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Using my incredible will power I effortlessly pour myself another cup of cafe au lait....
Straight form the camera.
Using a 45˚ angle for our strobe at a higher height than the previous, we can see how a silver reflector can fill in the shadows on the side away from the flash.
For a PhotographyIreland.net flash tutorial at www.photographyireland.net/viewtopic.php?t=8491&start...
The Cirneco dell'Etna is a small breed of dog originally from Sicily. This hound was historically used to hunt rabbits and can work for hours without food or water.The breed also has a keen sense of smell and is primarily built for endurance over harsh terrain such as that of Mount Etna. It is the smallest of the Mediterranean island hunting hounds, the others being the Pharaoh Hounds and Ibizan Hounds.Today they are increasingly kept for the sport of conformation showing and as pets, due to their low coat maintenance and friendly nature, although as an active hound they do need regular exercise. A Cirneco should measure from 43-51 cm (17-20in) and weigh between 10–12 kg (22-26lb). As with other breeds, those from hunting stock can lie outside these ranges.
The Cirneco dell'Etna is a small hound-type dog used in Sicily for rabbit hunting. It is found all over the Italian island and particularly in the area surrounding the active volcano, Mount Etna,where the dogs hunt on terrain formed by volcanic lava. Its presence in Sicily is noteworthy as one of the few ancient breeds that have undergone very little manipulation by man. Instead, the breed has been rigorously selected by nature for its ability to work for hours. The dog we have today is an extremely hardy breed. Affectionate and friendly, it is considered easier to train than some of its sighthound cousins. The Cirneco has been in Sicily for thousands of years. Most authors agree that the origins of the hound-type dog lie among ancient Egyptian prick-eared dogs. Bas-reliefs discovered along the Nile and dated around 4000 B.C. depict what could be the Cirneco today. Most probably, the Phoenicians spread these prick-eared, hound-type dogs as they sailed along their trade routes between Northern Africa and the Mediterranean coasts. Ancient records of hounds with upright ears and a pointed muzzle are found in many countries in that part of the world. The most vivid proof of the presence of the Cirneco dell’Etna in Sicily for at least the past 2500 years is the many coins minted between the 5th and 3rd centuries B.C. depicting exemplars of the breed. In particular, the Cirneco dell’Etna is used on coins minted at Segesta, with about 150 variations. In 400 B.C., Dionysus was said to have built a temple dedicated to the God Adranos on the south-western slope of the volcano, just outside the city of Adrano. Many dogs were bred there and legend claims that a thousand Cirnechi guarded the temple.The Cirneco was rarely seen and little known outside Sicily until 1932. Now Cirnechi have also been exported to many European countries where their elegant conformation has helped make them a success in the show ring and many have become FCI International Show Champions. The dog's affectionate temperament and adaptability make it an excellent family companion.
El cirneco del Etna es una raza de perro oriunda de Sicilia. Este tipo de lebrel de pequeño tamaño forma parte de un conjunto de razas caninas del Mediterráneo cuyo origen se encuentra en Egipto, y entre las que se encuentra el podenco Ibicenco. Se trata de un perro adaptado a terrenos difíciles, apto para la caza de conejos y liebres.Los machos miden entre 46 y 50 cm, y pesan de 10 a 12 kg, y las hembras miden entre 42 y 46 cm, pesando de 8 a 10 kg. La cabeza es alargada y estrecha y el hocico afilado y puntiagudo, con un stop muy poco pronunciado. La trufa es de color marrón claro, y los ojos, pequeños, pueden ser ocre claro, ámbar o grises. Las orejas, erguidas, son triangulares y puntiagudas, y están implantadas altas. El lomo es recto y largo, y el pecho no demasiado amplio, con la musculatura pectoral poco desarrollada, al contrario que las patas, fuertes y con una musculatura bien desarrollada. La cola, implantada baja, es gruesa y de diámetro uniforme. El manto, de color tostado o tostado y blanco, tiene un pelaje corto y espeso en la cabeza, orejas y patas y liso y semilargo en el tronco y la cola.Su nombre puede proceder del de la antigua ciudad de Cirene, donde Aristóteles, en De natura animalium, dice haber visto un perro cuya descripción coincide con la de este.Aunque parece claro que la raza es autóctona de Sicilia, es posible que fuese anterior a la civilización egipcia, y que hubiese sido llevado al norte de África por los fenicios. Esta hipótesis se vería confirmada por la existencia de una estatuilla hallada cerca de Siracusa, datada alrededor del 4000 a.c.Se encuentran representaciones del cirneco en monedas sicilianas del siglo Vl al siglo III a.c., y parece que se le tenía en gran consideración, como demuestra el hecho de que en una de las monedas halladas en la antigua ciudad siciliana de Segesta se le represente junto a una divinidad fenicia con facciones humanas. Desde entonces las características de la raza han permanecido prácticamente inalteradas, gracias en gran medida a los campesinos, que conservaron su pureza criándolo por su utilidad para cazar en las pendientes del Etna, de lava solidificada y difícilmente accesibles.
Der Cirneco dell’ Etna ist eine von der FCI anerkannte italienische Hunderasse, die von der Insel Sizilien stammt (FCI-Gruppe 5, Sektion 7, Standard Nr. 199).Frühere Studien gingen davon aus, dass der Cirneco dell'Etna von Jagdhunden abstammt, die zur Pharaonenzeit im Niltal gezüchtet wurden. Der Cirneco dell'Etna sei dann mit den Phöniziern nach Sizilien gekommen. Neueste Untersuchungen unterstützen allerdings eine andere Theorie: Der Cineco dell'Etna stammt ursprünglich aus Sizilien und lebte an den Abhängen des Ätna. Münzen und Gravuren aus der römischen Epoche belegen, dass Hunde dieses Typs bereits vor Christi Geburt auf Sizilien vorkamen.
Der Cirneco dell'Etna ist mittelgroß (bis zu 50 cm und bis zu 12 kg schwer), quadratisch gebaut, schlank, aber dennoch widerstandsfähig und robust. Das Fell ist kurz, sehr glatt und fest. Dabei ist das Fell auf dem Rumpf und der Rute ungefähr 3 cm lang. Die Fellfarbe ist falbfarben, von intensiv bis verwaschen, wie isabell-sandfarben. Weiße oder gescheckte Exemplare können vorkommen; in der Regel weist der Cirneco dell'Etna jedoch nur geringe weiße Abzeichen auf.Die Ohren sind auffällig groß und stehend typisch wie auch bei den Podencos.Der Cirneco dell'Etna wird zur Jagd auf Wildkaninchen verwendet. Sein Verbreitungsgebiet umfasst vor allem die Region um den Ätna, an dessen Abhängen er die Kaninchen im Gebüsch und Geröll aufstöbert. Er treibt die Kaninchen aus ihren Verstecken hervor, so dass die Jäger zum Schuss kommen können.
Le Cirneco de l'Etna (Cirneco dell’Etna) est un chien originaire de Sicile. La Fédération cynologique internationale l'a répertorié dans le groupe 5, section 7, standard n° 199.
Cirneco de l'Etna.....Chien de type lévrier bien qu'il soit classé dans le groupe 5. Chien adapté aux terrains difficiles qui chasse le lapin sauvage.Chien de nationalité italienne primitif qui descendrait des chiens de l’époque des Pharaons. Mais il pourrait s’agir d’une race autochtone d’origine sicilienne.
