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Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
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Primary School: Sahdulahpur Chandni Panchayat- Karanpura, Block- Hajipur, Bihat, India, 16 May 2013:.6 years old Annu ( Visually impaired) studies in her first standard class in government primary school Sahdulapur Chandini, May 16, 2013. As part of the School Sanitation and Hygiene Education (SSHE) programme being implemented in partnership with Department of Education, Government of Bihar, UNICEF Bihar is supporting the construction of inclusive, child-friendly water and sanitation facilities in schools, with a focus on addressing needs of ‘differently abled children’. UNICEF India/2013/Prashanth Vishwanathan.
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Coverage on Disability in Bihar.
Pretty in pink — and pink and pink! Tamera Mowry-Housley is on cloud nine following her baby shower earlier this month. The pregnant co-host of The Real, who is expecting a baby girl in July, dropped by Us Weekly’s New York office this week to gush about the co-ed affair (beer was...
fashionlifestyle.org/tamera-mowry-housley-gushes-about-vi...
An ongoing project to visually inventory every book in the Miss Abigail classic advice book collection, as they appear on my somewhat categorized bookshelves in 2015.
For more information about the collection visit www.missabigail.com
And for the bibliography of books: www.librarything.com/catalog/agrotke.
This visually distinctive silver hallmarked badge was designed Eric Gill, one of the most well know British artists of the early 20th century. In January 1937, Gill received the sum of 3 guineas for his design work; it showcases his forte for letterform design with the prominent, statuesque initials, ARP. The letters are nicely balanced with inter-points (dots), and this gives the acronym a strong visual presence. Gill used the King's 'Imperial Crown' to complete the overall regal effect. The first orders for this badge from the Royal Mint had crescent lapel fittings (for men), followed by the later issued brooch fittings (for women).
The badge emerged of course during the period leading up to WW11, as the British government created plans for a number of civilian volunteer services such as air raid wardens, first aid centres, report centres to support and help towns and cities deal with the potential devastating fall out from bombs, poisonous gasses and fires. The overarching name given to these civilian volunteer services was Air Raid Precautions (ARP) and by February 1939, over 800,000 government issued ARP badges, similar to the one above, had been shipped to local authorities.
After volunteers completed a period of training, they received a badge identical to the one shown here. Again, like this example, early issue ARP badges were silver hallmarked, but by 1940 these badges were made of white metal. By 1943, this particular type of government ARP badge ceased being made as most volunteers had, by this time, a uniform.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Ewald Hering Effekt Zoellner Zöllner optische Täuschung visuelle Illusion Illusionen Täuschungen Münsterberg
Gregory geometrische optical visual visually perception cognitive trick effect
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
The 220a was succeeded in March 1956 by the 220S, which was externally almost identical, but had an upgraded version of the 2.2L inline-six (100 PS (74 kW; 99 hp), later 106 PS (78 kW; 105 hp)), due to the use of twin-carburettors.
Visually, the 220S featured a new one piece front bumper, instead of the 3-piece bumper used on the 220a. Also, the twin chrome and rubber strips running under the doors of the 220a were replaced with solid chrome strips. The most obvious difference is the addition of a chrome strip running along the front fenders and doors of the 220S.
The 220S was available with a 4-speed column shift manual transmission, with an optional Hydrak automatic clutch. This made use of small microswitches on the gear selector that automatically disengaged the clutch when the driver changed gears. Many cars have subsequently been converted to use a standard clutch, due to the high maintenece costs of continuing to use the Hydrak clutch.
Also introduced with the 220S was the W105 219, which from the a-pillar forward was essentially a single-carburettor 220a, but rearward from the a-pillar it used the shorter body of the W120/W121 180/190 models.
In July 1956 a Cabriolet (two doors, four seats) joined the line-up, and in October 1956 a Coupé version followed suit. Some Cabriolets were finished with folding rear seats to accommodate additional luggage.
Until October 1959, 55,279 220S saloons and 3,429 Cabriolets and Coupés were built.
