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Member: Pinoy Bus Fanatic (PBF)
Basic Details:
Line: Magicline Express, Corp.
Fleet No.: 8614
License Plate No.: ******
Coachbuilder: Santarosa Motorworks, Inc.
Model: Daewoobus BF106 (BF106 Cityliner)
Route of operation: Ninoy Aquino International Airport, Pasay / Parañaque City - Grotto, Brgy. Tungkong Mangga, City of San Jose del Monte, Bulacan
Seating configuration/capacity: 3x2 / 56
Location: Epifanio de los Santos Ave., Malibay, Pasay City
Date: 2016-02-25
Engine:
Engine Manufacturer: Doosan Infracore, Corp.
Engine Type: DE08TiS
Number of Cylinders & Arrangement: 6, Inline
Displacement, cc:
Power Output:
> In bhp: 236.71
> In PS: 240.00
> In kW: 176.52
Chassis:
Chassis Manufacturer: Zyle Daewoo Bus, Corp.
Chassis Type: BF106 (VIN PL5FJ50HD9KXXXXXX)
Chassis Length: 10.30 m
Transmission:
Method: Manual Transmission
Nr. of Gears:
> Forward: 6
> Reverse: 1
Notes:
1) Specifications are subject to change without prior notice.
2) The license plate of the bus concerned was blurred to prevent any conflict.
3) I have taken this photo for the enjoyment of anyone interested in buses.
4) For any corrections, comment it.
5) Violent and personal comments will be deleted without any notice. Personal comments should be in FlickrMail, not in the comments. I don't want my reputation be ruined.
pasted in favela Mofrrej, Sao Paulo, as part of The ArtFabric and Street Art Without Borders projects
This image may not be used in any way without prior permission
© All rights reserved 2014
Mississauga, Ontario, Canada
Toronto Pearson International Airport CYYZ
C-GHPQ
Air Canada
Boeing 787-8 Dreamliner
35257 / 160
Twitter: @TomPodolec
Some People Have Entertained Angles Without Knowing It
Artist: ltbLight
Type: Sketch
Available Resolutions: 1024x768, 1280x800, 1280x1024, 1400x1050, 1600x1200, 320x480(iPhone)
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More free Christian worship backgrounds and wallpapers are available at Crossmap Backgrounds.
After nearly 11 months without a drop of rain, all of Waridaad village’s traditional water sources dried up. Oxfam partners Havyoco have been trucking in clean water every day. The water is pumped into these community tanks, from where each family queues up to fill their jerrycans.
Ibrahim Harir Deria coordinates Havyoco’s water trucking: “We are suffering from consecutive drought. Last year was ok, but before that there was a drought. It is getting more common. The lack of pasture is the father of many things – it causes disease and malnutrition.
"There are four trucking centres in the village, each serving 140 households – so 560 families in total. Each household gets 45 litres of water per day – about 7.5 litres per person."
miw paste-up on the streets of paris.
www.flickr.com/photos/urbanhearts/
part of street art without borders.
thank you so much again and again eric!
All glued, done on glass in recycled frame. Glass gems, jewellery, ball chain, buttons, beads, stained glass .Was going to put something in the space at bottom but think it has enough going on.
Without thinking.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Without mysteries life would be very dull indeed.
What would be left to strive for if everything were known?
Charles de Lint
View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
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A beautiful Audi S3 at the Platinum VW car show in Hicksville on July 27th 2013.
D700, 85mm f/1.4D @ f/2, iso 200, cp filter.
Please do not use this image without my prior consent.
OLIVER PEOPLES Aero Aviator Sunglasses. Polished Chrome Frame with Maroon Polarized lens Lens. Lens Size 54mm. D.B.L. 17mm.
What more need me say when picture says all? It is one of the three "Fight Club" Sunglasses. Brad Pitt wore it in the scene when two Tyler meet the first time on the airplane. Tyler Durden was babbling about:
"You know why they put oxygen masks on planes?"
"Oxygen gets you high. In a catastrophic emergency, you're taking giant panicked breaths. Suddenly you become euphoric, docile. You accept your fate. It's all right here. Emergency water landing - 600 miles an hour. Blank faces, calm as Hindu cows."
Most Audience respond the same "That's, um... That's an interesting theory."
Brad Pitt actually own this pair and wear it off screen. Aero54 is usually too big for me, but I bought it for the movie collection. Lens & frame size has to stay true to the movie. Lens was purchased separately and I honestly don't know the name for it. It is not "Cherry Bomb" lens for sure. I asked OP store on Madison Avenue to set it up for me. The end of the day I only know it is polarized and made of glass instead of plastic.
I'm pretty sure that I am not the only one with "Fight Club" request.
う〜む、前住居の補修費の見積もりがまだ来ない。。。
いくらになるのやら〜？（電話したら担当者不在というw）
Praktisix × Arsat 80mm F2.8 FUJI Pro 400
Thank you for visiting.
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On my way to St Giles, I saw that the door to St Botolph seemed to be open. I went over to investigate, but found it shut fast.
But a nice lady who was about to enter the church said that it would be open at quarter to one, use the entrance in the Postman's Park. So, I vowed to return.
As I did, arriving back at five past one, only to find that one of their lectures was about to begin. I did think about staying for the lecture, then getting shots But in the end, rattled a few shots off before hightailing it out before the lecture began.
So sad then that this wonderful church was out of the public's view for so long, worth trying to see inside for the plaster ceiling.
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The eastern half of the City had four churches dedicated to St Botolph, each at one of the City gates, a reminder that St Botolph is traditionally the patron Saint of travellers and wayfarers. Three of the churches survive, and this is one of them.
St Botolph without Aldersgate sits on the corner of Aldersgate Street and Little Britain, across the road from the Museum of London, with Postman's Park wrapped around the other two sides of it. The medieval church was undamaged by the Great Fire, but when Aldersgate Street was widened in the late 18th Century the church was knocked down and rebuilt by Nathaniel Wright. The new church is modest, but in a good way, an introspective moment before the modernist noise of London Wall and the Barbican kick in.
For many years this church was hardly ever open. It is home to a particularly evangelical congregation, and the church's only services, the so-called Aldersgate Talks on Tuesday lunchtimes, are focused on the exegesis of Bible passages for the benefit of those who like that kind of thing best. I was quite excited to find the church open on a Saturday morning a couple of years ago. Unfortunately, there was a meeting on inside - lots of very earnest looking men in black suits who glared at me when I poked my head around the door. They didn't look very welcoming, so I fled.
However, all that has changed. St Botolph now partly serves as the visitor centre for Christian Heritage London, who have put up a sequence of display boards which detail a fairly fundamentalist protestant history of Christianity from the First Century (which was very good, apparently) to the Twentieth Century (which was very bad). So for the modest sum of one pound you may enter the church and read them. The exhibition is open every day except Tuesday and Sunday.