O cirneco do Etna (em italiano: Cirneco dell’Etna) é uma raça quase desconhecida fora da Itália, já que permaneceu isolada na Sicília por praticamente 2 000 anos. Em 1939 foi reconhecida como raça. Comum aos cães de raças antigas, estes têm dificuldade de adaptação ao mundo urbano, pois precisam de constante atividade e são difíceis de adestrar, embora sejam vistos como animais muito fiéis. Podendo pesar até 12 kg, tem como peculiaridade as grandes orelhas largas e eretas, o longo pescoço e a cabeça estreita.
Сицилийская борзая или Чирнеко дель Этна — порода собак. Происходит с Сицилии. Изначально выращивалась для охоты на зайца. Классические исследования собачьих пород, распространенных в Средиземноморском регионе, пришли к заключению, что Чирнеко Дель Этна происходят от античных охотничьих собак, выведенных в долине Нила в эпоху фараонов, собак, получивших достигших Сицилии благодаря Финикийцам. Но согласно последним исследованиям получила одобрения теория, согласно которой эта порода имеет непосредственно сицилийское происхождение, зародившись в окрестностях Этны. Монеты и гравюры доказывают, что Чирнеки существовали в этом регионе за много веков до нашей эр Собака примитивного типа, элегантного и утонченного сложения, среднего размера, не громоздкая, сильная и крепкая. По морфологическому сложению — собака удлиненных линий, легкого сложения; квадратного формата; шерсть тонкая.
Охотничья собака, выведенная для охоты на кролика по сложной местности; обладает большим темпераментом, но в то же время мягкая и привязчивая.
Cirneco dell’etna on italialainen koirarotu. Se on vinttikoiran tyyppinen pystykorvainen, alkukantainen ja harvinainen rotu. Cirneco dell’etnan tarkka alkuperä jää hämärän peittoon, mutta se on hyvin vanha rotu ja muuttunut vuosisatojen saatossa vain vähän. Rotu on saanut olla melko rauhassa, ja vasta viime vuosina sen jalostukseen on puututtu.Rotu on nykyisin lähinnä seura- ja harrastekoira. Italiassa sitä käytetään yhä villikaniinien metsästykseen. Cirneco on nopea koira, ja ketteränä se pystyy vaihtamaan suuntaa nopeasti esimerkiksi metsästyksen aikana. Cirneco käyttää metsästäessään kuuloaan, näköään ja hajuaistiaan.Cirneco dell’etna on luonteeltaan temperamenttinen, eloisa, ystävällinen, iloinen ja leikkisä koira. Cirnecon leikkisyys säilyy yleensä vanhoihin päiviin asti. Cirneco on myös hyvin läheisyyttä rakastava koira, ja sen lempipaikka onkin yleensä kainalossa sohvalla tai peiton alla omistajansa vieressä. Cirneco kiintyy voimakkaasti perheeseensä ja tulee yleensä hyvin toimeen ystävällisenä ja lempeänä koirana kaikenikäisten ihmisten kanssa. Miellyttämisenhalua cirnecolla ei ole kovin paljon, joten ilman hyvää motivointikeinoa se ei välttämättä aina tottele ainakaan ensimmäisellä käskyllä. Cirnecolla on kuitenkin miellyttämisenhalua enemmän kuin yleensä vinttikoirilla. Cirneco tarvitsee johdonmukaisen ja määrätietoisen peruskasvatuksen.
Cirneco dell’etna on ikivanha rotu, jonka juuret johtavat 1000-luvulle ennen ajanlaskun alkua. Joidenkin mielestä se polveutuu Egyptin viimeisten dynastioiden faaraoiden koirista ja niistä koirista, joita foinikialaiset kauppiaat toivat Italiaan. Tutkimukset antavat aiheen olettaa, että se olisi Sisilian alkuperäisrotu. Cirneconnäköisiä korkokuvia on löydetty faaraoiden haudoista, mm. Luxorista ja Ben-Hassanista. Sisiliasta on myös löydetty 45 cm korkea luuranko, joka muistuttaa cirnecoa suuresti. Luuranko on paikallistettu vuoteen 1400 eaa. Nykyisin kyseinen luuranko on nähtävissä Pigorini-museossa Roomassa. Myös vanhoista Sisiliasta löytyneistä kolikoista on löydetty cirnecoa esittäviä koiran kuvia.
Il cirneco dell'Etna è un cane appartenente ad una razza molto antica, che ha subito poche manipolazioni nel corso dei secoli.Le origini del cirneco risalgono al 1000 a.C. Si dice che questa razza derivi dai cani dei Faraoni egiziani delle ultime dinastie e da cani importati in Sicilia dai commercianti fenici. Successivi studi hanno indicato che molto probabilmente il Cirneco è una razza autoctona siciliana.Il cirneco dell'Etna appartiene alla classe dei cani da caccia di tipo primitivo; è un animale molto veloce e per questo viene utilizzato soprattutto nella caccia al coniglio selvatico e alla lepre.Si presenta con una figura molto snella, con gambe lunghe, orecchie dritte e con un corpo muscoloso ma nello stesso tempo molto elegante. Ha un fiuto eccezionale ed è agilissimo nel cambiare direzione durante l'inseguimento della preda. Da notare che, sebbene l'aspetto del cirneco ricordi quello dei levrieri, non caccia a vista ma usa l'olfatto, come un cane da cerca; secondo la classificazione della Federazione Cinologica Internazionale (F.C.I.), tutti i cani appartenenti alla razza dei "levrieri" appartengono al 10º gruppo, mentre il cirneco è inserito nel 5º Gruppo, quello delle razze di tipo primitivo.Generalmente raggiunge l'altezza di 46-50 cm al garrese negli esemplari maschi, mentre le femmine misurano dai 42 ai 46. Il peso del maschio si aggira intorno ai 10-12 kg, mentre le femmine raggiungono gli 8-10. La lunghezza del tronco è in media uguale all'altezza al garrese: il cirneco ha dunque una costruzione quadrata. È strutturato da una massa muscolare che comprende l'80% del corpo. Si presenta snello e, se nutrito in modo adeguato, mantiene una linea elegante e slanciata.Cane velocissimo e molto agile, è capace di raggiungere persino i 40/45 km/h nella corsa.I colori del mantello del cirneco dell'Etna vanno dal sabbia dorato al cervo scuro; non necessariamente devono essere presenti macchie bianche, ma possono essercene su tutto il corpo; sebbene molto rari, ne esistono colorati di bianco arancio (come nel setter inglese) e di bianco puro (pur non essendo propriamente albino). Il colore riconosciuto dagli standard di razza è il fulvo più o meno intenso, isabella e sabbia, con lista bianca in fronte, al petto, piedi bianchi, punta della coda bianca e ventre bianco.Dotato di grande intelligenza, è generalmente indipendente e solitario. Generalmente diffidente con gli estranei, si affeziona ad un solo padrone. Si può dire che abbia le sue simpatie e antipatie a pelle: con alcuni individui non socializza e alla loro vista abbaia; con altri inizialmente si mostra aggressivo ma poi socializza e con altri ancora prova un feeling immediato e socializza subito. È un cane che per il padrone darebbe tutto se stesso.Se correttamente socializzato da cucciolo, evidenzia un carattere molto disponibile e gioioso e privo di diffidenze anche verso le persone appena conosciute.Se cresce in un ambiente familiare, dove ha ricevuto tutti gli stimoli nei confronti dell'ambiente esterno, ama essere portato a spasso e incontrare altri cani e persone, anche se sconosciuti. Se lasciato libero, soprattutto in luoghi di campagna, cambia visibilmente espressione; tutti i muscoli si tendono, ama ispezionare l'ambiente circostante e, anche se all'inizio sembra indipendente, in realtà sa sempre dove si trova il suo padrone e puntualmente ritorna sotto la sua attenzione. Prima di liberare un cirneco in un luogo aperto occorre aver rafforzato un rapporto sereno e di fiducia. Il cirneco è un cane primitivo e rispetto ad altri animali domestici, molto spesso è un soggetto che porta rancore se trattato male, non dimentica facilmente uno sgarbo subito, non sopporta di essere rimproverato con eccessiva durezza.La vita media di questo cane è molto elevata, quindici anni circa, ma esistono esemplari che vivono anche venti anni.
