flickr-free-ic3d pan white
View allAll Photos Tagged When+do+I+get+my+POR+fees

El casco histórico de la ciudad de Alcalá de Henares y su universidad, fueron declarados Patrimonio de la Humanidad por la Unesco en 1998, en reconocimiento a su condición de primera ciudad universitaria planificada como tal que ha existido en el mundo

 

Los orígenes de la ciudad de Alcalá se remontan al nacimiento de la Complutum romana, ciudad que en sus más de cuatro siglos de existencia alcanzaría gran esplendor y una importancia que mantendría a lo largo de todo el periodo visigótico. Al período de dominación musulmana le debe Alcalá la construcción de una ciudad que con el tiempo será conocida como Al-Qalat-Nahar (El castillo del Henares) y de la que hereda su actual denominación.

Con la Reconquista Cristiana se produce la nueva reconstrucción en lo que supuso desde entonces su emplazamiento definitivo, en torno a lo que es hoy la Catedral Magistral. Sin embargo, hay que esperar a finales del XV para asistir al gran período de esplendor de la ciudad: en 1499 el Cardenal Cisneros funda la Universidad, produciéndose a partir de ese momento una renovación urbanística que convierte a Alcalá en una ciudad universitaria, siguiendo los cánones arquitectónicos clásicos.

Durante los siglos XVIII y XIX la ciudad inicia un periodo de decadencia. El traslado de la Universidad a Madrid en 1836 unido a las sucesivas desamortizaciones provocaron el cierre de varios conventos y el empobrecimiento del ya degradado ambiente cultural alcalaíno.

Hoy, tras la reinauguración de la Universidad en 1977, el desarrollo industrial de las últimas décadas y el reconocimiento como Ciudad Patrimonio de la Humanidad por la Unesco, Alcalá vive un período de expansión económica, turística y cultural desde el que se asoma al futuro con optimismo manteniendo estrechos lazos con su singular pasado.

Roma: Complutum

La conquista romana de la Carpetania parece que se inició con una campaña dirigida por M. Porcio Catón en el año 195 a. J.C. Posteriormente, los carpetanos, en alianza con vetones, vacceos y celtíberos, se constituyeron en una amenaza para Roma que ésta solucionó en el 192 a. C. por medio de Marco Fulvio. Las luchas terminaron, con la caída de Numancia, el año 133 a. C. en el que se inicia la pacificación, asentamiento y romanización de la zona.

No se tiene conocimiento de la fecha exacta en que los romanos ocuparon la ciudadela de San Juan de Viso y el castro del "Salto del Cura", pero las monedas del denominado "tesorillo de Zulema", parecen sugerir que antes de la mencionada caída de Numancia.

No obstante, en el año 80 a. J.C., durante las guerras entre Sertorio y Pompeyo, ya se menciona a Complutum, que en época de Augusto adquiriría gran importancia por su valor militar y como nudo de comunicaciones (entre vías primarias y secundarias se dice, en el "Itinerario de Augusto", que eran 23 las calzadas que permitían llegar a la ciudad).

La romanización empezaría en la población preexistente del cerro del Viso, cuyas fortificaciones se reforzarían a la vez que se tendía la red de calzadas. Posteriormente, con la paz de Trajano y de los Antoninos (siglo II), la población comenzará a descender al pie del cerro en busca de una zona con menos declive, más fértil y mejor comunicada.

Mosaico romano de las Cuatro Estaciones de la Casa de Baco en Complutum. En sentido antihorario desde arriba a la derecha: primavera, verano, otoño e invierno. El área que acabaría ocupando la urbe sería; desde la ladera del cerro del Viso hasta la actual nacional II (en la dirección norte-sur), y desde el Arroyo Torote hasta las puertas de Madrid y Santa Ana (en dirección este-oeste). Ello no excluye la existencia de edificaciones alejadas del casco urbano, como la villa que se descubrió en 1970 a la altura de la ermita de Nuestra Señora del Val. Complutum tenía el trazado típico de la ciudad romana, que arranca del campamento militar con dos calles principales que se cruzan; cardo y decumano.