And the church? Well, after all that fuss about getting in I must admit that I was a little disappointed, I'm afraid. The ceiling is gorgeous, great sugary fondants of plaster swelling and dripping in geometric patterns. And the east end is lovely, the apse beautifully decorated, although of course the altar has been removed and the space turned into a meeting area. It was rebuilt further west in 1829 to facilitate more road-widening, but appears to have retained Wright's design, albeit updated later by the Victorians. Otherwise it appears an almost entirely 18th Century interior.
However, successive generations have not served it well. The 19th Century glass in the north windows by Ward & Hughes is not good, its preachy gallery style quite out of harmony with the decoration, and the post-war Farrar Bell scenes of events in evangelical history on the south side are pedestrian at best. The glass up in the clerestories looks better, though perhaps only because it is further away. And the modern congregation has gutted the furnishings, replacing them with modern chairs that are turned away from the east towards a side wall in the protestant manner. Perhaps the best thing of all is the sequence of good, interesting memorials which date back over four hundred years, although you may need to discreetly move some of the display boards to get to them.
Simon Knott, December 2015
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Elsa has been deboxed. She is inserted in the base, but is without her cape.
I got the Beast Kingdom MC-005 Elsa 1/4 Scale Figure from Big Bad Toy Store today (Wednesday October 3, 2018). She is made from resin, has an excellent paint job, and stands 15 inches tall to the top of her head, or 16.5 inches to the top of her raised hand, or 18 inches tall on her stand. The base is 9.5 inches in diameter and 1 1/4 inches thick, with a non skid bottom. There is a silver plaque on the base which has the Edition number, 291, which is also on a separate Certificate of Authenticity. But there is no indication of the Edition size.
She is in her iconic Let It Go pose, same as the Maquette and many other figures. She comes in three parts, her body and dress, her cape, and the base. She has to be inserted into the base to stand, and the cape is inserted into her back. She is very stable on the base. There is silver glitter on her bodice and the snowflake and icicle patterns in her cape, and it does shed a little. She is a very accurate and very beautiful depiction of Snow Queen Elsa.
I show her being deboxed, then on the base without her cape, and finally fully assembled with her cape on.
Frozen Master Craft MC-005 Queen Elsa of Arendelle PX Previews Exclusive Statue
BY BEAST KINGDOM
BRANDS FROZEN, DISNEY
IN STOCK
$214.99
Sold by Big Bad Toy Store
Premiered in 2014, the animated motion picture Frozen has propelled Disney's motion pictures to new heights! In addition to instant fame to all characters in the movie, Frozen has also elevated Elsa to the number three spot on Disney's ranking for the most popular princess.
Beast Kingdom's MC-005 Frozen Elsa is based on the appearance of Elsa when she became the Snow Queen in the movie with her confident and resolute demeanor. The sculptor has painstakingly stayed true to the source materials from Disney so as to portray the perfect recreation of Elsa's elegance. With precise and detailed sculpting, this statue faithfully captures the look of confidence and elegant posture of Elsa.
Coupled with professional paint work and special paint materials, all details on the statue are accurate reproduction of the color scheme as seen in the animation. As she stands atop of her pearl luster base, Elsa is ready to unleash her powerful cryokinetic magic. Want to witness that breathtaking world of ice?
Come to Beast Kingdom and join Elsa in a return to the stunning scenery in the world of Frozen!
Product Features
1/4 scale
Previews Exclusive statue!
Features details from the film
Stands on her ice base!
Box Contents
Elsa of Arendelle 1/4 scale statue
More images at the manufacturer's Facebook page announcement of the figure:
This memorial
of his untimely fate
has been erected by the
Vicar and two friends
who accompanied him
in a visit to Paris
as a tribute of respect to that
Brave and Generous Nation
Once our foes but now our
allies and brethren
Ainsi Soit il
A.D
1857
Napoleonic Conflict
In the late 1700s Dereham church's bell tower was used as a prison for French prisoners of war being transferred from Great Yarmouth to Norman Cross under the charge of the East Norfolk Militia. On 6 October 1799 a French officer, Jean de Narde, managed to escape from the tower and, being unable to escape from the church yard due to guards being present, hid in a tree. The Frenchman was spotted and shot when he refused to come down and surrender. Jean is buried in the church yard, and his grave is marked by a memorial stone erected in 1858, which includes the following statement: "Once our foes but now our allies and brethren."
Source: en.wikipedia.org/wiki/Dereham
Source: eastscapes.blogspot.co.uk/2012/12/once-our-foe-grave-of-j...
The East North Militia have one “battle honour” to its “credit” Whilst escorting French prisoners of war from Yarmouth to Norman Cross, The Militia locked up their prisoners for the night in the bell tower of Dereham church – for safe keeping. In spite of this, an officer by the name of Jean De Narde, the 28 year son of a notary from St. Malo, managed to escape from the church. Finding that the Militia had set piquets around the perimeter of the Church he climbed an oak hoping that his absence would go unnoticed and that the party would leave without him thus allowing him to make good his escape. Unfortunately for De Narde, the Militia, realizing that they were missing a prisoner conducted a search of the locality and the Frenchman was spotted on account of him leaving his legs dangling from the tree. The Sergeant was told to get the Frenchman down. The prisoner was called on to surrender. Whether De Narde did not understand English that was yelled at him or perhaps he did not even realise that he had been discovered, De Narde kept to his tree. The Sergeant thereupon shot the Frenchman from the tree, killing him instantly. The local population were apparently ashamed by this action and thought this deed to be one of unnecessary cruelty, according to the Parish Priest, the Reverend Benjamin John Armstrong . Eventually a monument was raised to the unfortunate De Narde and the family in St Malo informed of his fate.
Source: eastnorfolkmilitia.webs.com/themilitia.htm
Jean de Narde was a French prisoner of war who had been landed at Yarmouth, and was on his way to Norman Cross prison in 1799. His party was lodged in the Bell Tower of East Dereham church overnight, and he attempted to escape by climbing down the wall but was shot by one of the guards. He was buried in the cemetery and later in the 19th century a headstone was placed above his grave. There is a plaque on the tower wall that relates this story. A contemporary account of prisoners marching through the area records the frequent passage of such prisoners, with East Dereham being one of the halts for the night:
Columns of prisoners often 1,000 strong were marched from Yarmouth to Norwich and lodged in the castle. From Yarmouth they were marched to Lynn halting at Costessey, East Dereham and thence to Lynn. Here the captives were lodged temporarily in an old warehouse on the north side of the King Staith.