Font : Wikipedia
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90 150 on display at the 1995 Basford Hall open day.
Renumbered from 050 in July 1991, it was renumbered back to 050 in August 2002 and withdrawn in 2004.
Using a new Corvette as a donor car, the 7-8-9 is a design that features the hooded eyes of a 1957 Chevrolet, the middle section moldings and tri-color interior reflecting a 1958 Chevy and the distinctive "bird in flight" tail fins of a 1959 Chevrolet. This beauty is locally owned. It's HOT!!!! Cost: $139,500. Built by n2a "No 2 Alike" motors.
Photographed at the 2013 International Route 66 Mother Road Festival in Springfield, Illinois on September 27-29, 2013.
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There is this awesome, amazing, epic band that is known as Jack's Mannequin. On their latest album, The Glass Passenger, one of the tracks is 'Annie Use Your Telescope'. My dear friend Megan, who is hopelessly in love with Andrew McMahon, the brains behind Jack's Mannequin and my obsession, /Something Corporate. (I was turned on to SoCo when I was 12, hardcore love.) Soon after their most recent album was released, I turned Megan on to Flickr, and that is why her Flickr name is Megan Use Your Telescope.
benjifriedman, ishkamina, pareeerica, sxc.hu
I'm all linked out now.
Back log. Still have 3 more days to edit and upload. Gah.
Oh, and one last thing. Have to give credit to Caitlin for the Post-It note idea. I was just going to use a Sharpie on my shirt :p
Used in Our Daily Challenge: No Words Photogame www.flickr.com/groups/ourdailychallenge/discuss/721576236...
Used all the suits from that LEGO Batman Style poster that came out a few months ago. I thought it looked cool, and wanted to use it here!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
The Étendard's history begins with two design requirements in the early 1950s. One was for a light jet fighter for the French Air Force, the other for a light fighter to serve as standard equipment with NATO air forces (from which Fiat's G.91 eventually emerged). Dassault used variations of the same basic design to produce prototypes for both these specifications, designated the Étendard II and Étendard VI respectively, but neither of which led to any orders. At the same time, the company evolved a larger and more powerful variant, originally designated Mystère XXIV, as a private venture.
Able to generate interest from the Navy, Dassault built a prototype of a navalised version. It was first demonstrated to the service in 1958. An order was placed which resulted in 69 fighter aircraft, designated Étendard IVM, and 21 reconnaissance versions designated Étendard IVP. From 1962, these began to be deployed aboard the new French Clemenceau class aircraft carriers.
Performance of the Étendard IV was never spectacular: low supersonic range at altitude, Mach 1.3 at 11,000 meters and Mach 0.97 at low altitude. In the 1970s it was clear that a replacement should be sought. For some time, this was hoped to be a navalised version of the SEPECAT Jaguar, the Jaguar M. But as the various political problems of the joint Anglo-French effort dragged out development, Dassault stepped in with an uprated version of the Étendard, dubbed Super Étendard, which began to replace its progenitor from 1978 on. The last of the original Étendard IVMs were withdrawn from the Aéronavale in 1991, although a handful of IVPs remained operational until 2004.
Even though the Étendard had only limited capability, airframes in good condition and with few flying hours found a taker: Israel, namely IAI. From 1980 until 1992, a total of thirty Étendard IVM an IVP found their way to Bedek, originally intended for a national naval strike fighter program for the IDF.
Anyway, interest in this project soon waned when the IDF was offered the F-16, and the updated IAI Kfir C2 and C7 were already in service, so that export customers for the updated Étendards were sought for. This customer appeared after several years in the form of Indonesia. In 1989, the Indonesian Navy (Tentara Nasional Indonesia Angkatan Laut, TNI–AL) took interest in these planes, after the USA put an embargo on running F-16 deliveries due to political differences over the independence of East Timor and Indonesia's military engagement in this conflict. Left without a modern attack aircraft (and a rotting fleet of aircraft of Soviet origin as well as light fighters like the F-5E), Indonesia looked for an alternative and found the fleet of unwanted Étendards in Israel.
After a major overhaul, the machines were revamped and updated, tailored to the new customer's needs. and re-designated Ètendard IVS. Main changes encompassed the installation of a non-afterburning Pratt & Whitney J52-P-408 turbojet with variable inlet guide vanes and 11,200 lbf (50 kN) of thrust instead of the original SNECMA Atar 8K-50 non-afterburning turbojet (rated at 11,025 lbs/49.0 kN), recognizable by the different nozzle arrangement. The IAI had experience with such an engine switch from its highly successful Super Mystère "Sa'ar" conversion in 1973, and Indonesia already used the J52 in its own Skyhawk fleet (also bought from Israel), so that costs for maintenance was appreciably lowered and the existing infrastructure could be used further.
The avionics suite was also modernized with domestic products. This update included an Elta EL/M-2021B pulse-Doppler radar (replacing the simple original Dassault Aida 7 navigation radar) in a re-shaped, deeper nose, together with a retractable refuelling probe.
Advanced systems, e. g. a NAVWASS (NAVigation And Weapon Aiming Sub-System) for attacking without use of radar and a Ferranti 105-S laser range finder and marked target seeker, added in a wedge-shaped fairing under the nose (the original stabilizer fin was deleted), now allowed the use of 'smart' weapons.
Ergonomics were improved, too, through a revised cockpit with more sophisticated electronics and displays. Overall performance was not significantly enhanced and even though the reconditioned Indonesian planes would exclusively be based at land, they retained their former carrier capabilities.
A total of 24 Étendard IVS strike aircraft were purchased and converted (actually all former Étendard IVM airframes), replacing some of the ageing A-4E Skyhawk fighter-bombers of Israeli origin and freeing Indonesian F-5Es from the ground attack/CAS role, leaving them to interceptor duties together with the few TNI AU's operational F-16s.
The Étendards were grouped under TNI–AL’s newly formed 801st Skadron (Squadron), building two attack flights and supplementing 800th Squadron with GAF Nomad Searchmaster B's and Searchmaster L twin-turboprops in their maritime patrol role. Consequentially, the 'new' Étendards bore the Indonesian Navy's insignia. Despite their age and simplicity, the Étendards added some serious 'punch' to TNI–AL’s maritime duties, helping protect the islands and coastlines surrounding Indonesia and defend them against seaborne threats.
The Indonesian Ètendards did not see a long active career, though: the age of the airframes took its toll. Maintenance effort was higher than expected, and two planes were lost in a tragic air crash during mock air combat in 1994.
From 1997 on, with an order for twelve Su-30K fighters from Russia and more modern and economical BAe Hawk Mk. 109 and 209 available for the strike role, the vintage Étendards were quickly and ultimately phased out. The last Étendard IVS made its final flight from Juanda Air Base on Surabaya on August 5th 2001.