La denominación de "Complutum" parece venir del verbo latino "compluere" que significa confluir o del término "compluo" (confluencia de aguas). El nombre sería bastante apropiado puesto que la población primitiva se encontraría en la "confluencia" de los ríos Henares y tenía la ciudad carácter de «civitas stipendiaria», es decir, que mediante el pago de un tributo o estipendio anual a la metrópoli conservaba el derecho a su autonomía y sus propios usos mientras no alterasen el orden establecido.

Durante la época visigoda la ciudad conservó su importancia, llegando a ser sede de obispado. En la Hispania visigoda fue sede episcopal de la iglesia católica, sufragánea de la Archidiócesis de Toledo que comprendía la antigua provincia romana de Cartaginense en la diócesis de Hispania.

 

Dominio Musulmán: Al Qalat La dominación islámica de la Península Ibérica arrinconó en las zonas más septentrionales de la Península a los pocos cristianos que conservaban su independencia. Los musulmanes, nuevos señores de casi la totalidad de la geografía hispana, requerían de un puesto fortificado en la ruta de Zaragoza a Toledo, que junto con las ciudades cercanas de mayor valor estratégico como Guadalajara o Talamanca, sirviera de apoyo a las razias que periódicamente se dirigían contra los reinos cristianos del norte. Estas fortificaciones tenían la función de impedir el descenso de las tropas enemigas hacia el curso medio del Tajo. Constituían, pues, las dos referidas ciudades y la fortaleza de Al-Qul’aya, levantada a orillas del Henares aguas arriba de la antigua Complutum, los tres puntos estratégicos que vigilaban y defendían el territorio frente al acceso de las huestes cristianas, que intentaban descender al valle del Jarama desde los altos de Somosierra, o llegar hasta el valle del Henares desde Atienza y las zonas orientales de Castilla, y desde Zaragoza

A principios del siglo X, el nuevo emplazamiento árabe de Alcalá no debía de ser más que una atalaya fortificada de reducidas dimensiones, a juzgar por terminología con que se la nombra en la primera noticia conocida que tenemos de Alcalá la Vieja. Según el Bayan-al Mugrib, en el año 920, reinando en Córdoba Abd-al-Rahman III, el gobernador de Guadalajara derrotó a una gran expedición de cristianos leoneses que había atravesado los puertos del Sistema Central con la intención de atacar Guadalajara. El emplazamiento que asediaron, cercano a Guadalajara, aparece reseñado como al-Qul’aya, que se puede traducir como “el castillejo”. Lévi-Provençal lo identificó como la pequeña fortaleza que precedió a la que dio nombre a la ciudad actual.

Parece ser que en el transcurso del siglo X esa pequeña atalaya aumentó sus fortificaciones, acompañándose este incremento defensivo del crecimiento de su población y de una mayor importancia urbana, sobre todo, si atendemos a su nueva denominación de Qal’at Abd-al-Salam, que puede traducirse como Castillo de Abd-al-Salam e incluso según algunos autores como Castillo del Príncipe de la Paz. Esta denominación aparece en las crónicas islámicas, al relatar la crisis del Califato cordobés en los primeros años del siglo XI.

Sería en el verano del año 1062 cuando Fernando I, al frente de un numeroso ejército, puso cerco a la ciudad musulmana, combatiéndola con ingenios para abrir brecha en sus muros, lo que obligó al rey Al-Ma’mun de Toledo a hacerse tributario suyo y rendirle parias para que levantase el asedio, a cambio de la entrega de grandes riquezas. Sin embargo, a pesar de la histórica conquista de Toledo por Alfonso VI en 1085 y de su dominio de la comarca inmediata, la fortaleza de Alcalá la Vieja continuaría bajo el dominio musulmán hasta que en 1118 el arzobispo de Toledo, Don Bernardo, llevó sus ejércitos al importante enclave de Alcalá, en donde consiguió rendir la plaza.

Edad Media: El Burgo de Santiuste El 3 de mayo de 1118 el arzobispo toledano Bernardo de Sedirac conquistó la plaza musulmana de Alkal'a Nahar o Alcalá la Vieja para Castilla pero este reino cedió Alcalá y su Tierra al Arzobispado de Toledo, pasando a ser la comunidad de Alcalá un señorío eclesiástico. Pronto, la ciudad gozaría de privilegios y Feria (data de 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo o Alcalá de Fenares (nombre del s. XIV) sería un emergente centro de transacciones y mercado comarcal, lo cual haría incrementar la población considerablemente. No obstante, la aljama o judería y la morería alcalaína serían de las más notables de Castilla (la aljama complutense está considerada de tamaño medio. Algunos estudios la cifran en 5.000 judíos). Durante la Edad Media, Alcalá fue habitada pacíficamente por judíos, musulmanes y cristianos. En el siglo XII se suprimiría el obispado complutense en favor de la sede primada de Toledo.