The Norman Cross brochure has this text on the front of its folder:
In 1797 the Transport Board of the Admiralty decided that a new prison establishment was required in the east of England, to house the many thousands of French and Dutch prisoners of war arriving in this country. The site had to be inland to hinder escape attempts although within easy access of the coast so that captives could be landed at Kings Lynn and Yarmouth and conveyed to the depot at minimal cost; in a fertile area where the local produce could supply the depot; and on a site that possessed a good water supply. Norman Cross possessed all these attributes and was on the Great North Road so that troops, prisoners and supplies could be conveyed along this route easily. Construction work began in December 1796 and by the following April the prison was ready for the reception of prisoners.
The depot was in use from 1797 to 1814 and housed not only French but Dutch, German, Italian and Polish POWs. These men were captured at the naval battles of Camperduin and Trafalgar and during the Peninsular War. Prisoners also came from enemy privateers and merchant vessels, the capture of the French colonies in the West Indies and from battles such as Maida in 1806 in Italy and the Walcheren campaign of 1809.
Source: www.napoleonicwarsforum.com/viewtopic.php?f=5&t=2167
The " Bell Tower" (to adopt loyally the indigenous name) stands, not on the church, like most of its contemporaries, but beside it. It was also used as a lock-up or temporary prison in the days when French captives were marched from Yarmouth to Norman Cross, and passed a night at Norwich and Dereham on their way.
One October evening in 1799, a batch of these poor fellows were lodged in the hospitable precincts of this Bell Tower. A prisoner of war by the name of Jean de la Narde, twenty-eight years of age, the son of a notary of St. Malo, thought he would try to escape during the night. He was discovered, however, by the sentry, pursued by the guard just as he had succeeded in climbing into a large tree, and was there shot dead. A neat stone was erected over his remains by the kind-hearted vicar and renewed by the Rev. B. J. Armstrong in 1856.
Page 29 “Life, writings and correspondence of George Borrow (1803-1881) based on official and other authentic sources”
Source: archive.org/stream/lifewritingsandc01knapuoft/lifewriting...
Passages from the diary of the Rev. Benjamin John Armstrong M.A. (Cantab) Vicar of Dereham. 1850 – 88
Feb. 17 1858. Today another cross was set up in the churchyard, the inscription under which will speak for itself. 'In memory of Jean de Narde, son of a Notary Public of St. Malo. A French prisoner of war, who, having escaped from the Bell tower of this church, was pursued and shot by a soldier. October 6th, 1799, aged 28 years.
Source: www.coxresearcher.com/history/norfolkdiary.htm
Source: godsacre.blogspot.co.uk/2011/12/jean-de-narde-norfolk-dia...
6. (March 1858)*—“Within the last few days a stone has been placed in the churchyard at East Dereham, in memory of Jean de Narde, a French prisoner of war, who, in the year 1796 while en route from Yarmouth to Norman Cross prison, was lodged in the lower chamber of the bell tower of the church, and escaped therefrom. He was pursued by the guard, and, after some search, was espied in a tree on the Scarning Road, and when summoned by a soldier to descend and surrender he did not comply. His non-compliance forfeited his life, for he was shot off it like a crow. The stone was erected by the vicar and two other gentlemen.”
From Norfolk Annals, A Chronological Record of Remarkable Events in the ineteenth Century, Vol 2 by Charles Mackie.
Source: www.hellenicaworld.com/UK/Literature/CharlesMackie/en/Nor...
(I’m leaning towards discounting this version – not only is the year wrong but it’s the only version that implies he managed to get further than the churchyard).
So lots of slight variations on the circumstances of Jeans’ death throughout all those. I believe this headstone was a replacement for one put in place contemporaneously by the then incumbent Vicar.
Washington DC, the evening of Thursday October 12, 2017. Around 50 peace activists and supporters associated with Move On, J Street, Win Without War, NIAC, Women's Action For New Directions and other groups gathered in front of the White House for an hour long rally with speeches to stop a war with Iran. President Trump is expected to "de-certify" the multilateral Iran deal that, at the very least, has been successful at interrupting the development of nuclear weapons by the Islamic State. Skilled diplomats and peace advocates worldwide worked very hard for over two years to get the Iran deal over the finish line in 2015. All objective observers, including generals and other 'national security' officials in Trump's administration, agree that Iran has lived up to their deal obligations. Still, our President, along with his ally Benjamin Netanyahu of Israel, is determined to end the United States participation in the agreement, risking runaway nuclear proliferation and a possible catastrophic war. Many of us on the ground tonight have been here before. Vietnam, Iraq, Afghanistan, Yemen and more. It's remarkable that the foolish rush into yet another war that could and should be prevented is protested by so few. Lawrence J. Korb is on the mic defending the Iran deal. Larry was appointed Assistant Secretary Of Defense in the Reagan administration from 1981 to 1985. He's currently a senior fellow at the Center For American Progress.
CA SEA OTTERS: 2016
Please do not copy this image without my explicit written permission.
© All rights reserved: john c. bruckman @ innereye photography
The Southern or California Sea Otter has been listed as a threatened since 1977. Sea otters are highly specialized marine mammals capable of living their entire lives without ever having to leave the ocean, have the densest fur of any mammal and are one of the few marine species to use tools.
Sea otters are an apex predator of the near shore ecosystem. The species is considered a keystone species because of their critical importance to the health and stability of the near shore marine ecosystem. They are also considered a sentinel species because their health reflects that of California’s coastal oceans. The single greatest threat to the sea otter is an oil spill. One large oil spill in central California could be catastrophic, with the potential of driving the entire CA Sea Otter population into extinction.
Behavior
Most of a sea otter’s life is spent at sea, though they do occasionally haul out on land, where they appear clumsy and walk with a rather awkward gait. They eat, sleep, mate and give birth in the water. Sea otters spend most of their time floating on their backs at the surface grooming, eating, resting, and diving for food on the seafloor.
Sea otters groom themselves almost continuously while at the surface, a practice critical for maintaining the insulating and water repellant properties of their fur. Its pliable skeleton and loosely fitted skin allow the animal the flexibility to reach any part of its body. During a grooming bout, which generally occurs directly after a foraging bout (a period of time in which diving and eating takes place) or resting bout, the animal can be seen somersaulting, twisting and turning, and meticulously rubbing its fur at the water surface. This behavior not only cleans the fur, but also traps air bubbles against the skin within the millions of hairs of its pelage.
Food & Foraging
An otter must consume approximately 25% of its bodyweight in prey each day just to stay alive! A 75-pound otter can eat up to 1,500 sea urchins a day, or about 25 pounds of seafood (for a 75 pound kid, that would amount to eating 75 quarter pound hamburgers every day!). To meet its high energetic and thermoregulation demands, a sea otter’s metabolic rate is 2 to 3 times that of comparatively sized mammals.