General characteristics:
Crew: 1
Length: 14.40 m (47 ft 3 in)
Wingspan: 9.60 m (31 ft 6 in)
Height: 3.79 m (12 ft 6 in)
Wing area: 29 m² (312 ft²)
Empty weight: 5.960 kg (13.130 lb)
Loaded weight: 8.380 kg (18,470 lb)
Max. take-off weight: 10,750 kg (23,700 lb)
Wing loading: 282 kg/m² (57 lbs/ft²)
Thrust/weight: 0.54
Performance:
Maximum speed: 1,000 km/h (637 knots, 733 mph) at low level,
1,099 km/h (700 knots, 806 mph) at height
Range: 1.820 km (983 nmi, 1.130 mi)
Combat radius: 850 km (460 nmi, 530 mi) w. external stores & two drop tanks, hi-lo-hi profile
Service ceiling: 15,500 m (50,900 ft)
Rate of climb: 100 m/s (19,700 ft/min)
Powerplant:
1× Non-afterburning Pratt & Whitney J52-P-408 turbojet rated at 11,200 lbf (50 kN) of thrust
Armament:
2× 30 mm (1.18 in) DEFA 552 cannons with 150 rounds per gun;
1.500 kg (3,300 lb) of payload on four external hardpoints, including a variety of guided and unguided bombs, Matra rocket pods with 18× SNEB 68 mm rockets each, drop tanks and AIM-9 Sidewinder or Matra Magic AAMs.
The kit and its assembly
Actually, I never liked the Étendard as a plane, it's IMHO dead boring. Furthermore, there's only a single, vintage Heller kit available in 1:72 scale, which was relaunched in early 2012. I recently also came across an aftermarket decal sheet with various national markings from TL Modellbau and the included and rather exotic Indonesian Navy insignia stirred my fantasy. Which plane could go with them? A Skyhawk? Plausible, but that would almost be real life. An A-7 Corsair II? Too big! Finally, I chose the dull 1st generation Étendard as a simple and naval basis and created a whiffy "après Aéronavale" story for it - and this became the first entry to the 2016 "In The Navy" Group Build at whatifmodelerd.com.
The kit is the original, vintage Heller offering, dug out somewhere in Australia, long before the recent re-issue hit the shelves. For its age it is nevertheless a good model, with the typical good fit of the Heller kits. Panel lines are mostly raised, but very fine - it's IMHO a very good model of the aircraft.
The Étendard was built mostly OOB, but both ends were modified. On the front end I changed the nose for the new/slightly bigger radome for the new radar (actually, it's a reversed nose from an Italeri IAI Kfir with the pitot fairing on the top side, converted into a retracted refuelling probe) and I added the scratched laser range finder under the nose, replacing the stabilizer fin. For the different jet engine I improvised a longer tail section with a smaller exhaust, inspired by the IDF's Sa'ar/converted SMB2 Super Mystères which have a tail construction that is very similar to the Étendard's. I used a former air intake from a Matchbox A.W. Meteor NF.11 as fuselage extension and added internally a pipe. Some antennae and wire pitots were added, too.
As armament, the TNI-AL machine received a pair of IR-guided 340 kg bombs (from a Hasegawa JASDF weapon set) against naval targets, and due to the Étendard's rather limited payload I also gave it smaller drop tanks, these belong to an Airfix G.91, IIRC. A pilot was also added, too, in order to make the kit look more lively. For the same reason the ventral air brakes and the flaps were lowered - an OOB option, no conversion.
Painting and markings:
The typical French Étendard looks boring, even in the more modern low-viz paint scheme. One major argument for a semi-authentic Indonesian version were pictures from TNI-AU's A-4E, F-5E and esp. early F-16A, which, for some time, bore a rather flashy wrap-around air superiority paint scheme in blues and greys, partly with low-viz markings. Since this livery would fit the timeline and the plane's purpose, I went for this option - known as 'Grape' aggressor paint scheme in the USAF - which consists, AFAIK, of three Federal Standard tones:
● FS 35414 Light Blue (very similar to RLM 65, Modelmaster 2033)
● FS 35164 Intermediate Blue (Humbrol 144)
● FS 35109 Blue (Modelmaster 2032)
Real life pics show rather bright colours on clean/well-kept planes like the A-4’s, but the paint must have weathered quickly, with diminishing contrast - esp. on the TNI-AU's F-5Es, which frequently lack contrast between the two lighter grey-blue shades.
The pattern was taken over from an early Indonesian F-16 and re-interpreted on the more compact Étendard. All in all the bluish-grey livery is nothing fancy, but it makes a nice contrast to the red and white pentagonal insignia and the colourful badge on the tail fin. And it's seriously different from the classic blue/white livery you are used to on this aircraft.
The interior was painted according to the instructions and with some reference pictures from French Navy Étendards: cockpit in dark grey, an aluminum landing gear and primed, chrome yellow landing gear wells.
The IR-guided bombs received standard olive drab bodies, but the guidance package became light grey, as an extra color contrast.
Markings come mostly from the scrap box. The Indonesian Navy insignia were taken from a roundel aftermarket sheet from TL Modellbau. The registration code and the "TNI AL" markings on wings and fuselage were improvised with single black letters from the same manufacturer too. Inscriptions and the like come from the original decal sheet and other sources with French reference.
After decals had been applied, some grinded soft pencil mine was rubbed onto the surfaces for weathering, and light dry brushing with light grey shades was done to simulate sun-bleached paint. I wanted to emphasize the harsh climate conditions under which this fictional machine would operate, as well as its overall age.
An exotic project, and what originally started just as a fictional livery option turned into more with the bigger nose and the elongated tail. But I think this effort was worthwhile, in order to set this Étendard with a second life apart from its dull French origin. The wrap-around camouflage looks odd, and the TNI-AL's markings just underline the oddness of this whif model. :D
How video games are good for the brain
Concerns about violent programs persist, but researchers are discovering that playing can boost cognitive function and foster positive behavior
copyright © 2009 sean dreilinger
view sequoia watches nick playing lego batman on the nintendo DS - _MG_6067 embed on a black background.
Finally used this PX680 film which expired in 07/13.
Camera used was a Polaroid SX-70 along with Mint Lens Set's ND Filter and 1 stop darker on the camera exposure dial. Still blown out!
Weather Condition: Sunny
Temperature: 32C
Practicing the use of movements to control the focus plane and overall depth of field using the Flexbody on this Asphodelaceae (toothed aloe family) in the Succulent Garden inside the Strybing Arboretum & Botanical Gardens of Golden Gate Park, San Francisco California. Preparing for the Magnolias later this spring.
Testing the my very first roll of Rollei Retro 80s.
Rollei Retro 80s - Xtol 1+2 (processed @ www.gammasf.com)
SEKONIC L-778 DUAL SPOT F METER
(Shot at 80ASA, +1 stop compensation for extension tube, metered through filter)
Heliopan 67mm INFRARED RG-715 FILTER
EV8 (+reciprocity compensation) : 20sec @ f45
5deg forward tilt, no shift.minimum bellows extension w/56mm Extension tube.
Hasselblad Flexbody w/120mm f5.6 Zeiss S-Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20131215_RolleiRetro80s_exp201601_Flexbody_53733_008)
Using D300 equiped with 14-24F2.8 Nikkor Lens shooting the Beast D3(c/o JP Reyes) with 24-70F2.8 Nikkor Lens
...taken using a HD Pentax - D FA 150 - 450mm F/4.5 - 5.6 zoom lens.
ISO800, aperture 5.6, exposure .004 seconds (1/250) focal length 450mm
I used this for many years to produce slides from negatives. It is still a fun film to work with and very forgiving. It will produce Redscale results without shooting through the base. Tungsten balanced emulsion. You can have great fun with this stuff. If you can find any , grab a empty or sacrifice roll of C41 film and cut it off at the end with say two inches remaining. Splice the 5072 onto the roll and go out and shoot at asa 12 with no filter. Or asa 6 with an 80a or 80b filter. Then drop it off at the local mart or walgreens or other mass merchant photoprocessor. The film will do absolutely no damage to the chemicals. It will however come out as a wacky colored positive film ready to scan or project.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Apple designs Macs, the best personal computers in the world, along with OS X, iLife, iWork and professional software. Apple leads the digital music revolution with its iPods and iTunes online store. Apple has reinvented the mobile phone with its revolutionary iPhone and App Store, and is defining the future of mobile media and computing devices with iPad.