El día 19 de diciembre de 1308 fue rubricado en la ciudad el tratado de Alcalá de Henares, suscrito por el rey Fernando IV de Castilla y por los embajadores del rey Jaime II de Aragón.

En 1345 y en 1348 tendrán lugar en la ciudad las Cortes de Castilla (léase también Cortes de Alcalá y Ordenamiento de Alcalá).

La ciudad y su alfoz de 25 villas fueron dotadas de dos fueros: el Viejo y el Nuevo (por Cisneros). A lo largo de los siglos, las aldeas del alfoz irían obteniendo la independencia como villas con ayuntamiento propio hasta que en el siglo XX el término municipal alcalaíno sólo tuviera a la ciudad como núcleo urbano.

Es conocida por su histórica universidad, la Universidad de Alcalá, que fue fundada por el Cardenal Cisneros. El 13 de abril de 1499 data la bula del papa Borgia Alejandro VI que autorizaba la creación del Colegio Mayor de San Ildefonso que fue la cabeza de la universidad. En 1508 se abrieron sus aulas y entre los colaboradores de Cisneros se encontraban importantes personalidades como la de Antonio de Nebrija. No obstante, el germen de la universidad alcalaína lo encontramos en el año 1293 con la creación de los Estudios Generales. Pronto la Universidad de Alcalá compitió con la de Salamanca y por sus aulas pasaron importantes personalidades,

La primera mujer a la que excepcionalmente se le consintió estudiar y alcanzar el grado de doctor en Artes y Letras fue María Isidra de Guzmán y de la Cerda (1785)

Carlos II concedió a la población el título de ciudad en 1678. A partir del siglo XVIII la ciudad perdió importancia a pesar de la construcción de nuevos monumentos como la Puerta de Madrid. A comienzos de ese siglo, Alcalá fue ocupada por los portugueses durante la Guerra de Sucesión.

Es universalmente famosa Alcalá por haber sido la localidad natal de Miguel de Cervantes Saavedra, novelista, poeta y dramaturgo que escribió la que está considerada la obra cumbre narrativa de la literatura española, El Quijote, que muchos críticos han descrito como la primera novela moderna y una las obras más leídas, traducidas y difundidas de la historia.

-------------------------------------------------------------------------------------------------------------------------------------------------------

 

The historic old town of Alcala de Henares and the University, were declared World Heritage by UNESCO in 1998 in recognition of his status as first planned university city that has existed in the world

  

The origins of the city of Alcalá back to the birth of Complutum Roman city in more than four centuries of existence had great splendor and importance, which would maintain throughout the Visigothic period. The period of Muslim rule owes Alcalá building a city that will eventually be known as Qalat Al-Nahar (The castle Henares) and which inherited its current name.

With the Christian reconquest the new reconstruction occur in what was from then its final position, around what is now the cathedral canon. However, we have to wait at the end of XV to attend the great period of splendor of the city in 1499 by Cardinal Cisneros founded the University, resulting from the time an urban renewal that makes Alcalá in a college town, following the classical architectural fees.

During the eighteenth and nineteenth centuries the city began a period of decline. Moving to Madrid University in 1836 joined the successive confiscations led to the closure of several monasteries and the impoverishment of already degraded cultural environment Alcala.

Today, after the reopening of the University in 1977, the industrial development of recent decades and the recognition as a World Heritage Site by Unesco, Alcalá is experiencing a period of economic expansion, tourism and culture from which peers into the future optimism maintaining close ties with its unique past.

Rome: Complutum

The Roman conquest of Carpetania seems that began with a campaign led by M. Cato in the year 195 a. J.C. Subsequently, the Carpetani, in partnership with vetones, vacceos and Celts, constituted a threat to Rome than it solved in 192 a. C. by Marco Fulvio. The fighting ended with the fall of Numancia, the year 133 BC C. in initiating the peace, settlement and Romanization of the area.