Lock down photo
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طال انتظاري يا حبيبي برجواك ♥♥♥ وسرّ الهوى بأقصى ضميري كتمته
غـيـّـم سـما حـبـي بهجرك ولاماك ♥♥♥ بـيـن الـرجا و الياس روحي قسمته
☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼
والله لـو طـال الـهـجـر مـا تناساك ♥♥♥ مـن أجـلـكـم شـعـر شعـوري نظمته
!سبحان ربّ الخلقْ يا كيف سـوّاك! ♥♥♥ صـافـي جـمـال ٍ إلـتـزمك و لزمته
☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼☼
ارحـم مـحـبّ ٍمـن سـنيـن اترجـّـاك ♥♥♥ هـجـرك و بعدك في حـياته صدمته
I'd like to see you in the morning light
I like to feel you when it comes to night
Now Im here and Im all alone
Still I know how it feels, I'm alone again
Tried so hard to make you see
But I couldn't find the words
Now the tears, they fall like rain
I'm alone again without you
Alone again without you
Alone again without you
I said stay, but you turned away
Tried to say that it was me
Now I'm here and I've lost my way
Still I know how it feels, I'm alone again
Tried so hard to make you see
But I couldn't find the words
Now the tears, they fall like rain
I'm alone again without you
I tried so hard to make you see
But I couldn't find the words
Now the tears, they fall like rain
I'm alone again without you
Lyrics by: Dokken, pilson
To download song, click on:
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Shot by: http://www.flickr.com/photos/qatar-aggie/
Model: Me
Taken in Hunington Beach (Surf City) at 8:32 pm
Exposure: 0.017 sec (1/60)
ISO Speed: 1600
Aperture: f/4
70 - 300mm at 70 mm
was taken on the same day with this shot (posted earlier) :
I'll post a semilar shot -my version of him- soon , that was taken on same day :)
The National September 11 Memorial is a tribute of remembrance and honor to the nearly 3,000 people killed in the terror attacks of September 11, 2001 at the World Trade Center site, near Shanksville, Pa., and at the Pentagon, as well as the six people killed in the World Trade Center bombing in February 1993.
The Memorial’s twin reflecting pools are each nearly an acre in size and feature the largest manmade waterfalls in the North America. The pools sit within the footprints where the Twin Towers once stood. Architect Michael Arad and landscape architect Peter Walker created the Memorial design selected from a global design competition that included more than 5,200 entries from 63 nations.
The names of every person who died in the 2001 and 1993 attacks are inscribed into bronze panels edging the Memorial pools, a powerful reminder of the largest loss of life resulting from a foreign attack on American soil and the greatest single loss of rescue personnel in American history.
Monument to Charles Morrison / Moryson / Morison 1st Baronet (18 April 1587 – 20 August 1628) of Cashiobury Watford and wife Mary Hicks, by Nicholas Stone costing £400
He was the son & heir of Sir Charles Morrison the elder 1599 www.flickr.com/gp/52219527@N00/p4uWb1 of Cassiobury, Watford & Dorothy www.flickr.com/gp/52219527@N00/1e29dn daughter of Nicholas Clark / Clerke, of North Weston and Elizabeth daughter of Thomas Ramsey & Susannah Isham: Dorothy was the widow of Henry Long of Shingay
He is also shown kneeling on his father's monument here www.flickr.com/gp/52219527@N00/Q204G4
He was made Knight of the Bath (KB) in 1603 at the English coronation of King James I and was created a baronet on 29 June 1611. He was an MP at various times between 1621 and 1628.
He m 1606 at Low Leyton, Mary younger co-heiress daughter of Baptist Hicks, 1st Viscount Campden & Elizabeth flic.kr/p/KMikLP daughter of Richard May of London and sister of Sir Humphrey May Alderman of London.
She was the younger sister of Juliana who m Sir Edward Noel, flic.kr/p/LBfa1M
Children - 2 sons who died young www.flickr.com/gp/52219527@N00/6Gq9W0 and an heiress daughter
1. Elizabeth m 1627 www.flickr.com/gp/52219527@N00/WbV32A Arthur 1st Baron Capell of Hadham ex 1649 flic.kr/p/8r4yTR only son of Sir Henry Capell of Rayne Hall Essex & Theodosia daughter of Sir Edward Montague of Boughton Castle & Elizabeth www.flickr.com/gp/52219527@N00/69Uq6t daughter of James Harington of Exton flic.kr/p/Kvqctt (despite his prior engagement to Salisbury’s daughter) Cassiobury becoming the chief seat of the Capel family.
Charles left strict instructions to his ‘dear and best deserving wife’ to forbid a funeral service. This was not for motives of economy, for in his will dated February 1628 he bequeathed £50 to the poor of Watford and £400 to his household servants. He left his nephew the 4th earl of Bedford (Sir Francis Russell) £50 ‘to buy him a horse’, with a request to continue his friendship to the family, £40 to his father-in-law for the same purpose, and £20 to his cousin Edward Alford +++ for a mere nag, ‘ever acknowledging his faithful love to me and mine’.
His widow buried him, in accordance with his instructions, in the north aisle of Watford church, and provided this monument at a cost of £400 in tribute to 21 years of married life ‘without quarrel or cloud’. The epitaph praises his "piety, virtue and intelligence, and his outstanding prudence and dexterity in managing the public business of the province in which he flourished, besides the gentleness and elegance of his manners, humanity and beneficence"
His widow Mary m2 (2nd wife) Sir John Cooper, 1st Bart of Rockbourne, Hants a "handsome gambler" who died soon after from consumption She m3 Sir Edward Alford son of +++
www.historyofparliamentonline.org/volume/1604-1629/member...
Picture with thanks - copyright John Salmon CCL www.geograph.org.uk/photo/4850121
Photographed while walking at San Antonio Open Space Preserve, Los Altos, California
Please click on the photo or press the L key to view the larger size
This beautiful Red-tailed Hawk was perched on a horizontal branch, no more than 50 feet from a heavily-used trail that winds up the hillside from the parking area. Many hikers and runners passed this hawk in both directions without noticing the hawk. The hawk itself was constantly moving its head about as it was searching for prey and in this photo was looking up the hill behind it at some movement that had attracted its attention.
Canon 7D Mark II. f/5.6 1/640 ISO 400
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From Wikipedia: The red-tailed hawk (Buteo jamaicensis) is a bird of prey that breeds throughout most of North America, from the interior of Alaska and northern Canada to as far south as Panama and the West Indies. It is one of the most common members within the genus of Buteo in North America or worldwide. The red-tailed hawk is one of three species colloquially known in the United States as the "chickenhawk," though it rarely preys on standard-sized chickens. The bird is sometimes also referred to as the red-tail for short, when the meaning is clear in context.