If you would like to purchase high-quality prints of this picture, please email me at thereganphotography@gmail.com to discuss sizes and pricing.
Photograph © by Regan Photography (2014). All Rights Reserved. This photograph should not be used on websites, blogs or anywhere for that matter without my explicit written permission.
Gianna Nannini
Mediolanum Forum - Assago (MI)
27 Aprile 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
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Tutti i diritti sono riservati. L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
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1956 - Gianna Nannini nasce a Siena 14 giugno.
1975 - A 19 anni, e con 7 di conservatorio alle spalle, lascia la famiglia per andare a vivere a Milano. Qui frequenta numerosi locali ‘off’ dove si fa subito notare dalla storica Dischi Ricordi che le offre il primo contratto e pubblica il suo primo album: GIANNA NANNINI.
1977 - Intreccia le prime collaborazioni importanti, come quella con la PFM. Esce il secondo Lp, UNA RADURA. Inventa i suoi primi concerti piano- voce.
1979 - Esce l’album CALIFORNIA, il disco della svolta rock che, insieme al singolo "America", metafora del sogno masturbatorio/narcisista americano, la farà approdare, nel 1980, ai primi posti delle classifiche anche in Germania e nel Nord Europa
1981 - Dopo l’uscita di “G.N.”, album dal sapore sperimentale, Gianna incontra Peter Zumsteg, manager di vasta esperienza internazionale, con il quale fonda l’etichetta autogestita Gienne. La loro collaborazione durerà ventitre anni .
Compone la colonna sonora del film “Sconcerto Rock” di Luciano Mannuzzi, prodotto da Bernardo Bertolucci.
1982 - Dall’incontro col produttore Conny Plank (Eurythmics, Devo, Kraftwerk, Ultravox) nasce LATIN LOVER, a cui collaborano musicisti come Annie Lennox, Jackie Liebezeit (Can), Hannette Humpe. Questo quinto album è un grande successo europeo (disco d'oro in Germania, Austria e Svizzera) a seguito del quale, nell’ottobre dello stesso anno, Gianna salirà sul palco del leggendario Rockpalast di Essen insieme a Kid Creole & The Coconuts e a Little Steven.
1983 - Interpreta il ruolo di Titania nel primo film di Gabriele Salvatores “Sogno di una notte di mezza estate”; collabora anche alla colonna sonora del film.
1984 - Esce PUZZLE. La canzone “Fotoromanza”, il cui videoclip porta la firma di Michelangelo Antonioni, è il leit-motiv dell'estate e le fa vincere il Festivalbar, Vota la voce e Telegatto d'oro. In primavera il suo tour europeo riscuote grande successo; a questo fa seguito, nell’estate dello stesso anno, il tour italiano che sfocia nella registrazione del primo cd live di Gianna, TUTTO LIVE. Tiene concerti a Berlino, al Montreux Jazz Festival, a Siena e a Colonia.
1986 - Sull’onda dei grandi consensi internazionali, esce il nuovo album, PROFUMO, che viene rilasciato in tutta Europa e vende oltre 1.000.000 di copie.
1987 - É l’anno della consacrazione di Gianna: con MASCHI E ALTRI, sua prima raccolta di hit, vende oltre un milione e mezzo di copie in Europa; il 1° maggio partecipa a un concerto eccezionale: insieme a Sting e Jack Bruce canta, alla Schauspielhaus di Amburgo, una selezione di canzoni di Bertoldt Brecht e Kurt Weill. Lo show verrà trasmesso sulle reti Rai e su diversi canali televisivi europei. Il successo di critica e di pubblico in tutta Europa è ormai grande.
1988 - Esce l’album MALAFEMMINA prodotto insieme ad Alan Moulder (Smashing Pumpkins, Nine Inch Nails).
1989 - É l’anno dei Mondiali di Calcio in Italia. Gianna scrive un testo assieme a Edoardo Bennato, e lo canta su musica di Giorgio Moroder: è “Un’estate italiana”, la sigla di Italia '90, le cui royalties relative al testo vengono devolute ad Amnesty International.
1990 - Nasce l’album SCANDALO prodotto con Dave M. Allen (The Cure) e una band di musicisti di diversi paesi europei insieme ai quali, ancora una volta, Gianna riempie gli stadi di mezza Europa. Il successo della trionfale tournée è documentato da un album dal vivo e da un long form video dal titolo “Giannissima”.
1993 - Esce in tutta Europa il nuovo album X FORZA E X AMORE, album radical folk, contenente canzoni ispirate al “cantar toscano”. Il singolo ‘Radio Baccano’ ospita anche la partecipazione di Jovanotti
1995 - Esce DISPETTO, un album che per la terza volta vede la collaborazione di Dave M. Allen, già produttore dei Cure. Nello stesso periodo Gianna si laurea in filosofia con una tesi dal titolo “Il corpo nella voce - Relazioni corpo-voce in una prospettiva di antropologia musicale”. In questi anni l’impegno di Gianna per le cause civili e umanitarie si rafforza: tra gli appuntamenti più importanti, il Concerto di Solidarietà per gli Immigrati a Cinecittà, in cui Gianna si esibisce sul palco insieme, tra gli altri, a Pino Daniele, Jovanotti e Luca Carboni; il Concerto per il Tibet a Torino, che la vede protagonista assieme a Timoria, Nomadi e un Coro di 16 Monaci Tibetani e l’Extravaganza Club Tour, organizzato usando esclusivamente energia solare. Quest’ultima iniziativa segna l’inizio della collaborazione di Gianna con gli attivisti di Greenpeace, fino a vederla, nel luglio del 1995, al centro dell’azione più eclatante dell’organizzazione ambientalista in Italia: alle 11.40 del mattino, con un “commando” di attivisti, Gianna si arrampica su un balcone di Palazzo Farnese a Roma, sede dell’Ambasciata Francese, e improvvisa un concerto di protesta contro la decisione di riprendere gli esperimenti nucleari nell’atollo di Mururoa. Il 1996 è anche l’anno di BOMBOLONI, antologia di alcuni dei suoi greatest hits.
1997 - Dalla partnership con il produttore Fabrizio Barbacci (Ligabue, Negrita) prenderà vita nel settembre del ’98 il nuovo album CUORE.
1998 - CUORE porta alla collaborazione artistica con Wil Malone (The Verve, Depeche Mode, Who, Dido, Massive Attack) che curerà gli archi dell’album.
2000 - Gianna inaugura il nuovo millennio a Torino davanti a 500.000 persone.
2001 - Gianna si trasferisce per qualche mese a Catania dove collabora con un trio post-punk di Catania e con la scrittrice Isabella Santacroce; da questo nuovo incontro nasce il disco ARIA (2002) dove Gianna compie una grintosa escursione fuori dagli schemi, fondendo il suo rock melodico mediterraneo con un pop-rock elettronico contemporaneo.
Nello stesso periodo Gianna comincia a lavorare alla colonna sonora del film “Momo alla conquista del tempo”, su incarico di Enzo D’Alò, il più celebre regista italiano di cartoni animati.
Da sempre impegnata a favore del disarmo, ma con discrezione, al fine di scongiurare qualsiasi strumentalizzazione, in risposta all’11 settembre Gianna partecipa in incognito alla Marcia della Pace Perugia-Assisi.