Nothing is known of the exact date when the Romans occupied the citadel of San Juan de Viso and castro "Salto del Cura", but the coins of the so called "little treasure of Zulema, seem to suggest that before such fall Numancia.

However, in 80 a. JC, during the wars between Sertorius and Pompey Complutum already mentioned, that in times of Augusto acquire great importance for its military value as a hub of communications (including primary and secondary roads, speaking on the "Route of Augustus" that there were 23 roads that allowed to reach the city).

Romanization begin in the pre-existing population of Mount Viso, whose fortifications were strengthened while he lay the network of roads. Later, with the peace of Trajan and the Antonines (second century), the population will start to fall at the foot of the hill in search of an area with less decline, more fertile and better communicated.

Roman mosaic of the Four Seasons of the House of Bacchus in Complutum. Counterclockwise from top right: spring, summer, autumn and winter. The area would end up occupying the city, from the slope of the hill to the current national Viso II (in the north-south) and from the Arroyo Torote to the gates of Madrid and Santa Ana (east-west) . This does not exclude the existence of buildings away from the village, as the villa was discovered in 1970 at the height of the shrine of Nuestra Señora del Val. Complutum had the typical layout of the Roman city, military camp, which starts with two main streets intersect; thistle and decumano.

The name "Complutum" seems to come from the Latin verb "compluere" meaning confluence or the term "Complutense" (confluence of waters). The name would be quite appropriate since the original population would be at the "confluence" of the river Henares and had the city's character "stipendiaria civitas', ie by paying a tax or annual allowance to the mother retained the right to autonomy and their own applications while not altering the status quo.

During the Visigothic period the city retained its importance, becoming home to the bishopric. In Visigothic bishopric was the Catholic Church, suffragan of the Archdiocese of Toledo who understood the ancient Roman province of Carthage in the diocese of Hispania.

 

Domain Muslim: Al Qalat Islamic domination of the Iberian Peninsula cornered in the northernmost parts of the Peninsula a few Christians who maintained their independence. Muslims, new masters of almost all Spanish geography, required for a fortified post on the route from Zaragoza to Toledo, which together with the nearby cities of greater strategic value as Guadalajara or Talamanca, serve to support the raids periodically were directed against the Christian kingdoms in the north. These fortifications were the function of preventing the descent of the enemy troops into the middle of the Tagus. They were, therefore, the two aforementioned cities and the strength of Al-Qul'aya, built on the banks of upstream Henares Complutum old, the three strategic points guarded and defended the territory from access by the Christian armies that tried down into the valley of Jarama from high Somosierra, or reach the valley of the Henares from Atienza and eastern parts of Castile, and from Zaragoza

In the early tenth century, the new Arabic site Alcalá should not be more than a fortified watchtower small in size, judging by terminology with which it is named in the first news we have known Alcalá la Vieja. According to Bayan-al Mugrib, in 920, ruling in Cordoba Abd-al-Rahman III, the governor of Guadalajara defeated a large Christian Leon expedition had crossed the ports of the Central System with the intention of attacking Guadalajara. The site that beset, near Guadalajara, appears as al-Qul'aya reviewed, which can be translated as "the chateau." Lévi-Provençal identified him as the little fort that preceded the one that gave the city its name today.

It seems that during the tenth century that little watchtower increased its fortifications, defensive accompanied this increase population growth and increased urban importance, especially if we consider the new name of Qal'at Abd-al-Salam , which translates to Castle Abd-al-Salam and even according to some authors such as Castle of the Prince of Peace. This name appears in Islamic chronicles, to relate the crisis of the Cordoba Caliphate in the early years of the eleventh century.

Would be in the summer of 1062 when Ferdinand I, in front of a large army, laid siege to the Muslim city, combating with mills to open a breach in its walls, forcing the king Al-Ma'mun of Toledo to become tax and pay him pariah to lift the siege, in exchange for the delivery of great riches. However, despite the historic conquest of Toledo by Alfonso VI in 1085 and his mastery of the immediate region, the strength of Alcalá la Vieja continue under Muslim rule until 1118 the archbishop of Toledo, Don Bernardo, took his hosts the important enclave of Alcalá, where he managed to pay the plaza.