Red-tailed hawks can acclimate to all the biomes within their range, occurring on the edges of non-ideal habitats such as dense forests and sandy deserts. The red-tailed hawk occupies a wide range of habitats and altitudes including deserts, grasslands, coniferous and deciduous forests, agricultural fields and urban areas. Its latitudinal limits fall around the tree line in the Arctic and the species is absent from the high Arctic. It is legally protected in Canada, Mexico and the United States by the Migratory Bird Treaty Act.
The 14 recognized subspecies vary in appearance and range, varying most often in color, and in the west of North America, red-tails are particularly often strongly polymorphic, with individuals ranging from almost white to nearly all black. The subspecies Harlan's hawk (B. j. harlani) is sometimes considered a separate species (B. harlani). The red-tailed hawk is one of the largest members of the genus Buteo, typically weighing from 690 to 1,600 g (1.5 to 3.5 lb) and measuring 45–65 cm (18–26 in) in length, with a wingspan from 110–141 cm (3 ft 7 in–4 ft 8 in). This species displays sexual dimorphism in size, with females averaging about 25% heavier than males.
The diet of red-tailed hawks is highly variable and reflects their status as opportunistic generalist, but in North America, it is most often a predator of small mammals such as rodents. Prey that is terrestrial and diurnal is preferred so types such as ground squirrels are preferential where they naturally occur. Large numbers of birds and reptiles can occur in the diet in several areas and can even be the primary foods. Meanwhile, amphibians, fish and invertebrates can seem rare in the hawk’s regular diet; however, they are not infrequently taken by immature hawks.
Red-tailed hawks may survive on islands absent of native mammals on diets variously including invertebrates such as crabs, or lizards and birds. Like many Buteo, they hunt from a perch most often but can vary their hunting techniques where prey and habitat demand it. Because they are so common and easily trained as capable hunters, the majority of hawks captured for falconry in the United States are red-tails. Falconers are permitted to take only passage hawks (which have left the nest, are on their own, but are less than a year old) so as to not affect the breeding population. Adults, which may be breeding or rearing chicks, may not be taken for falconry purposes and it is illegal to do so. Passage red-tailed hawks are also preferred by falconers because these younger birds have not yet developed the adult behaviors which would make them more difficult to train.
Description:
Red-tailed hawk plumage can be variable, depending on the subspecies and the region. These color variations are morphs, and are not related to molting. The western North American population, B. j. calurus, is the most variable subspecies and has three main color morphs: light, dark, and intermediate or rufous. The dark and intermediate morphs constitute 10–20% of the population in the western United States but seem to constitute only 1-2% of B. j. calurus in western Canada. A whitish underbelly with a dark brown band across the belly, formed by horizontal streaks in feather patterning, is present in most color variations. This feature is variable in eastern hawks and generally absent in some light subspecies (i.e. B. j. fuertesi).
Most adult red-tails have a dark brown nape and upper head which gives them a somewhat hooded appearance, while the throat can variably present a lighter brown “necklace”. Especially in younger birds, the underside may be otherwise covered with dark brown spotting and some adults may too manifest this stippling. The back is usually a slightly darker brown than elsewhere with paler scapular feathers, ranging from tawny to white, forming a variable imperfect “V” on the back. The tail of most adults, which of course gives this species its name, is rufous brick-red above with a variably sized black subterminal band and generally appears light buff-orange from below. In comparison, the typical pale immatures (i.e. less than two years old) typically have a mildly paler headed and tend to show a darker back than adults with more apparent pale wing feather edges above (for descriptions of dark morph juveniles from B. j. calurus, which is also generally apt for description of rare dark morphs of other races, see under that subspecies description). In immature red-tailed hawks of all hues, the tail is a light brown above with numerous small dark brown bars of roughly equal width, but these tend to be much broader on dark morph birds.
Even in young red-tails, the tail may be a somewhat rufous tinge of brown. The bill is relatively short and dark, in the hooked shape characteristic of raptors, and the head can sometimes appear small in size against the thick body frame. The cere, the legs, and the feet of the red-tailed hawk are all yellow, as is the hue of bare parts in many accipitrids of different lineages. Immature birds can be readily identified at close range by their yellowish irises. As the bird attains full maturity over the course of 3–4 years, the iris slowly darkens into a reddish-brown hue, which is the adult eye-color in all races. Seen in flight, adults usually have dark brown along the lower edge of the wings, against a mostly pale wing, which bares light brownish barring. Individually, the underwing coverts can range from all dark to off-whitish (most often more heavily streaked with brown) which contrasts with a distinctive black patagium marking. The wing coloring of adults and immatures is similar but for typical pale morph immatures having somewhat heavier brownish markings.
Though the markings and hue vary across the subspecies, the basic appearance of the red-tailed hawk is relatively consistent. Overall, this species is blocky and broad in shape, often appearing (and being) heavier than other Buteos of similar length. They are the heaviest Buteos on average in eastern North America, albeit scarcely ahead of the larger winged rough-legged buzzard (Buteo lagopus), and second only in size in the west to the ferruginous hawk (Buteo regalis). Red-tailed hawks may be anywhere from the seventh to the ninth heaviest Buteo in the world depending on what figures are used. However, in the northwestern United States, ferruginous hawk females are 35% heavier than female red-tails from the same area. On average, western red-tailed hawks are relatively longer winged and lankier proportioned but are slightly less stocky, compact and heavy than eastern red-tailed hawks in North America. Eastern hawks may also have mildly larger talons and bills than western ones. Based on comparisons of morphology and function amongst all accipitrids, these features imply that western red-tails may need to vary their hunting more frequently to on the wing as the habitat diversifies to more open situations and presumably would hunt more variable and faster prey, whereas the birds of the east, which was historically well-wooded, are more dedicated perch hunters and can take somewhat larger prey but are likely more dedicated mammal hunters. In terms of size variation, red-tailed hawks run almost contrary to Bergmann's rule (i.e. that northern animals should be larger in relation than those closer to the Equator within a species) as one of the northernmost subspecies, B. j. alascensis, is the second smallest race based on linear dimensions and that two of the most southerly occurring races in the United States, B. j. fuertesi and B. j. umbrinus, respectively, are the largest proportioned of all red-tailed hawks. Red-tailed hawks tend have a relatively short but broad tails and thick, chunky wings. Although often described as long winged, the proportional size of the wings is quite small and red-tails have high wing loading for a buteonine hawk. For comparison, two other widespread Buteo hawks in North America were found to weigh: 30 g (1.1 oz) for every square centimeter of wing area in the rough-legged buzzard (Buteo lagopus) and 44 g (1.6 oz) per square cm in the red-shouldered hawk (Buteo lineatus). In contrast, the red-tailed hawk weighed considerably more for their wing area: 199 g (7.0 oz) per square cm.
