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Dead or Alive 5: Last Round brings the definitive DOA 5 package to new-gen consoles. This fluid fighter marries its signature fighting style with MMA fighting techniques to deliver a major kick for players new and old. Visually striking scenes from around the world blended with a hard-hitting cast puts players in the roles of the cast of Dead or Alive fighters once again. In DoA 5, stages act not only as visual backdrops to accompany a fight but instead play to a fighter’s strengths. As a fight progresses, the backdrop will change and interact with players. Skilled fighters will be able to utilize these dynamic stages to execute hard hitting blows, pitting their opponents against new obstacles creating a unique experience that will leave you breathless.
With each battle executing a new level of involvedness, the fighters themselves have become more complex in their design. In Dead or Alive 5 players will be able to feel more involved in the action as they see their fighters sweat as they exert more energy. Players can also kick up the competition in online multiplayer modes where fighters must learn to utilize their strength and weaknesses to K.O. challengers.
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Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Courageous, visually spectacular,emotionally engaging, production of raw, provocative dance theatre, inspired by Japanese Butoh, burlesque and cabaret, performed by infamous Australian physical theatre company Zen Zen Zo. Played to packed houses across Australia. www.zenzenzo.com
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
During the "Bike4SDGs" campaign across Belarus to promote the Global Goals through sport and cinema, UNO Minsk, together with the Office of the UN Resident Coordinator, organized a screening of the film "The Last Hope" in the city of Grodno. In addition to the Deputy Governor of Grodno, the event also welcomed more than 100 visually impaired audience members, who were able to enjoy a film made accessible to them with a special technology called audio descriptors, 24 April.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Volunteers from Moses Garoeb Youth Club fitting helmet in the students so they can ride in the tandems.
Visually distilling what a family get-together can look like, for me.
Canon 5D Classic + Canon EF 50mm F1.8 v1
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
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.
Visually, the second series models had the front indicators relocated from the top of the front fenders to below the headlights.
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Castlerigg Stone Circle is one of the most visually impressive prehistoric monuments in Britain, and is the most visited stone circle in Cumbria. Every year thousands of people visit it to look, photograph, draw and wonder why and when and by whom it was built. The stone circle is on the level top of a low hill with nice views to the towns in the valleys. There are 38 stones in a circle approximately 30 metres in diameter. Within the ring is a rectangle of a further 10 standing stones. The tallest stone is 2.3 metres high. It was probably built around 3000 BC - the beginning of the later Neolithic Period - and is one of the earliest stone circles in Britain. It is important in terms of megalithic astronomy and geometry, as the construction contains significant astronomical alignments. Although its origins are unknown it is believed that it was used for ceremonial or religious purposes.
***
Cercul de pietre de la Castlerigg este unul dintre cele mai imporante monumente preistorice şi cel mai vizitat de acest fel din Cumbria. In fiecare an, mii de persoane vin sǎ priveascǎ, sǎ fotografieze, sǎ deseneze şi sǎ se întrebe când, de ce şi cine construit bizarul ansamblu. Cercul de pietre se aflǎ pe o platformǎ situatǎ pe vârful unui deal de micǎ înǎlţime, cu privelişti frumoase cǎtre oraşele din vale. Ansamblul este format din 38 de pietre aşezate într-un cerc cu diametrul de cca. 30 metri. In interiorul cercului se aflǎ un dreptunghi alcǎtuit din 10 pietre. Cea mai înaltǎ piatrǎ are 2.3 metri. Ansamblul a fost construit probabil la începutul perioadei neolitice (în jurul anului 3000 î.Ch.) şi este unul dintre cele mai vechi cercuri de piatrǎ din Marea Britanie. Este un monument important din punct de vedere al astronomiei şi geometriei megalitice, întrucât construcţia conţine unele similitudini astronomice semnificative. Deşi originea ansamblului nu este cunoscutǎ, se presupune cǎ a fost folosit în scopuri ceremoniale şi religioase.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Arguably the most visually attractive of the Cornish Quoits, from some angles the Chun Quoit bears a strong resemblance to a giant stone mushroom. The name of the Quoit is derived from the Cornish "Chy-an-Woone" which means " the house on the downs". One of the first publications to include the Chun Quoit was by the Cornish antiquarian William Borlase (1), in1769.