Middle Ages: El Burgo de Santiuste The May 3, 1118 Archbishop Bernard of Toledo Sedirac won the Muslim seat Alkal'a Nahar and Alcalá la Vieja Castilla but the kingdom gave Earth Alcalá and the Archbishopric of Toledo, becoming Alcalá community an ecclesiastical dominion. Soon, the city would enjoy privileges and Exhibition (dating from 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo or Alcalá de Fenar (name of the XIV century) would be an emerging market central and local transactions, which would increase the population considerably. However, the Jewish quarter and Moorish or Jewish Alcala would be the most notable of Castile (the Jewry complutense is considered medium size. Some studies put at 5,000 Jews). During the Middle Ages, Alcalá was peacefully inhabited by Jews, Muslims and Christians. In the twelfth century the bishopric complutense be deleted for the headquarters of Toledo.

On December 19, 1308 was signed the treaty in the city of Alcalá de Henares, signed by King Ferdinand IV of Castile and the ambassadors of King James II of Aragon.

In 1345 and in 1348 the city will take place in the Castile (read also cuts and Management of Alcalá Alcalá).

The city and its district of 25 villages were provided with two forums: the Old and New (by Cisneros). Throughout the centuries, the villages of the district would achieve independence and villas with own municipality until the twentieth century the town of Alcalá only had the city as an urban center.

It is known for its historic university, the University of Alcalá, which was founded by Cardinal Cisneros. On April 13, 1499 data of the bull of Pope Alexander VI Borgia authorizing the creation of the Colegio Mayor de San Ildefonso was the head of the university. In 1508 he opened their classrooms and among employees of Cisneros were important personalities like Nebrija. However, the germ is found Alcala University in the year 1293 with the creation of General Studies. Soon the University of Alcalá de Salamanca competed with and passed through its halls important personalities,

The first woman who was exceptionally agreed to study and achieve the degree of Doctor of Arts and Letters was María Isidro de Guzmán y de la Cerda (1785)

Charles II granted the title of city population in 1678. From the eighteenth century the city lost importance despite the construction of new landmarks like the Puerta de Madrid. At the beginning of this century, Alcalá was occupied by the Portuguese during the War of Succession.

Alcalá is universally famous for being the birthplace of Miguel de Cervantes Saavedra, novelist, poet and playwright who wrote what is considered the masterpiece of Spanish literature, fiction, Don Quixote, which many critics have described as the first modern novel and one of the most widely read works, translated and disseminated in history.

Regeneration Society Condueños Main article: Society Condueños recovery would probably not have been possible were it not for the existence of "Society Buildings Condueños were University", which was the first private individual and society that was created in Spain to save and preserve an artistic heritage philanthropically. Condueños Society, a citizens' initiative that Alcala, 1851, watching the city's main buildings were to be auctioned, they decided to save the heritage of the city to make its money and creating a society whose sole purpose was to buy the iconic buildings University to avoid looting and in the future, to get around the city's Complutense University. Today, the buildings house the Society Condueños rector and several faculties of the University.

The Twentieth Century: Heritage Plaza de Cervantes. In the background, the remains of the parish of Santa Maria Maggiore: Oidor chapel and tower. The church of Santa Maria la Mayor was destroyed in a fire during the Spanish Civil War, losing most of the paintings housed. Among the remains were preserved, highlights the pile where Miguel de Cervantes was baptized. Alcalá is an agricultural city, military and until the 40 monasteries in the ceramics industry and Forges de Alcalá (rolling stock) predict the next industrial development 60. In 1968 he declared the old town as a Historic-Artistic, with 9 National Monuments. In 1977 the college was refounded in the city with the name of the Universidad de Alcalá, which has been a cultural renaissance in the city and artistic heritage recovery.

UPDATE: somebody at flickr (marissa?) put the notes back on! Now you can mouse over all the details in a photo for more info. Thanks marissa! Now go back to google where you did a great job.

 

Marissa Mayer ruined Flickr so you can't see all the helpful overlaid transit notes on the photo anymore. petitions.moveon.org/sign/change-flickr-back

 

Watch your phones. www.infoworld.com/welcome-san-francisco-heres-where-the-c...

 

Don't pay panhandlers to go away. Most panhandlers aren't homeless, most homeless aren't panhandlers. Homeless people are usually invisible, hiding, in line seeking services and often mentally ill and not in treatment. Panhandlers are usually just career income supplementers and very much housed in subsidized Tenderloin Hotels, not shelters.

