and accessories are designed in Berlin, Germany and hand made by the best craftsmen in Europe. Konstructive Cycles Berlin are distributed by RevolutionSports.eu.
WHAT
Konstructive Cycles develops high performance carbon and steel Bikes, components, high-end accessories and functional clothing. The bike categories include Road Bikes, Cyclo-Cross Bikes, Mountain Bikes as well as niche products. We offer complete bicycles with various build kit options and individual frames. Our products are for bike enthusiasts and weight conscious riders and racers (weight weenies).
WHY
Konstructive Cycles offers quality instead of quantity and focuses on the most important details. The era of individualization has started. Konstructive Cycles Berlin would like to build your exclusive Dream Bike tailored to your specific needs.
HOW
Get more information and start to configure your ultimate Dream Bike on our Website: www.konstructive.de.
Get in touch with us and support products made in Germany and Europe!
KONSTRUCTIVE CYCLES BERLIN
WER
Konstructive Cycles ist eine deutsche Marke Konstructive Cycles Berlin Produkte werden in Berlin entwickelt und gestaltet (Design Made in Germany) und von den besten Handwerkern in Europa gefertigt (Made in Europe). Die Firma RevolutionSports.eu vertreibt die hochwertige Dream Bikes (Traumbikes) und Zubehörprodukte.
WAS
Konstructive Cycles entwickelt Hochleistungs-Bikes aus Carbon und Stahl, Komponenten sowie exklusives Zubehör und Funktionsbekleidung. Zu den Bike-Kategorien zählen Rennräder, Cyclo-Cross Bikes, Mountain Bikes und zahlreiche Sonderlösungen. Wir bieten komplette Bikes mit vielfältigen Ausstattungsoptionen und einzelne Rahmen an. Unsere Produkte werden für Bike-Enthusiasten entwickelt, die besonderen Wert auf Qualität und ein niedriges Gewicht ihres Bikes legen.
WARUM
Konstructive Cycles bietet Klasse anstatt Massenware und legt großen Wert auf alle wichtigen Details. Für uns hat die Ära der Individualisierung begonnen. Konstructive Cycles fertigt Ihr individuelles Traumbike, zugeschnitten auf Ihre persönlichen Wünsche.
WIE
Nutzen Sie die Informationen auf unserer Website und konfigurieren Sie Ihr ultimatives Traumbike: www.konstructive.de.
Nehmen Sie Kontakt zu uns auf und unterstützen Sie Produkte aus Deutschland und Europa!
Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, “Los Corredores” (The Runners), was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Meetings). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes
Robert Llimós’s (Barcelona, 1943) long trajectory as a painter and sculptor began in the sixties within the Nueva Figuración (New Figuration) movement (1965-1968). Between 1969-1973 he went through a more conceptual phase returning to figurative painting with a greater emphasis on colour. His work has been exhibited individually at the Museum Bochum, Germany (1994), Galería Alejandro Sales, Barcelona (2009); Fundació Vila Casas, Barcelona (2010). in 1972 he was part of the landmark international avant-garde art festival Encuentros de Pamplona (The Pamplona Encounters), as well as participating in the unofficial programme of Documenta 5, Kassel. He has exhibited in institutions such as the Museo del Barrio, Nueva York (1976 and 1978); Fundació Miró, Barcelona (1979, 1983 and 1992); Museu d’Art Contemporani de Barcelona (1996, 1997 and 2005); Museo Reina Sofía, Madrid (2004 and 2009) and the Fundació Suñol, Barcelona (2010), amongst others. Since 2009 Llimós has been producing work depicting extraterrestrial life forms and flying objects. In 1994 the Generalitat de Catalunya awarded him the Fine Arts Award. Two of his public sculptures can be seen in Barcelona: “Marc” (1997) in the Olimpic area and “Mirastels” (2006) a floating sculpture in the Port of Barcelona.
––
“Los Corredores” (1972/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
L1005730 - This specific doorway entrance, I walk past, decided it was too bright, and kept moving on down the narrow alleyway. I was both looking for dinner with my friends and looking for images. Multi-tasking in this fashion often leads to miss opportunities in both directions.
As luck would have it, we missed the restaurant we were looking for and had to backtrack. The send time through, I just had to stop. I need to make something here. The texture in the cloth was catching the light from high above. This point of view compresses the distance somewhat. The light is actually way up.
It took a few moments to find the diagonals I was looking for. Long enough that I was worried about losing my friends. They had found the restaurant, and I was not exactly sure which door they had disappeared into. I would find them, eventually. I think the image was worth the risk.
Leica Monochrom with 75mm f2 Summicron at f2
Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location. The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India