The fuel-injected 220SE versions that officially bore the model code W128 were introduced in October 1958 and carried on until November 1960
(Wikipedia)
- - -
Das 220 S Cabriolet wurde ab Juli 1956 angeboten. Das 220 S Coupé kam drei Monate später im Oktober 1956 auf den Markt. Es entsprach bis auf das feste Dach der offenen Version. Für beide Fahrzeuge, die auf der 220 S Limousine (W 180 II) basierten, wurden derselbe Preis von 21.500 DM berechnet.
Insbesondere die Fertigung des Ponton-Cabriolets darf als gelungene Entwicklungsarbeit gelten, war doch mit diesem Typ erstmals bei Daimler-Benz eine selbsttragende Karosserie ohne Dachstreben in Verwendung, die zur Vermeidung von Karosserie-Verwindungen eine extrem steife und damit schwerere Bodengruppe erfordert. Das Cabriolet war daher trotz kürzeren Radstands und den zwei Türen 100 kg schwerer als die Viertürer-Limousinen.
Der Motor mit 74 kW (100 PS) wurde unverändert übernommen. Mit diesem Aggregat waren die Wagen ansprechend motorisiert. Das Innere ist mit Edelholz-Armaturenbrett und Fenstereinfassungen, Lederpolsterung, Heizung und Lüftung mit Standgebläse sowie übersichtlich angeordneten Rundarmaturen ausgestattet.
Im August 1957 wurden von fast allen Typen des Personenwagen-Programms verbesserte Varianten präsentiert. Auch das 220 S Coupé und Cabriolet hatte man einer Modellpflege unterzogen, aus der beide Typen mit dezenten Modifikationen und einer auf 78 kW (106 PS) erhöhten Motorleistung hervorgingen. Äußerlich sichtbar war lediglich die Änderung der vorderen Stoßstange mit der Kennzeichenblende sowie die modifizierte Beleuchtung des hinteren Kennzeichens, die – wie bei den Limousinen – in die Stoßstangenhörner verlegt worden war.
Ab September 1958 wurden Coupé und Cabriolet wie auch die Limousine als 220 SE mit Benzineinspritzung angeboten.
(Wikipedia)
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually, my favourite scene from the 'Impression - Liu Sanjie' show in Yangshuo, Guangxi province (China).
The show is co-directed by Zhang Yimou of the Beijing Oympics opening (and closing) ceremony fame.
The performance utilizes the natural surroundings to create a spectacular outdoor theatre which is the largest of its kind. The Li River itself is the stage and 12 karst mountains serve as the backdrop.
The show includes modern and classical music composed by famous musicians in China. There are also over 600 performers - all locals.
The show gives the viewer impressions of the life of people living around the river. It also provides an insight into the dress and music of the ethnic minorities of the area.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
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Almost visually similar to the European version... except that its front turn signals are relocated to the grille, and has red rear turn signals integrated to its tail lamps.
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
While visually a peculiarity among the other nobles occupying Oléon's High Council, Noorah Al-Ghareeb de La Roche de Tarzout can trace her noble lineage far back to when Oléon first arrived in Guelph. Sensing an opportunity to gain more influence and strength, Noorah's ancestral tribe was quick to ally with the northern kingdom and was a loyal ally during the ensuing civil war. Over time, the political power of the family grew through clever diplomacy and sometimes devious scheming. The tribe left the inland desert of Guelph and claimed the fortress of La Roche - the Rock - as their new home, from where they ruled Tarzout and Ouaganda first and later all of their dominions in Guelph, Oléon and the New World. They made their uncountable fortunes in agriculture and trade and own vast swathes of land throughout the Empire.
Noorah is a political power player and worked her way up into the highest echelons of Oléonese political life with patience and clever insights. Although some also suggest a more sinister path to power, which includes blackmail and other forms of subterfuge. In either case, as the head of le Bureau de Preuve, Noorah is responsible for the orderly conduct of all interior affairs of Oléon. A task she takes very seriously. A worker bee and somewhat of a control freak, Noorah has considerably expended the shadowy sections of her cabinet and keeps a close eye on possible dangerous elements within the Empire.