 

On Google Maps desktop or Android (not available on iPhone) click the BLUE BUS STOP ICONS at intersections for a list of bus and train lines at that stop and the scheduled times they arrive!

 

SAVE THESE LINKS ON YOUR PHONE!

 

BART is only a regional train to airports.

whereisbart.com

 

MUNI is only in the city, their buses are numbers, their trains are letters.

 

They are separate systems with individual stations mostly, but they share 4 stations on one stretch of Market Street at the following 4 stops: Embarcadero (near Ferry Building where Market starts/ends at the water) Montgomery (financial district) Powell (tourist/shopping/crackhead area) and Civic Center (government, library and crackheads)

 

The best "how many live, actual, NOT-schedule, GPS based minutes till X bus/train picks up at THIS stop?" MUNI app for ANDROID (don't know about Apple) is:

play.google.com/store/apps/details?id=info.yasskin.droidm...

 

Click the dots on the maps below. They are bus/train stops. They will tell you when it's coming and in which direction.

 

Hit the museums along Golden Gate Park and continue to the Ocean restaurants with the 5 bus from Market & Powell

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=5

 

Italian Town restaurants and nightlife (North Beach) along Columbus (and the Prisidio!) can be accessed by going downtown to Market & Drumm and catching the 41 Union in front of the Hyatt www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=41

 

Go to the Zoo (not advised, it's just ok) on the L train and the Haight Ashbury district (or the ocean or Golden Gate Park) on the N train. Both from Market & Powell

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r...

 

See the naked people at Castro or the tourist traps at Fisherman's Wharf on the F train (aka F line, F and train letters are case sensitive below)

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=F

 

Or express underground to the Naked People at Castro with any K, L, M train.

 

Take the T 3rd train to the Ballpark and genetic tech & university campuses renovating the old industrial area but watch your phone south of 16th.

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=KT

 

Watch a beautiful sunset by hiking to the top of Twin Peaks by taking the 37 bus from Castro to Crestline & Vista Lane then hiking up the hill.

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=37

 

Take in a relaxing no-hike view of the city and a watch everybody sunning & picnicking on Sunday in Dolores Park by taking the J train from downtown to Church & 20th or continue a few blocks to restaurants and cute homes on 24th in Noe Valley with the J train

www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=J

 

Cable cars are expensive one way. Get unlimited rides with a MUNI 1,3 or 7 day pass at some Walgreens and the silver outdoor kiosk at Market & Powell which also covers MUNI buses and trains. The Powell/Hyde line is the most interesting of the 2 that run on Powell. California Line west of Powell will take you to Huntington Park and the apartment filmed in Vertigo. East of Powell is Chinatown. If you're in a long line at the endpoints, walk up a couple blocks and hop on quicker :) www.sfcablecar.com/routes.html

 

If you're in line underground at Powell for a clogged south/outbound MUNI train, just go NORTH/inbound a couple stops to Embarcadero and wait for a fresh empty seat train to turn around :) POR stands for Powell Right (outbound/south) and POL stands for Powell Left (inbound/north) Double Train Letters (JJ or LL) mean 2 cars connected. This is the overhead TV display on the platforms: www.sfmunicentral.com/sfmunicentral_Snapshot_Objects/Muni...

 

The ONLY two MUNI buses that run OUTSIDE the city are the SAT/SUN ONLY 76x to Marin Headlands north of the Golden Gate Bridge (highway 101) and the 7days a week 108 to Treasure Island off the Oakland Bay Bridge (highway I-80) which IS actually part of San Francisco.

 

76 is easiest caught at Powell & Sutter. On the Marin side lets you see incredible mountains with an incredible view of San Francisco and then a quiet beach at the terminus. Bus runs every hour, last inbound to the city is 6:30pm! Miss that and you're STRANDED. There is a hostel nearby though, but only stay on SATURDAY so you can catch the SUNDAY bus back. www.sfmta.com/getting-around/transit/routes-stops/76x-mar...

 

108 starts downtown at the Transbay Terminal next to the Dry Cleaners on Beale. The 5, 38 & 71 can get you there from Powell. The 108 lets you see the former military base on a quick 30 minute loop from beginning to end. You can get off at the main gate and take photos of the city, which offers an incredible view. Also at the gate is the original art deco round building in Indiana Jones that was used for the 1939 world expo on Treasure Island before it was all demolished to build the base in WWII. www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r...