As is the case with many raptors, the red-tailed hawk displays sexual dimorphism in size, as females are up to 25% larger than males. As is typical in large raptors, frequently reported mean body mass for Red-tailed Hawks are somewhat higher than expansive research reveals. Part of this weight variation is seasonal fluctuations, hawks tending to be heavier in winter than during migration or especially during the trying summer breeding season, and also due to clinal variation. Furthermore, immature hawks are usually lighter in mass than their adult counterparts despite averaging somewhat longer winged and tailed. Male red-tailed hawks may weigh from 690 to 1,300 g (1.52 to 2.87 lb) and females may weigh between 801 and 1,723 g (1.766 and 3.799 lb) (the lowest figure from a migrating female immature from Goshute Mountains, Nevada, the highest from a wintering female in Wisconsin). Some sources claim the largest females can weigh up to 2,000 g (4.4 lb) but whether this is in reference to wild hawks (as opposed to those in captivity or used for falconry) is not clear.[24] The largest known survey of body mass in red-tailed hawks is still credited to Craighead & Craighead (1956), who found 100 males to average 1,028 g (2.266 lb) and 108 females to average 1,244 g (2.743 lb). However, these figures were apparently taken from labels on museum specimens, apparently from natural history collections in Wisconsin and Pennsylvania, without note to the region, age or subspecies of the specimens. However, 16 sources ranging in sample size from the aforementioned 208 specimens to only four hawks in Puerto Rico (with 9 of the 16 studies of migrating red-tails), showed that males weigh a mean of 860.2 g (1.896 lb) and females weigh a mean of 1,036.2 g (2.284 lb), about 15% lighter than prior species-wide published weights. Within the continental United States, average weights of males can range from 840.8 g (1.854 lb) (for migrating males in Chelan County, Washington) to 1,031 g (2.273 lb) (for male hawks found dead in Massachusetts) and females ranged from 1,057.9 g (2.332 lb) (migrants in the Goshutes) to 1,373 g (3.027 lb) (for females diagnosed as B. j. borealis in western Kansas). Size variation in body mass reveals that the red-tailed hawks typically varies only a modest amount and that size differences are geographically inconsistent. Racial variation in average weights of great horned owls (Bubo virginianus) show that mean body mass is nearly twice (the heaviest race is about 36% heavier than the lightest known race on average) as variable as that of the hawk (where the heaviest race is only just over 18% heavier on average than the lightest). Also, great horned owls correspond well at the species level with Bergmann’s rule.
Male red-tailed hawks can reportedly measure 45 to 60 cm (18 to 24 in) in total length, females measuring 48 to 65 cm (19 to 26 in) long. The wingspan typically can range from 105 to 141 cm (3 ft 5 in to 4 ft 8 in), although the largest females may possible span up to 147 cm (4 ft 10 in). In the standard scientific method of measuring wing size, the wing chord is 325.1–444.5 mm (12.80–17.50 in) long. The tail measures 188 to 258.7 mm (7.40 to 10.19 in) in length. The exposed culmen was reported to range from 21.7 to 30.2 mm (0.85 to 1.19 in) and the tarsus averaged 74.7–95.8 mm (2.94–3.77 in) across the races. The middle toe (excluding talon) can range from 38.3 to 53.8 mm (1.51 to 2.12 in), with the hallux-claw (the talon of the rear toe, which has evolved to be the largest in accipitrids) measuring from 24.1 to 33.6 mm (0.95 to 1.32 in) in length.
Identification:
Although they overlap in range with most other American diurnal raptors, identifying most mature red-tailed hawks to species is relatively straightforward, particularly if viewing a typical adult at a reasonable distance. The red-tailed hawk is the only North American hawk with a rufous tail and a blackish patagium marking on the leading edge of its wing (which is obscured only on dark morph adults and Harlan’s hawks by similarly dark colored feathers).
Other larger adult Buteo in North America usually have obvious distinct markings that are absent in red-tails, whether the rufous-brown “beard” of Swainson's hawks (Buteo swainsonii) or the colorful rufous belly and shoulder markings and striking black-and-white mantle of red-shouldered hawks (also the small “windows” seen at the end of their primaries). In perched individuals, even as silhouettes, the shape of large Buteos may be distinctive, such as the wingtips overhanging the tail in several other species, but not in red-tails. North American Buteos range from the dainty, compact builds of much smaller Buteos, such as broad-winged hawk (Buteo platypterus) to the heavyset, neckless look of ferruginous hawks or the rough-legged buzzard which has a compact, smaller appearance than a red-tail in perched birds due to its small bill, short neck and much shorter tarsus, while the opposite effect occurs in flying rough-legs with their much bigger wing area.
In flight, most other large North American Buteo are distinctly longer and slenderer winged than red-tailed hawks, with the much paler ferruginous hawk having peculiarly slender wings in relation to its massive, chunky body. Swainson's hawks are distinctly darker on the wing and ferruginous hawks are much paler winged than typical red-tailed hawks. Pale morph adult ferruginous hawk can show mildly tawny-pink (but never truly rufous) upper tail, and like red-tails tend to have dark markings on underwing-coverts and can have a dark belly band but compared to red-tailed hawks have a distinctly broader head, their remiges are much whiter looking with very small dark primary tips, they lack the red-tail’s diagnostic patagial marks and usually (but not always) also lack the dark subterminal tail-band, and ferruginous have a totally feathered tarsus. With its whitish head, the ferruginous hawk is most similar to Krider's red-tailed hawks, especially in immature plumage, but the larger hawk has broader head and narrower wing shape and the ferruginous immatures are paler underneath and on their legs. Several species share a belly band with the typical red-tailed hawk but they vary from subtle (as in the ferruginous hawk) to solid blackish, the latter in most light-morph rough-legged buzzards. More difficult to identify among adult red-tails are its darkest variations, as most species of Buteo in North America also have dark morphs. Western dark morph red-tails (i.e. calurus) adults, however, retain the typical distinctive brick-red tail which other species lack, which may stand out even more against the otherwise all chocolate brown-black bird. Standard pale juveniles when perched show a whitish patch in the outer half of the upper surface of the wing which other juvenile Buteo lack. The most difficult to identify stages and plumage types are dark morph juveniles, Harlan’s hawk and some Krider’s hawks (the latter mainly with typical ferruginous hawks as aforementioned). Some darker juveniles are similar enough to other Buteo juveniles that it has been stated that they "cannot be identified to species with any confidence under various field conditions." However, field identification techniques have advanced in the last few decades and most experienced hawk-watchers can distinguish even the most vexingly plumaged immature hawks, especially as the wing shapes of each species becomes apparent after seeing many. Harlan’s hawks are most similar to dark morph rough-legged buzzards and dark morph ferruginous hawks. Wing shape is the most reliable identification tool for distinguishing the Harlan’s from these, but also the pale streaking on the breast of Harlan’s, which tends to be conspicuous in most individuals, and is lacking in the other hawks. Also dark morph ferruginous hawks do not have the dark subterminal band of a Harlan’s hawk but do bear a black undertail covert lacking in Harlan’s.