An Interactive Look at Pharrell Williams with ZoomCharts’ Network Graph
With the ZoomCharts network graph, a variety of options are available at your fingertips:
4. Click on a data node to explore more information about each subject.
ZoomCharts’ line of advanced data visualization software offers a fantastic way to enhance the user experience in data presentation by letting you organize and present large amounts of information in a visually engaging way—a task made even easier when you’re working with a visually appealing subject matter like celebrities.
Not only do ZoomCharts charts and graphs turn dull data presentation into an interactive and fun experience by letting you play around with data nodes, zoom in and out on different areas of the graph, and tailor the look and feel of your graph to suit your specific needs with customizable images and descriptions, but the software also works at incredibly fast speeds. Changes are reflected instantaneously when you alter, tweak, or move data nodes, making ZoomCharts a leader in data presentation efficiency.
This is why German website Celepedia, which provides the ultimate celebrity wiki that lets users learn and share knowledge about their favorite stars, chose ZoomCharts network graphs to display data in all their celebrity features. Armed with the tools that only ZoomCharts can provide with advanced functionality and unmatched speeds in data presentation, Celepedia set itself up as a leading provider of entertainment information.
Let’s take an interactive look at The Neptunes’ Pharrell Williams—a singer, songwriter, musician, and music producer who has collaborated with artists such as Madonna, Justin Timberlake, Beyoncé Knowles, Jay-Z, Britney Spears, Daft Punk, Snoop Dogg, Kelis, Nelly, Mystikal, and N’Sync—and explore who some of his friends in the music industry are, according to Celepedia users.
Pharrell is linked with a number of major players in the music industry, including female pop stars like Gwen Stefani and Miley Cyrus, hip hop artists like Jay-Z, Kanye West, and Pusha T, soul and R&B singers like Beyoncé, Robin Thicke, and Cee-Lo Green, folk and alternative rockers like Benji Madden and Ed Sheeran, his backup dancer Khadija Shari, and of course his wife, Helen Lasichanh.
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Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Main Entry: tide.mark
Pronunciation: \-,märk\
Function: noun
Date: 1799
: a high-water or sometimes low-water mark left by tidal water or a flood
: a mark placed to indicate this point
: the point to which something has attained or below which it has receded
Source: Merriam-Webster
St. Paul's Subterranean River National Park, Puerto Princesa, Palawan, Philippines.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
This lovely wine was from the 2 Lads Winery. I had it with a delicious plate of snacks that included crackers, cheese, white fish pate, smoked almonds and a tiny little raspberry chocolate. Yummy!
I also posted this because I realized I had little fall color in my stream and it bummed me out. So there's a little bit of what fall looked like, reflected in the bottom of the glass.
Visually speaking this is not the most mind blowing image every created. It's more of a simplistic take of the story. Nevertheless it doesn't come close to the awesomeness of the special edition cover featuring HAL in close up. At least, it feels better than this weird scifi version of the standard DVD edition (you know, the one showing a flying space ship - which has so important for the overall story. Because, you know, he wouldn't have reached the space station without it.)
213/365
I have internet....finally!! Been without for well over a week and I'm suffering withdrawal symptoms from flickr :s I have still been taking pictures every single day and I will slowly be uploading them.
Work has been hectic as has moving house and so the stress has been plentiful, hopefully I can dedicate a large amount of time to flickr this weekend :)
This was taken on a mini stroll around my new local area, just a flower....anyone know what it is?
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
I remember many years ago visually scanning the late night sky and thinking "wow, what is that??". Grabbing a pair of binoculars and later a telescope I again had the same reaction.
It was, of course, M34, a striking cluster that stands out well against the backdrop of the sky for any focal length that can contain it.