 

Color footage from the expo!

www.youtube.com/watch?v=RaInmsZe5Fs

Photos from the expo:

www.google.com/search?q=1939+treasure+island+exposition&a...

  

Amtrak trains don't come directly into city, but their free shuttle buses from Oakland Jack London Square and Emeryville do. Save BART fare and take a shuttle from the Ferry Building, Hyatt/Embarcadero, Powell/Westfield Mall or Caltrain/4th & King dixielandsoftware.net/Amtrak/status/StatusMaps/

 

Lastly, Caltrain is just a commuter train from SF to Silicon Valley & San Jose. But it connects at SJ to the 17 bus which goes over the mountains to Santa Cruz!

www.caltrain.com/stations/systemmap.html

www.scmtd.com/media/bkg/20143/sched/rte_17.pdf

 

FOR MUNI: Call 311 free from pay phones or from your cell while in SF. Ask live operator "what bus to I take to get to X?" and "what time is the next outbound Y coming to such and such intersection?"

 

FOR ALL OTHER TRANSIT AGENCIES: call 511 or use www.511.org

 

UBER is a terrible company all the way around. Bad to it's riders, drivers and press who tries to investigate it. SideCar and Lyft are much better and cheaper and offer live phone support in emergencies like valuables left in the car. Uber doesn't.

 

If you MUST drive, get the rentalcars.com app pickup is cheaper at the airport. Never book downtown or at the counter. Or get citycarshare or zipcar app but register weeks in advance. Same with bayareabikeshare.com app.

 

Support the SFBC Bikes On Board campaign to allow more bikes on Caltrain. It's cheaper than subsidized parking lots and feeder buses or more lanes of concrete.

www.sfbike.org/?caltrain_bob

 

More tips below! Add your own!

Airy spirit - light and clouds

 

View Large On Black

 

Edward Olive April 2011

 

Scan of hand made silver gelatin print no.1 of a series limited to 10 individually made uniquely different originals. Scan file number: img567v2-10-04-11

 

Edward Olive

twitter.com/#!/edwardolive

www.facebook.com/edwardolive

 

www.edwardolive.info/

info@edwardolive.com

 

A short request before you send us emails.

Many thanks. Edward Olive professional wedding photographer

 

Note 11.04.11: please note that I have pictures to take and a business to run you will therefore understand that:

1.I don’t give photography lessons by email or in person. Please do not write emails requesting personal tuition sessions in return for a cup of coffee. I simply don’t have time to reply to these emails. You will understand that I receive a lot of emails and can only dedicate time to actual clients and those wishing to collaborate in book projects, gallery exhibitions etc. My only advice for photographers is to discover your own true self and your own unique way in the world. Good luck in that.

2.Please do not request quotations to purchase handmade fine art silver gelatin prints for less than the cost of DHL international shipping. I am very happy for other photographer to give their best work away for peanuts but this is not of long term interest to me for my own work nor is it in the best interests of those who invest in my prints. We will be pleased to deal with serious enquiries from serious art photography collectors, art galleries and image agencies who wish to buy my pieces.

3.If you are a local wedding photographer please don’t write to us with a false name or pretending you are going to get married just to know my prices. We would be pleased to hear from genuine wedding couples who really do think that I am the person to shoot their wedding or event.

4.If you are looking to become a local wedding photographer please do not write to me offering your services as assistant for free or otherwise with the sole intention of trying to copy what I do to go away and produce low cost imitation of my work. Seek you own way, trust in yourself. Ask yourself if you really do have talent. If you are convinced you do work all you can to develop that talent, I wish you the best of luck.

5.Please do not write to me requesting that I spend my time giving advice on which photography equipment to buy I do not make my living running a camera shop. If David Bailey does camera adverts that’s because they pay him to. My only advice is don’t waste lots of money on expensive cameras invest it wisely instead buying genuine silver gelatin prints form the world’s greatest photographers. You will almost certainly get far better pictures than thinking you can do it yourself. For the one in a million with true talent buy any real film camera that suits your needs your pictures will be incredible whatever kit you use. Trust in your own unique vision of the world. Even if you only have a tin can and a needle you will take incredible pictures.