AB2A8487-1_fCA2Flkr
it doesn't matter what they say or do
nothing can come between me and you.
smile;
cause for once your actually happy.
thank you -emmaphotos'- for the amazing testimonial. :D
(8 in comments)
"The choice of flooring depends a great deal on the use of the room that it's to go in...The pretty, deep pile carpeting is well-suited to a room that gets only light traffic."
Copyright © 2011 Ruggero Poggianella. All rights reserved.
Please, do not use my photos without my written permission.
La Cattedrale di Palermo, dedicata alla Vergine Maria Santissima Assunta in cielo, è un grandioso complesso architettonico composto in diversi stili, dovuti alle varie fasi di costruzione.
Eretta nel 1185 dall'arcivescovo Gualtiero Offamilio sull'area della prima basilica che i Saraceni avevano trasformato in moschea, ha subito nel corso dei secoli vari rimaneggiamenti; l'ultimo è stato alla fine del Settecento, quando, in occasione del consolidamento strutturale, si rifece radicalmente l'interno su progetto di Ferdinando Fuga.
Nel 1767 infatti, l'arcivescovo Filangieri aveva commissionato a Ferdinando Fuga un restauro conservativo dell'edificio, teso solamente a consolidarne la struttura. I lavori ebbero inizio solo dal 1781, eseguiti non dal Fuga ma dal palermitano Giuseppe Venanzio Marvuglia e durarono fino al XIX secolo inoltrato. I rifacimenti del Marvuglia furono in realtà molto più invasivi e radicali dei progetti dell'architetto fiorentino, che pensava invece di conservare, almeno in parte, il complesso longitudinale delle navate e l'originario soffitto ligneo. Il restauro intervenne a cambiare l'aspetto originario del complesso, dotando la chiesa della caratteristica ma discordante cupola, eseguita secondo i disegni del Fuga. Fu in quest'occasione che si distrusse la preziosa tribuna che Antonello Gagini aveva innalzato all'inizio del XVI secolo e che era ornata di statue, fregi e rilievi. Anche le pittoresche cupolette maiolicate destinate alla copertura delle navate laterali risalgono al rifacimento del 1781.
In questa cattedrale, sintesi di storia e di arte dell'ultimo millennio, oltre ai sovrani normanni, furono anche incoronati Vittorio Amedeo II di Savoia e Carlo III di Borbone, figure importanti della storia siciliana.
La cattedrale è fiancheggiata da quattro torri d'epoca normanna ed è sovrastata da una cupola. A sud è collegata al Palazzo Arcivescovile con due grandi arcate ogivali si cui s'innalza la torre campanaria con l’orologio.
La facciata principale sulla via Bonello presenta decorazioni dovute a maestri lapicidi trecenteschi e quattrocenteschi. L'aspetto goticheggiante deriva dalla presenza delle torri a bifore e colonnine e dalle merlature ad archetti che corrono lungo tutto il fianco destro della costruzione.
Il fianco destro della costruzione, con le caratteristiche torrette avanzate e l'ampio portico in stile gotico-catalano (l'attuale accesso), eretto intorno al 1465, si affaccia sulla piazza. Il portale di questo ingresso è opera di Antonio Gambara, eseguita nel 1426, mentre i battenti lignei sono del Miranda (1432). La Madonna a mosaico è del XIII secolo; i due monumenti alle pareti, opere del primo Settecento, rappresentano Carlo III di Borbone a destra e Vittorio Amedeo II di Savoia a sinistra.
La parte absidale stretta fra le torricelle è quella più originale del XII secolo, mentre la parte più manomessa è il fianco sinistro. La facciata sud-occidentale, che guarda l'arcivescovado, va riferita ai secoli XIV-XV.
L'interno, che ha subito profonde trasformazioni tra la fine del Settecento e i primi dell’Ottocento, è a croce latina con tre navate divise da pilastri (gruppi tetrastili con 4 colonne incastonate provenienti dalla antica costruzione rogeriana) con statue di santi che facevano parte della decorazione della tribuna del Gagini.
Nella navata destra, la prima e la seconda cappella, comunicanti fra di loro, custodiscono le tombe imperiali e reali dei normanni, intorno alle quali ruota una storia romanzesca e ricca d'interesse. Ruggero II, re dal 1130, aveva stabilito già nel 1145 che il Duomo di Cefalù da lui fondato diventasse il mausoleo della famiglia reale. In tal senso aveva predisposto la sistemazione di due sarcofagi in porfido, un granito molto prezioso e di notevole durezza, originario dell'Egitto, dal colore rosso cupo che, nell'antichità, era usato esclusivamente per le commissioni imperiali. Alla sua morte nel 1154, però, egli venne sepolto nella cattedrale di Palermo in un avello di porfido dalla forma molto più semplice. Nel 1215 Federico II fece trasportare i due sarcofagi da Cefalù alla cattedrale di Palermo destinandoli a sé e al padre Enrico VI. Il sarcofago di Federico II è sormontato da un baldacchino con colonne in porfido e l'urna è sorretta da due coppie di leoni; insieme a quelli di Federico II sono stati conservati anche i resti di Pietro II d’Aragona. Le altre tombe sono quelle di Costanza d'Aragona (1183-1222), sorella del re d'Aragona e moglie di Federico II, di Gugliemo, duca d'Atene figlio di Federico III d'Aragona, e dell’imperatrice Costanza d'Altavilla, figlia di Ruggero II e madre di Federico II.
Sul pavimento della navata centrale è stata realizzata, durante i rifacimenti moderni, una meridiana in marmo con tarsie colorate che rappresentano i segni zodiacali, (opera di Giovan Battista Piazzi astronono qui collocata nell'anno 1801). Il ricco altare del Sacramento, in bronzo, lapislazzulo e marmi colorati, è stato realizzata su disegno di Cosimo Fanzago(XVII secolo). Nel presbiterio si dispone il bellissimo coro ligneo tardo-quattrocentesco in stile gotico-catalano e il trono episcopale, ricomposto in parte con frammenti d'antichi mosaici del XII secolo. Durante la fase dei restauri della fine del XVIII secolo, fu incaricato il pittore di Sciacca Mariano Rossi di decorare la Cattedrale. Gli affreschi, secondo il disegno originale, dovevano ricoprire il catino dell'abside, la volta del coro, la cupola e la navata centrale, e dovevamo rappresentare idealmente il ristabilimento della religione cristiana in Sicilia ad opera dei Normanni. Mariano Rossi iniziò nel 1802 e non terminò tutto il lavoro, ma ancora oggi si possono ammirare gli affreschi nel catino dell'abside, dove sono rappresentati Roberto il Guiscardo e il conte Ruggero che restituiscono la chiesa al vescovo Nicodemo e nella volta del coro, dove è dipinta l'Assunzione di Maria Vergine.