Equipment
Imaging Telescopes Or Lenses
Apertura 6" f/5 Imaging Newtonian
Imaging Cameras
QHYCCD QHY163C
Mounts
Vixen GPDX
Filters
Baader Neodymium Moon & Skyglow 2"
Accessories
OnStep Telescope Mount Goto Controller · Sharpstar 2" 0.95× coma corrector (CRC2095)
Software
Adobe Photoshop · Aries Productions Astro Pixel Processor (APP) · Stefan Berg Nighttime Imaging 'N' Astronomy (N.I.N.A. / NINA)
Acquisition details
Frames:
Baader Neodymium Moon & Skyglow 2": 148×120″(4h 56′)
Integration:
4h 56′
Basic astrometry details
Astrometry.net job: 8278073
RA center: 02h42m13s.2
DEC center: +42°45′00″
Pixel scale: 1.083 arcsec/pixel
Orientation: 78.943 degrees
Field radius: 0.867 degrees
Find images in the same area
Resolution: 3438x4622
File size: 16.4 MB
Data source: Backyard
The fountain, both visually and functionally, was in very poor condition for years, and its reconstruction in 2018 significantly improves the vision of this important part of the city. Behind the reconstruction was the City of Split and the Tourist Board of Split, and the actual reconstruction was carried out by Parks and Recreation.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
On October 15, blind and visually impaired students took to the streets to raise awareness of pedestrian safety.
Some background:
The Messerschmitt Me 410 Hornisse (Hornet) is a heavy fighter and Schnellbomber ("Fast Bomber" in English) designed and produced by the German aircraft manufacturer Messerschmitt. It was flown by the Luftwaffe during the latter half of the Second World War.
The Me 410’s origins are closely associated with the preceding Me 210. Development of this aircraft had been projected back in 1937 as a multi-purpose successor to the Bf 110, which had some identified shortcomings even prior to seeing combat service. Early on, confidence in the Me 210 had been high, to the extent that 1,000 aircraft were ordered off the drawing board; however, it would be a troubled program. Flight testing revealed poor longitudinal stability and despite modifications was considered unsatisfactory. While quantity production of the type proceeded, the Me 210 had a relatively high rate of accidents. This heavily contributed to production being halted on 14 April 1942; officials were keen to remedy the Me 210's problems and return it to production to minimize the economic loss incurred.
Various modifications to the design were explored, including the Me 310, a radical high-altitude derivative that incorporated a pressurized cockpit and more powerful engines.[9] This option was not favored by many officials, who sought a less ambitious remediation of the Me 210. It was this preference that led to the Me 410’s emergence, which was visually almost identical to the Me 210. The principal difference was the adoption of the larger (at 44.5 liters, 2,720 cu in displacement) and more powerful Daimler-Benz DB 603A engines. These engines each provided 1,750 metric horsepower (1,730 hp; 1,290 kW) compared to the 1,475 metric horsepower (1,455 hp; 1,085 kW) of the DB 605s used on the Me 210C. The extra power increased the Me 410's maximum speed to 625 kilometers per hour (388 mph), greatly improved rate of climb, service ceiling, and the cruising speed, the latter being raised to 579 km/h (360 mph).
The more powerful engines also improved payload capability to the point where the aircraft could lift a war-load greater than could fit into the bomb bay under the nose. Consequently, shackles were added under the wings for four 50-kilogram (110 lb) bombs. The changes added an extra 680 kg (1,500 lb) to the Me 210 design, but the extra engine power more than made up for the difference. As with the Me 210, the Me 410's rear gunner used the same pair of Ferngerichtete Drehringseitenlafette FDSL 131/1B turrets mounted on each side of the aircraft, each still armed with a 13 mm (.51 in) MG 131 machine gun, retaining the same pivoting handgun-style grip, trigger and gunsight to aim and fire the ordnance as the Me 210 did.
The new version included a lengthened fuselage and new, automatic leading edge slats. Both features had been tested on Me 210s and were found to dramatically improve handling. The slats had originally been featured on the earliest Me 210 models but had been removed on production models due to poor handling. When entering a steep turn, the slats tended to open due to the high angle of attack, analogous to the slats’ opening during the landing approach, which added to the difficulty in keeping the aircraft flying smoothly. However, when the problems with general lateral instability were addressed, this was no longer a real problem. While the Me 410 came to be regarded as a relatively stable aircraft, it had a poorer rate of turn than the Bf 110 it was intended to replace.