From : www.megalithics.com/england/chun/chunmain.htm
en.wikipedia.org/wiki/William_Borlase
Borlase was born not far from here in Pendeen Manor House (Pendeen is the next village along the coast from Morvah). There is a Fogou at the farm, which whilst it is on private land, can be visited by asking the very pleasant owners nicely. It is a working farm though, so expect plenty of cow shit.
The lamppost of uplights is so dominant visually, why, the tree almost seems invisible!
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In downtown Akron, Ohio, on March 13th, 2021, outside the FirstEnergy Building (erected 1976), formerly known as the Ohio Edison Tower, at the northwest corner of South Main Street and West Mill Street.
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Getty Thesaurus of Geographic Names terms:
• Akron (7013265)
• Summit (county) (1002928)
Art & Architecture Thesaurus terms:
• brick (clay material) (300010463)
• brick red (color) (300311462)
• directional lighting (300051982)
• exterior lighting (300052025)
• lampposts (300101536)
• office towers (300007046)
• planters (containers) (300237566)
• plazas (squares) (300008214)
• trees (300132410)
• winter (300133101)
Wikidata items:
• 13 March 2021 (Q69305987)
• 1970s in architecture (Q17173162)
• 1976 in architecture (Q2812677)
• Akron-Canton (Q4701657)
• FirstEnergy (Q1419248)
• March 13 (Q2400)
• March 2021 (Q61312973)
• Northeast Ohio (Q7057945)
• ornamental tree (Q33249028)
• Treaty of Greenville (Q767317)
Transportation Research Thesaurus terms:
• Brick pavements (Pmrcppbmj)
Library of Congress Subject Headings:
• Office buildings—Ohio (sh99002598)
• Plazas—Ohio (sh85103415)
• Trees in cities (sh85137261)
This is my fine art piece for Damion Silver's Visually Remastered art show at DDR Projects in Long Beach Ca.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Visually impaired runner retired Army Spc. Michael Stephens finishes a race with his guide retired Army Sgt. 1st Class Adam Blow trailing during the 2017 Department of Defense Warrior Games at Lane Technical College Preparatory High School in Chicago July 2, 2017. The DoD Warrior Games are an annual event allowing wounded, ill and injured service members and veterans to compete in Paralympic-style sports. (DoD photo by EJ Hersom)
This kindergarten in Tiraspol received support through two sub-projects: "Rehabilitation of visually impaired children from both banks of Nistru River" and "Enhancing capacities for pre-school education in the city of Tiraspol through reconstruction of the kindergarten no. 44 for visually impaired children", implemented within the “Support to Confidence Building Measures” Programme (Summer 2016).
The creative world of Orla Kiely was founded in 1995 to express visually, her love of pattern, colour, texture and rhythm, which as components all play and work together. Her instinctive graphic discipline to simplify and stylise everyday motifs and forms adds another dimension. With clean orderly repeat constructions and a boldness of scale, her work achieves strength with a very modern quality, while her nostalgia for all things mid-century, help make her patterns charming, uplifting and instantly recognisable.
Design: Orla Kiely
Artist: Sarah Jane Richards
Sponsored by Cubic.
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.
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Visualy impaired dancers, Manjappa and Sahana perform along with their dance mates who have normal vision, as their teacher Ashok Kumar keeps the count of the beats by clapping loudly.
Students like Manjappa are very familiar with the basics of dance. Once they are strong on the technique, they are able to grasp more complex steps quickly. Most of the visually-impaired are music lovers and they have a keen sense of rhythm, instantly spotting any mistakes that the teacher might make in the 'taalam' (Beats) . 'Abhinaya' (Expression) is the only problem because they cannot emote. "They have never seen light so how can they know what emotions on a face look like?," asks Ashok.
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.