A destra del presbiterio si trova la cappella di Santa Rosalia, patrona di Palermo, con le reliquie e l'urna d'argento, opera seicentesca di Matteo Lo Castro, Francesco Ruvolo e Giancola Viviano, portata in processione durante la festa patronale il 15 luglio. I due altorilievi di Valerio Villareale, rappresentano: Santa Rosalia invoca Cristo per la liberazione della peste e l'Ingresso delle gloriose reliquie di Santa Rosalia a Palermo. Oltre al coro ligneo in stile gotico-catalano del 1466 e ai resti marmorei della tribuna gaginiana riadattati, di alto interesse artistico sono la statua marmorea della Madonna con Bambino di Francesco Laurana, eseguita insieme ad altri aiuti nel 1469, la pregiata acquasantiera (posta al quarto pilastro) opera incerta di Domenico Gagini e la Madonna della Scala eseguita nel 1503 da Antonello Gagini e posta sull'altare della sacrestia nuova.
part of Street Art without Border project by Eric Marechal.
This paste up was of a print that I made from a photo that I took of myself with my Sony cybershot, while my baby was in the bath. It is made of four A4 sheets, printed in red, black and grey.
I sent it to Paris, Eric added his touch to the image, pasted it up and photographed it.
I wanted a clean shot without the people, but didn't have much time to wait for it to clear, and more people were going in.
Baddesley Clinton House and the Bridge over the Moat is a Grade I listed building.
Manor house. Late C15, on earlier site; south-east range refronted c.1736: late C19 service wing added to north-east side of south-west range designed and built by Edward Heneage Dering. Courtyard plan. North-east range: stone ashlar; old brick flues, bridge end stack to right with octagonal brick flue. 2-storey, 6-window range. Gatehouse at right of centre: 4-centred outer archway encloses 4-centred doorway with spandrels. Panelled and studded door to inner doorway. 6-light stone mullion and transom window to first floor. Battlemented parapet to gatehouse. 2-light stone mullion window with 4-centre arched heads to lights, at left of centre 3-light stone mullion window with 4-centre arched heads to lights, at right,. 5-light stone mullion window to left of centre. Two 3-light stone mullion windows, with flat stone arches having keystones, to left. Continuous hoodmould to right, and to left of centre. 4-light stone mullion window to first floor right. 3-light stone mullion window to first floor right of centre. 4-light stone mullion window to first floor left of centre. Two 3-light stone mullion window to first floor left. South-east range: red brick; old plain-tile roof; various brick stacks,with octagonal or diagonally set brick flues, 2 storey A-window range. Irregular fenestration, mostly of C18 three-light wood casements with segmental brick heads. south-west range: stone ashlar; old plain-tile roof; various brick stacks. 2-storey, 6-window range. Irregular fenestration, mostly of 3-light stone mullion windows. Single-storey addition to centre with hipped old plain-tile roof, has 2 round-arched blind recesses to moat. Wood casement window to ground floor. Courtyard: irregular fenestration. Interior: entrance hall has close-studded timber-framing to walls. Great hall has stone fireplace of decorative pillars supporting a frieze and atlantes flanking rectangular panel with round heraldic central panel with strapwork surroundings. Dining room has late C16 panelling and carved wood fireplace with pillars supporting a frieze and with richly carved central heraldic panel. Drawing room has C17 panelling and chimney piece placed here C18 Henry Ferrers' Bedroom, also known as the state bedroom has panelling and chimney-piece of c.1629. Other rooms also have panelling and carved chimney pieces. Bridge. Early C18. Red brick. 2 round arches, plain brick parapet. History: site held by the Clintons, then was bought by John Brome in 1438. Held by the Brome family, and passed by inheritance to the Ferrers family in 1517. Henry Ferrers (1549-1633) carried out much work at the house. (Buildings of England: Warwickshire: 1966, pp8l-82; Baddesley Clinton: national Trust Guide Book, 1986) (60)
Baddesley Clinton House and Bridge over the Moat - Heritage Gateway
Baddesley Clinton is a National Trust property.
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Portuguese
Gramado é um município do estado do Rio Grande do Sul, no Brasil. Localiza-se na Serra Gaúcha, mais precisamente na Região das Hortênsias, a uma latitude 29º 22' 44" sul e a uma longitude 50º 52' 26" oeste, estando a uma altitude de 830 metros. Sua população estimada em 2013 é de 34 110 habitantes. Possui uma área de 237,019 quilômetros quadrados. Seu principal acesso se dá através da RS-115, embora também seja atendida pelas rodovias RS-235 e RS-373.
Sua demografia é etnicamente variada, com forte influência alemã e italiana, o que se reflete especialmente na culinária e na arquitetura urbana e rural.
English
Gramado is a municipality and small tourist town, southeast of Caxias do Sul and east of Nova Petrópolis in the southern Brazilian state of Rio Grande do Sul, in the Serra Gaúcha region. The town was originally settled by Azorean descendants and later received a contingent of German and Italian immigrants. Gramado is one of the towns along the scenic route known as Rota Romântica (Romantic Route).
Spanish
Gramado es un municipio brasileño del Estado de Río Grande del Sur, situado a 115 kilómetros al norte de Porto Alegre, capital del Estado. Limita con los municipios de Caxias do Sul (al norte), Três Coroas (al sur), Canela (al este), Nova Petrópolis y Santa Maria do Herval (al oeste).
Ubicada en la "Sierra Gaucha", la ciudad de Gramado es poseedora de riquezas naturales exuberantes, siendo el polo turístico más importante de Rio Grande do Sul y uno de los destinos más buscados por el turismo interno brasileño. Conocida como la "Suiza del Brasil", Gramado convoca a turistas el año entero atraídos por sus bellezas naturales entre las que predominan sierras, valles, arroyos cristalinos y bosques de pinos, su clima templado y su legado europeo, sobre todo alemán e italiano.
German
Gramado ist eine Stadt in Rio Grande do Sul im Süden Brasiliens. Die Stadtgemeinde hat 31.655 Einwohner. Gramado liegt auf einer Höhe von 830 Metern in der Serra Gaúcha in der Region der Hortensien. Das Gemeindegebiet grenzt an Canela (im Osten), Caxias do Sul (im Norden), Nova Petrópolis (im Westen), Santa Maria do Herval (im Südwesten) und Três Coroas (im Südosten). Gramado liegt 115 km nördlich der Bundesstaatshauptstadt Porto Alegre.
Wikipedia