The wing panels of the earlier Me 210 had been designed with a planform geometry that placed the aerodynamic center farther back compared with the earlier Bf 110, giving the outer sections of the wing planform beyond each engine nacelle a slightly greater, 12.6° leading edge sweepback angle than the inner panels' 6.0° leading edge sweep angle. This resulted in unsuitable handling characteristics in flight for the original Me 210 design. The new Me 410 outer wing panels had their planform geometry revised to bring the aerodynamic center farther forward in comparison with the Me 210, thus making the leading-edge sweepback of the outer panels identical to the inner wing panels with both having identical 5.5° sweepback angles, which improved handling.
During late 1942, six Me 210As were taken off the assembly line for conversion to Me 410 standards. Near the end of that year, the Me 410 V1 prototype performed its maiden flight. Shortly thereafter, the Reichsluftfahrtministerium (RLM) was suitably convinced by its performance to place a sizable production order for the Me 410. Deliveries of the Me 410 began in January 1943, two years late and continued until September 1944, by which point a total of 1,160 of all versions had been produced by Messerschmitt's facility in Augsburg and Dornier plant in München. When the Me 410 arrived, it was typically appreciated by its crews, even though its improved performance was not enough to protect it from the waves of high-performance Allied fighters that it routinely confronted at this stage of the conflict. There were various models produced to serve in distinct roles, including a light bomber, an aerial reconnaissance platform, a bomber destroyer and night fighters.
Among these the late Me 410 B-4 was the first and only dedicated version – earlier might fighters had been converted from existing Me 410 A machines and retrofitted with radar and extra armament. In contrast to this, the Me 410 B-4 had been re-designed with the new FuG 240 ‘Berlin’ radar. This device was an airborne interception radar system operating at the "lowest end" of the SHF radio band (at about 3.3 GHz/9.1 cm wavelength) and the first German radar to be based on the cavity magnetron, which eliminated the need for the large multiple dipole-based antenna arrays seen on earlier radars. Instead, a disk-shaped reflector antenna was used, which could be covered under an aerodynamic plywood hood, thereby greatly increasing the performance of the night fighters. The power output of the radar was 15 kW and was effective against bomber-sized targets at distances of up to 9 kilometers, or down to 0.5 kilometer, which eliminated the need for a second short-range radar system. The FuG 240 was introduced by Telefunken in April 1945 and immediately rushed into production.
On the Me 410 B-4 the static radar dish had a diameter of 70 cm and was mounted in a thimble-shaped wooden radome that occupied the area in front of the cockpit. This reduced the pilot’s field of view markedly (all windows under the windscreen were deleted), but since the aircraft was to be guided by the radar operator and not involved in ground attacks, this loss was regarded as acceptable. To aid the pilot in target identification and aiming a Spanner IV device, a passive infrared-sight, was added – it was mounted into the windshield. This lowered the field of sight even further but allowed the pilot to detect hot engine and exhaust areas at a range of up to 1.000 m, while the device supported weapon aiming at a range of about 600 m.
The Me 410’s bomb bay was re-purposed to house four 20 mm MG 151/20 cannon as primary armament; the doors were deleted but a single ventral hardpoint for an external load of 1.000 kg was added – either for a large 500 l drop tank to extend range or for additional guns in a pod, e. g. the so-called ‘Magirus bomb’, or ‘WB 151A’ weapons pod with two 20 mm MG 151/20 cannons and 150 rpg.