2003 - Per due volte consecutive si reca a Baghdad per dare il suo contributo alla ricostruzione dell’accademia delle belle arti e alla scuola di musica.
2004 - E’ l’anno di PERLE: la sua aggressiva anima rock fa posto a una dimensione più intimista, riproponendo al pubblico 12 piccoli gioielli della sua discografia e l’inedito “Amandoti”, cover dell’omonimo brano di Giovanni Lindo Ferretti, in versione acustica.
Dopo l’uscita di questo album Gianna decide di voltare pagina e di affidare il suo management ad Adele Di Palma per Cose di Musica.
2005 - Pubblica con Rizzoli il suo primo libro: IO, “autoscatto senza rimpianti”, antidiario a ritmo di rock.
2006 - Il 27 gennaio esce GRAZIE, album coprodotto con Wil Malone, subito al primo posto nelle classifiche italiane e disco di diamante (350mila copie) dopo solo 6 mesi.
2007 - E’ l’anno della PIA. Opera lirica moderna (libretto di Pia Pera) composta da Gianna già 12 anni prima. Nell’attesa che l’Opera venga messa in scena da David Zard, viene realizzato l’album PIA COME LA CANTO IO, anche questo con la produzione musicale di Wil Malone. Il disco rappresenta una sorta di florilegio della stessa Opera, dove la voce di Gianna interpreta tutti i personaggi. Questi come altri testi dell’opera saranno inclusi in una tournée di concerti in tutta Italia; storico quello all’Arena di Verona, sotto la pioggia, come pure le due serate di tutto esaurito a Roma.
2007/2008
É anche l’anno dell’album GIANNABEST, in pochi mesi ancora disco di diamante, una raccolta dei suoi più grandi successi, accompagnati da tre inediti. Seguono concerti nei principali palasport Italiani e teatri di tutta Europa, che segnano ogni volta il tutto esaurito. A Londra si esibisce al famoso Sheperd’s Bush Empire.
2008 - La canzone “Colpo di Fulmine” scritta da Gianna e interpretata da Lola Ponce e Giò di Tonno vince il Festival di Sanremo.
2009 - Esce il nuovo bellissimo album GIANNADREAM (Solo i sogni sono veri), che ancora una volta si avvale della collaborazione di Wil Malone. Contiene 10 canzoni inedite: qui il rock, una volta di più, si apre alla melodia sinfonica.
Please do not use this image without my prior consent.
Morgenthal Frederics PURO Eyeglasses. Lens 39mm (with lens holder) D.B.L. 22mm
PURO is a unique, simple design eyeglasses. Titanium frame with acetate lens holder. The Ti frame comes in pewter, polished chrome, gummetal, bronze finish. Lens holder comes in White, Black, Brown, Tortoise and Horn. PURO are sold with or without lens holders with price difference. The acetate piece is not a decoration piece that mount on the Ti frame. The lens actually set in it instead of Ti frame itself. It is very cool looking and no need to worry that they will fell out. PURO is not perfectly round or oval.
As pretty as it is, I had THE WORSE experience EVER with PURO. It was purchased at Morgenthal Frederics at 59th Street in Time Warner Center building. Sale was helpful cuz I had intend of buying. At the time, I wasn't sure to go for acetate or not and was told the lens holder can be purchase separately if I change my mind. So I went for the Ti frame only. The frame was around $420 and another $400 for the lens. The $400 lens doesn't include all the coating and 4 times more than what I usually pay for. After owning it for 3 month, I found out that the frame is not perfect round or oval. The imperfect roundness bother my mind greatly. I thought the acetate lens holder would help to notice the frame shape so I thought I'll pay them a visit.
I went back to the store I bought it from and told the sales I would like to purchase the lens holder and would nice if they can insert it for me. It was different sales this time and he told me "NO, we don't sell them separately." I told them I was inform so and how can I get a lens holder? "Sir, you have to purchase a brand new frame with it." I told them the idea was ridiculous, cuz if the told me so the first place, I would made different choice. "Sir, we can't help you unless you buy a brand new frame." I left the store ANGRY and thought she don't know what she is talking about, let me went a different store and see what they say. Some one gotta make some sense right?!
I went to their store on the 63rd & Madison with the same request. Sales ask me where my frame originally from and call the Time Warner store to confirm. While he was on the phone, he was judging me through his eyes and told me "NO. They said you were just at Time Warner Store and they have told you everything you need to know. I am sorry". I was FURIOUS this time.
Still not giving it up, thanks god I got unlimited subway pass. I went to 74th Street & Madison store. I told them I went through 2 stores already if they wanna call and confirm, be my guest. I told them the whole story and what 2 stores were tell me and how I am furious before I enter this store and hoping they can give me a better answer. They respond. "We can give you the lens holder for free, but you have to buy a set of brand lens from us." (which was $400) I asked "why, optician can just re-shape it". They respond, "The lens is too thin, they will break." I told them, "why don't you sell me the lens holder, and I will ask my optician." They say, "sorry, we can't do that. Not unless you buy a set of brand new lens. What an unbelievable bunch of assholes!
At last I went to their last store in Manhattan located at W. Broadway in SoHo. I told spoke with the manager, told them the 3 stores responses. I let him decided if anything make any sense. "They might misunderstood with your request. You know what, I'll give the lens holder to you for free. We want our customer to be happy." Took me to go through all stores with anger. All, because their sales misinform their customer.
I took the lens holder to Abe, my optician in Chinatown. I ask him if he can reshape my current lens into the lens holder. Took Abe 5 min. and lens set in the holder. "the lens is made of plastic not glass, why they think it will break?" I took the frame back, scratch & Spot less, PERFECT. I ask Abe, "Can you check the lens quality and coating, how much you will charge to match it." Abe check it and responded, "$120, for you, I'll charge $100. This lens doesn't have all the coating you usually have on. $100 you got everything." I ask him if this lens is higher end, thinner, better in any other way? "No, it is the same thing we are using here. It is not better or special." I did not respond. I did not tell Abe about Morgenthal Frederics charge $400 dollars for them with less coating. They absolutely made me feel like a FOOL.
Everything above is 100% true. Morgenthal Frederics products no doubt are well made but people working for the company seem too money hungry. I told everyone what you guys have done so they can have 2nd thoughts before buying Morgenthal Frederics products. Morgenthal Frederics sure gave me the worse shopping experience. Now, whenever people search for Morgenthal Frederics online, my review will show up with it. I will NEVER buy another pair from you guys and I hope this review will HURT your company deeply.
Customers are the reasons why your company is still standing. Remember it well and treat them good. WORDS do spread. Reputation has to earn it by SERVICE.
Personal use only, please! Scanned from a 70's antiques magazine. I would love to see how you use this in your art.
Even I only used this transport interchange for maybe 1 or 2 times when I was a kid, the unique spatial arrangement of the complex still evolved from my memory when I re-visited and entered the fenced off, narrow queue of the terminus.
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Construction started in 1983, with the multi-storey car park opened in April 1986. The Transport Complex connected to the pier with ferry services serving mainly between Tsuen Wan and Central. The Complex provides passage interchanges to the bus, van and taxi services directly from the pier. The building programmes also included government departments (e.g. Identical Card issue), and other retail booths & food stores. The building has however been disconnected to the central Tsuen Wan areas since the Tsuen Wan MTR service operated even before the completion of the building. The ferry service was closed in 2000 due to the more convenient use of road transport from Tsuen Wan to Central through the West Cross Harbour Tunnel, causing the Complex to be further under-used.