The rest of the armament was tailored to the night fighter mission profile, too: the heavy defensive FDSL 131 barbettes were deleted, and instead a staggered pair of MK 108 30 mm cannon with 100 rpg were installed behind the cockpit, firing upwards (‘Schräge Musik’), close to the aircraft’s center of gravity. It was planned to link these weapons to a SG 116 device, which would automatically trigger these through a photocell, reacting to the shadow of the target aircraft or its silhouette against the sky or coulds. This device turned out to be highly unreliable, though. The second crew member was now a dedicated radar operator who sat in the former observer/rear gunner’s position, but the seat was ‘reversed’ and now faced forward. The WSO had, beyond the bulky FuG 240’s display, a sight for the oblique guns so that these could also be triggered manually when the aircraft passed underneath its target.
Another dedicated night fighter modification of the Me 410 B-4 was its propulsion system. While the aircraft was still powered by the standard Daimler Benz DB 603A that provided up to 1,850 PS/1,360 kW, the night fighter was outfitted with handed reversible four blade propellers. The idea was to counter torque issues due to both propellers originally turning into the same direction, and the four blades were introduced to improve acceleration and especially decelration when the aircraft approached its relatively slow target at high speed and had to get into an effective and stable aiming position as quickly as possible. This also required handed engines, so that the Me 410 B-4's powerplants were designated DB 603A-1l/r to differentiate their working direction. Additionally, flame dampers were mounted as another standard night fighter measure to protect the crew from engine flares and hide the aircraft in the dark sky.
General characteristics:
Crew: two
Length: 12.75 m (41 ft 9 in)
Wingspan: 16.3513 m (53 ft 7.75 in)
Height: 4.280 m (14 ft 0.5 in)
Wing area: 36.2031 m2 (389.687 sq ft)
Airfoil: root: NACA 23018-636.5; tip: NACA 23010-636.5
Empty weight: 7,518 kg (16,574 lb)
Gross weight: 9,651 kg (21,276 lb)
Fuel capacity: 550 imp gal (660 US gal; 2,500 L) in four wing tanks
Powerplant:
2× Daimler-Benz DB 603A-1l/r V-12 inverted liquid-cooled piston engines, each providing:
- 1,290 kW (1,750 hp) for take-off
- 1,360 kW (1,850 PS) at 2,100 m (6,890 ft)
- 1,195 kW (1,625 PS) at 5,700 m (18,700 ft)
Driving handed 4-bladed VDM constant-speed propeller
Performance:
Maximum speed: 507 km/h (315 mph, 274 kn) at sea level,
624 km/h (388 mph; 337 kn) at 6,700 m (21,980 ft)
Cruise speed: 587 km/h (365 mph, 317 kn)
Range: 1,200 km (750 mi, 650 nmi) at maximum continuous cruise speed,
1,690 km (1,050 mi) at economical cruise speed
Ferry range: 2,300 km (1,400 mi, 1,200 nmi)
Service ceiling: 10,000 m (33,000 ft)
Time to altitude: 6,000 m (20,000 ft) in ten minutes and 42 seconds
Armament:
4× 20 mm (0.79 in) MG 151/20 cannon with 300 rpg in the lower fuselage, firing forward
2× 30 mm (0.79 in) MK 108 cannon with 100 rpg behind the cockpit (“Schräge Musik”),
oriented 65° above horizontal
Up to 1,000 kg (2,200 lb) of disposable external stores, including:
- 2x 300l + 1x 500l drop tanks
- 2x 250 kg or 4x 100kg or 4x 50 kg bombs
- 4× 21 cm (8.3 in) Werfer-Granate 21 rockets
The kit and its assembly:
Well, my Me 410 night fighter is certainly not the first one of its kind, but a personal interpretation of the subject with as much late-WWII hardware on board as possible, for a purposeful look and feel.
The basis of this build became the Italeri Me 410, mostly because it comes with “plugs” for the fuselage flanks where the original Me 410 carried its defensive gun barbettes – IMHO useless on a night fighter. The plugs are, however, quite useless, because they still have to be PSRed into the flanks so that they could be easily omitted anyway...
Another typical ingredient was a Quickboost FuG 240 thimble radome for the system's static dish antenna, originally intended for a Ju 88 G-6 night fighter but in this case mounted to the aircraft’s nose and PSRed into shape, too. The radome’s “flat” underside was also a plausible detail for an open field of fire for ventral guns in the former bomb bay – a conversion that had been done to many Me 410 heavy fighters with field modifications and cannon Rüstsätze.