The use of individual staircase connecting to each of the bus stop termini was first used in this building - an unique machine-like design to avoid large loads of pedestrians to cross the bus platforms for safety reason.
The most interesting moment of the building was the establishment of a driving school on the 9th and 10th floors of the building since 1999.
Most of the bus routes using the Complex have relocated their termini to Tsuen Wan West Station Public Transport Interchange in 2003, and left a larger area of the building into disuse. Under the MTR Corporation's TW5 property development project, the carpark Complex is planned to be closed from 5 Feb 2013 and will be demolished and replaced by residential towers.
Digested & quoted from:
zh.wikipedia.org/wiki/%E8%8D%83%E7%81%A3%E9%81%8B%E8%BC%B...
Used by Trust-transport service, which is a subsidiary of the Army-welfare trust. I think this was being used to trasport portable generators. The stickers on the windshield reads Bangladesh Army.
Dhaka Cantt 2016.
Using a heckload of the blue parts I got from Disty.
So this is my self-MOC, or self-mech, should I say. I'm not too crazy on the simple design of the legs, but they work. I'm quite proud of the flag and gun design (illegal connections!) and this is also my first mech-ish build.
C&C appreciated :)
Used a Nikon D90 with a 70-200mm lens @ 100mm.
This mama (RIP) per orders from the house mama was terminated shortly after this along with as many little 'un's as could be found.
Wolf Spider commonly found in AZ can get as large as 1.38 inches (this one was close to that). They are not dangerous to humans or pets but are dangerous to moths, ants, grasshoppers, earwigs, cockroaches, beetles, crickets, and other spiders.
Still it's kinda creepy what with all those little spidey's crawling over mama and mama being so big.
Absolutely no use of TurnAround_2048 photographs without prior written permission.
Member: Pinoy Bus Fanatic (PBF)
Basic Details:
Line: NAFTI Transport, Corp.
Fleet No.: 130
License Plate No.: (hidden)
Coachbuilder: Del Monte Motor Works, Inc.
Model: Aero Adamant
Route of operation: FTI Complex, Taguig City - Navotas City
Seating configuration/capacity: 3x2 / 58
Location: FTI Complex / Arca South Terminal, Brgy. Western Bicutan, Taguig City
Date: 2016-02-08
Engine:
Engine Manufacturer: Guangxi Yuchai Machinery Co., Ltd.
Engine Type: YC6A240-20
Number of Cylinders & Arrangement: 6, Inline
Displacement, cc: ?
Power Output:
> In bhp: 236.71
> In PS: 240.00
> In kW: 176.52
Chassis:
Chassis Manufacturer: Dongfeng Motor Co.
Chassis Type: ?
Chassis Length: 11.xx m
Transmission:
Method: Manual Transmission
Nr. of Gears:
> Forward: 6
> Reverse: 1
Notes:
1) Specifications are subject to change without prior notice.
2) The license plate of the bus concerned was blurred to prevent any conflict.
3) I have taken this photo for the enjoyment of anyone interested in buses.
4) For any corrections, comment it.
5) Violent and personal comments will be deleted without any notice. Personal comments should be in FlickrMail, not in the comments. I don't want my reputation be ruined.
Copyright © 2012 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos without my written permission.
Please note that the fact that "This photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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Senza ombra di dubbio è un posto da visitare e che non dimenticherete. Il buio e il suono dei tamburi nella notte, i fumi delle bancarelle che vendono cibo, i fuochi, la varietà di persone che lo popola sono un ricordo vivido nella mia mente. Jemaa el Fna è la piazza al centro della quale si sviluppa la città vecchia di Marrakech. È circondata a nord dal souk, a est dalla Kasbah. Patrimonio orale dell'umanità Unesco è trafficatissima giorno e notte: tanti i turisti, ma la massima parte delle persone che la popolano sono marocchini. È sede di bancarelle che vendono diversi genere di merci (dalla frutta, alle spremute, alle stoffe, a oggetti usati contro le malattie). La mattina è dominata da incantatori di serpenti, acquaioli, decoratrici con l'hennè. Ma fate attenzione perché tutto ha un prezzo. La foto scattata con la scimmia o con il cobra che vi saranno messi in testa o il ritratto dell'acquaiolo (non bevete l'acqua se ci tenete allo stomaco, però) andranno remunerati e vi conviene contrattare il prezzo prima per evitare sgraditissime sorprese. La sera a dominare la piazza buia sono invece concerti, cantastorie e le decine di affollatissime bancarelle dedicate al cibo e che offrono in particolare economici brochettes (spiedini di carne o pesce), con i fumi delle grigliate che si elevano sopra la piazza illuminati dalle luci. Uno stand vale l'altro e mangiarci è un'esperienza da fare.
La Piazza Jema El-Fna è uno dei punti di ritrovo principali di Marrakech. Nel 2001 l'Unesco l'ha denominata Patrimonio Orale e Immateriale dell'Umanità. È situata a lato dei vari suk e a partire dalle ore 17.00 si riempie di venditori di succhi di frutta naturali, frutta secca, donne che dipingono il corpo con l'hennè, incantatori di serpenti, musici, venditori ambulanti, tassisti, veggenti, turisti e addirittura dentisti! Inoltre è circondata da piccole moschee e la chiamata alla preghiera diventa un vero spettacolo. I caffè più famosi della città si trovano proprio qui: Il Café De France, l'Argana... Tutti hanno terrazze in cui sedersi per sorseggiare tè alla menta o cenare con vista sulla piazza. A ora di cena,in particolare durante il tramonto, vengono improvvisati punti di ristoro che propongono pietanze di carne, pesce o cuscus.
La Piazza Jemaa el Fna è la piazza centrale di Marrakech, luogo dichiarato dall'UNESCO "di tradizione orale". Qui si recano gli "Gnaouas", un gruppo di musicisti locali, a suonare musica e percussioni, accompagnati da incantatori di serpenti o di scimmie. Si raccontano storie, si balla, si mangia fino a tarda ora. Durante il giorno la piazza, che si trova accanto alla Kutubia, è quasi vuota a causa del gran caldo. Nel pomeriggio iniziano ad apparire i primi tavoli e le prime sedie, assieme ai venditori di cibo e a coloro che preparano carne alla griglia e cous-cous. Durante il giorno si può prendere un succo d'arancia, spremuto all'istante, accompagnato da datteri e dolci tipici. Il momento migliore rimane il tardo pomeriggio, quando la piazza si riempie di gente del posto, persone arrivate dal deserto per vendere tessuti o animali magici in grado di curare qualsiasi malanno, famiglie che vengono a mangiare.