The cockpit was insofar modified that the former gunner on the back seat now faced forward, and the workstation received some scratched devices like a radar screen and a tilted gun sight. The pilot received an IR sight, mounted through a hole that was drilled into the windscreen, and a separate bulletproof glass panel behind the windscreen. Since I did not want to open the already complex/fiddly three-part canopy I added two crew members.
The former machine gun barbettes were faired over, and instead two hollow steel needles were mounted behind the cockpit on sockets/bulges, plus a clear “sensor some” (all made from sprue material). Hollow steel needles were also used to simulate protruding gun barrels in the ventral cannon compartment and on the back. Under the wings a pair of OOB 300l drop tanks were added, a plausible payload, and to beef up the armament I scratched a Magirus-Bombe gun pod and mounted it on a central hardpoint from a Fw 190.
As an individual detail I lowered the aircraft's flaps, which was quite easy to do. The wing segments were simply cut out and semi-circular styrene profile used to create the hinges.
To make the Me 410 night fighter look a bit more purposeful I furthermore used flame dampers on the exhaust stubs; these were taken from an Italeri Me 110 night fighter, and this worked better then expected. I just had to modify one of the exhaust pipes due to the different position of the carburettor intakes on the Me 410. Furthermore I replaced the original three blade props with four blade alternatives (which had been tested on Me 410 V15 IIRC, but had not been adopted) from a FROG D.H. Hornet. Not a perfect match, because the spinners were slightly too big in diameter (could be trimmed down, though) and the props are handed, but that's only obvious at second glance.
Painting and markings:
I kept the livery conservative, and wanted to keep the aircraft relatively light overall, like a typical German late war night fighter. Therefore, the machine initially received an overall coat with RLM 76 (Humbrol 247), only with a few blurry fields and speckles with RLM 75 (Humbrol 246) on the wings’ upper surfaces and on the spine. Additionally, some mottling with mixed shades of RLM 76 and 75 were added, primarily to the fuselage, engine and fin flanks.
I initially considered additional mottles with lighter RLM 77 (RAL 7035, almost white) on the flanks and the upper surfaces, but when the two basic tones were applied I thought that this was already enough, so I kept the livery rather simple.
An unusual detail is a single black wing underside, though. This is/was not a camouflage measure, rather an identification marking for anti-aircraft artillery on the ground to avoid friendly fire. This was, just as in real life, done with water-soluble paint (acrylic tar black, Revell 06), so that the original light blue-grey paint would shine through here and there and the black paint would easily wear or flake off.
To achieve this effects and to blur the mottling the whole model received, after it had been painted, an overall treatment with fine wet sand paper. A similar method was used to simulate flaked paint on the wooden radome. After a light black ink washing some post-panel-shading was done, too.
The cockpit interior became very dark grey (RAL 7021, I used Revell 09 Anthracite) while the landing gear and its respective wells were painted in RLM 02 (Tamiya XF-22).
The decals were puzzled together from various sources. The code G9+F(red)N is plausible for an aircraft of the Nachtjagdgeschwader 1's 5th squadron. The unit emblem is fictional, though, the gauntlet motif came from an RAF Tornado. The black iron crosses were reduced to a minimum - except for the underwing markings, which were kept more complex even during the final war stages, and in the case of the black wing these markings also offer more contrast for a secure identification from below.
After some soot stains done with graphite around the exhausts and the gun muzzles the model was finally sealed with matt acrylic varnish and the wire antenna made from heated black sprue material was added.
While visually these are amazing, they're impracticle and the upkeep is a chore:
-The plastic doesn't have breathability and your feet quickly become hot, making them unbearable for all day wear.
-The inside heel has only a thin strip of felt that is easily worn away and needs to be replaced often or the stitching behind can become frayed, splitting the shoe.
-The plastic as well will become cloudy over time and if left in light will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle, eventually disintergrating.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.