Jamaa el Fna (Arabic: ساحة جامع الفناء jâmiʻ al-fanâʼ) is a square and market place in Marrakesh's medina quarter (old city). The origin of its name is unclear: Jemaa means "congregational mosque" in Arabic, probably referring to a destroyed Almoravid mosque. "Fanâʼ" or "finâ'" can mean "death" or "a courtyard, space in front of a building." Thus, one meaning could be "The mosque or assembly of death," or "The Mosque at the End of the World". A more likely explanation is that it refers to a mosque with a distinctive courtyard or square in front of it. Marrakesh was founded by the Almoravids 1070-1072. After a destructive struggle, it was falling to the Almohads in 1147. Following this, Jamaa el Fna was renovated along with much of the city. The city walls were also extended by Abou Yacoub Youssef and particularly by Yacoub el Mansour 1147-1158. The surrounding mosque, palace, hospital, parade ground and gardens around the edges of the marketplace were also overhauled, and the Kasbah was fortified. Subsequently, with the fortunes of the city, Jamaa el Fna saw periods of decline and also renewal. The place remains the main square of Marrakesh, used by locals and tourists. During the day it is predominantly occupied by orange juice stalls, youths with chained Barbary apes, water sellers in colourful costumes with traditional leather water-bags and brass cups, and snake charmers who will pose for photographs for tourists. As the day progresses, the entertainment on offer changes: the snake charmers depart, and late in the day the square becomes more crowded, with Chleuh dancing-boys (it would be against custom for girls to provide such entertainment), story-tellers (telling their tales in Berber or Arabic, to an audience of appreciative locals), magicians, and peddlers of traditional medicines. As darkness falls, the square fills with dozens of food-stalls as the number of people on the square peaks. The square is edged along one side by the Marrakesh souk, a traditional North African market catering both for the common daily needs of the locals, and for the tourist trade. On other sides are hotels and gardens and cafe terraces offering an escape from the noise and confusion of the square. Once a bus station, the place was closed to vehicle traffic in the early 2000s. The authorities are well aware of its importance to the tourist trade, and a strong but discreet police presence ensures the safety of visitors. The idea of the UNESCO project Masterpieces of the Oral and Intangible Heritage of Humanity came from people concerned about the Jamaa el Fna. The place is known for its active concentration of traditional activities by storytellers, musicians and performers, but it was threatened by economic development pressures. In fighting for the protection of traditions, the residents called for action on an international level, to recognize the need for the protection of such places - termed "cultural spaces" - and other popular and traditional forms of cultural expression. UNESCO encourages communities to identify, document, protect, promote and revitalize such heritage. The UNESCO label aims to raise awareness about the importance of oral and intangible heritage as an essential component of cultural diversity. The spectacle of Jamaa el Fna is repeated daily and each day it is different. Everything changes - voices, sounds, gestures, the public which sees, listens, smells, tastes, touches. The oral tradition is framed by one much vaster - that we can call intangible. The Square, as a physical space, shelters a rich oral and intangible tradition.
Jamaâ El Fna (en arabe : جامع الفناء, littéralement en français: "assemblée des trépassés" est une place située à Marrakech à côté de la mosquée Koutoubia. Ce haut-lieu touristique attire sans cesse plus d'un million de visiteurs venus pour assister aux spectacles animés par les charmeurs de serpents, les dresseurs de singes, les conteurs, les musiciens et d’autres artistes populaires, jeux, dessin au henné, etc... du début de soirée jusqu'à l'appel de la prière de l'aube. L'espace culturel de la place Jemaa el-Fna a été inscrit par l’UNESCO en 2001 en tant que patrimoine culturel immatériel de l'humanité. Elle se distingue aussi par des orateurs qui racontent des histoires ou vantent les mérites de produits magiques. Son nom de "assemblée des trépassés" vient du fait qu'elle servait autrefois à l'exposition, sur ordre du Sultan, des têtes des condamnés à mort qui venaient d'être exécutés. Certains jours, on pouvait ainsi compter jusqu'à quarante-cinq têtes. Elle est le théâtre d'une explosion meurtrière le 28 avril 20113. L’attentat, provoqué par une bombe actionnée à distance dont l'auteur présumé a été arrêté le 5 mai 2011, a fait 17 morts dont 8 français.
using some less than successful felt to make spirals. Looks better in 'real life' I couldn't get a good photo today for some reason!
© gianfranco liccardo - Please don't use this image on websites, blogs or other media without my explicit permission.
My photos are © all rights reserved. Please e-mail me if you would like to use these photos.
I will follow.
If you walk away, I will follow.
(U2 - I will follow)
BLM using satellites to study fishers in southern Oregon
By Toshio Suzuki, April 14, 2016
Capturing a fisher in an Oregon forest can be tricky work.
First off, there aren’t many of them.
Secondly, the cat-sized mammal sports retractable claws and a heart rate that can climb to 300 beats per minute when agitated — double a high rate for humans — and like most animals in the wild, they will defend themselves from capture, even if for scientific research.
“They are carnivores and they have amazing capacities of strength and endurance,” said Katie Moriarty, a research wildlife biologist for the U.S. Forest Service.
Moriarty is one of several partners helping the Bureau of Land Management in a first-of-its-kind research project: using GPS collars and satellites to track fisher movements in Oregon.
The end goal is to establish a baseline of habitat information for a species that has been in decline since the trapping and timber industries entered the Western landscape in the 1800s.
In 2014, the West Coast fisher received a “proposed threatened” status by the U.S. Fish and Wildlife Service; but just this week the agency announced the fisher did not warrant listing under the Endangered Species Act.
If land managers like the BLM can learn specific habitat characteristics, they will then be able to make more informed decisions and even potentially figure out why the member of the weasel family is in decline, said Bruce Hollen, a wildlife biologist for the BLM in Oregon and Washington.
“Something about their habitat is affecting their ability to disperse,” said Hollen. “We don't know how come their populations have stayed so small.”
Adult fishers can weigh about 3 to 13 pounds, and can be about 2.5 to 4 feet long. They eat seemingly anything smaller than them that can be discovered in the forest: birds, squirrels, mice, reptiles, insects, vegetation and fruit. They also have the unique ability to hunt and eat porcupines.
Porcupines love to eat Oregon trees and are the reason why there were several efforts to reintroduce fishers to the southern Oregon Cascade Range from the early 1960s to early 1980s.
Those reintroduced fishers were mostly from British Columbia, but also Minnesota, according to a 2003 study published in the international journal Biological Conservation.
Presently, there are only two known fisher populations in Oregon. One is native and one is the reintroduced population. Both home ranges for the distinct fisher populations are slivers in the southwestern portion of the state. Research data now indicates that native fishers have crossed the I-5 boundary from the west and made it into the historic range of the non-native population.
While wildlife biologists agree that any mixed breeding would be interesting, it isn’t always as easy as that for territorial animals.
Moriarty, who works at the Pacific Northwest Research Station, related the moving fishers to a typical American street: “You might be able to walk into somebody’s yard but you won’t be able to live there.”
Chicken meat bait is what draws the curious fishers into the multi-compartment traps. Once inside and anesthetized, the biologists have 30 minutes to affix collars and conduct a number of tests.
Blood, hair and tissue samples are taken for DNA testing. Feet are measured and a tooth is extracted to determine age. The wildlife biologists even check for fleas and ticks during the evaluation, all while monitoring the animal’s temperature.
“You only get them in your hands every so often, so you want to measure as much as you can,” explained Matt Broyles, a BLM wildlife biologist in Klamath Falls contributing to the ongoing research.
Out of the seven fishers captured last October, three adult females got the GPS collars and two adult males were fitted with regular radio telemetry collars. Juveniles were released. The females got priority for the new equipment because they tend to stay within the home range, while males “can decide to go for a long wander,” said Hollen.
“We really want to see what they are doing within their home range — how they use the landscape in that Klamath Falls area,” he said.
The GPS units provided real-time data points every 15 minutes, allowing the team to discern resting sites and den locations inside trees.
So far, the wildlife team, which includes specialists from Oregon State University and the Rocky Mountain Laboratories, is very optimistic about the research study that runs through this July.
“The benefits are exponentially phenomenal,” said Moriarty.
tsuzuki@blm.gov
Photos and videos captured between March of 2015 and April of 2016. All photos by BLM.
Usei duas camadas sobre uma camadinha fininha do Fagulha Colorama, só pra fechar a cor.
Esmalte MUITO LINDO, coleção muito linda, surtei, quero todos. Só não consegui o Maleficent ainda...
Foi meio difícil de limpar bem os cantinhos. Não por culpa do esmalte, mas as minhas cutículas estão bizarras atualmente.