6.If you are getting married or planning a social event or photo shoot I would be pleased to hear from you as long as you understand that as a serious professional person and photographic artist I charge fees for my work the rates of which are based on various factors. I don’t accept contracts from people who think that if they write long emails telling me their life story I will travel across the world for less than economy class travel expenses just for the honour of being able to shoot them or their wedding. It’s not that I am not happy for you to be so proud of your wedding day it’s just that I have a serious business to run and the only people who really do interest me to shoot for reasons other than strictly commercial are not the sort of people who write such emails. I wish you all luck with your weddings and with the photographers you hire if you choose in the end not to hire me for artistic or price-based reasons.

7.Please do not try to haggle or argue over prices or write or call simply to ask how much and how many photos looking only for anything that comes in maximum bulk at minimum cost. There are plenty of low cost local and provincial wedding photographers in the world doing low cost high bulk photos for low cost local and provincial weddings. My clients hire me because they place a very high priority on their photography and place an equally high priority on that photography being shot personally be me. If you really, really want ME to take your pictures I would love to hear from you.

8.I am very happy that you come to visit my pictures. However I have seen far too many cheap copies of my pictures uploaded on this and other social networks. Please understand that true art is personal discovery and one’s own internal thoughts and reactions to the world projected in one’s own individual way which I encourage you to delve and search for within yourself. Good luck in this respect. Carbon copies or photocopies are of no value.

Many thanks to you all for your kind consideration.

 

Edward Olive

Wedding & portrait photographer from Madrid Spain

 

Kate Moss by Mario Testino review by Edward Olive

 

There are a lot of photographers who dismiss Mario Testino as mere fashion photography.

 

Don't listen to them.

 

You can like him more or you can like him less but he is just so important and actually very good indeed you just need to own all his books in order to have a rounded contemporary photography education.

 

I personally prefer Nigel Parry's dark brooding portraits.

I prefer Jean Loup Sieff in black and white nude study.

I prefer Guy Bourdin in color exotica.

I prefer Richard Avedon’s fashion photography.

I prefer Terry O Neill’s celebrity photography.

But we are picking hairs.

Mario Testino is great, his books are a must have. Its a no brainer. Buy the book!

 

This book is big and the photos are full on.

 

You may know many already but there's enough unseen to make it worthwhile.

 

Many are snapshots that look like they are from his Contax compact 35mm camera with on camera flash in color and BW, so blown up the grain is like pebble dashing, but Mario knows how to do perfect shots when he cares to and includes some from commercial work and his recent exhibition in Madrid Museo Thyssen gallery. The quick snaps have all his trademark energy and positivity. Kate Moss's photos are fun. Some are sexy, some are cookie.

 

You may like her more or less but she's just wonderful. Check her first casting reel on YouTube to see how incredible she was from day one.

 

I myself am a portrait and wedding photographer but take my hat off to Mario he beats me hands down. He is the perhaps the hardest working most productive guy there is. He never stops. His air miles must be like George Clooney’s in the film. Sometimes he seems to get things wrong like the recent Royal wedding engagement photos of Kate Middleton and Prince William but maybe his hands were tied but he’s brilliant and they were, with all due royal respect, just plain dumb not to hire him to do the wedding IT WOULD HAVE BEEN THE BEST WEDDING PHOTO ALBUM EVER DONE!

 

Suerte Mario, saludos de Madrid España jefe. Ciao.

 

Photo that can be licensed through Getty Image Collection - image bank for creative artistic photos.

 

This and other images from Edward Olive available in the Getty Image Collection can be seen here.

 

Esta y otras fotos de Edward Olive están disponible en Getty Image Collection - banco de imagenes de fotos artísticas.

 

www.gettyimages.co.uk/Search/Search.aspx?assettype=image&...

 

© Copyright Edward Olive All rights reserved. Todos derechos reservados.

 

Note these photos (and all the photos by Edward Olive) are copyright and any theft or unauthorised download or use will be pursued in the courts.

 

Edward Olive

edwardolive@hotmail.com

www.edwardolive.com/

Edward Olive - Actor, presentador y locutor inglés británico nativo Madrid Barcelona Paris Londres

 

Edward Olive

www.edwardolive.info/

Edward Olive fotógrafo profesional internacional premiado.

La tranquilidad de coger al mejor fotógrafo de máxima calidad por un precio totalmente asequible.

  

This was taken on the southwest corner of Broadway and 96th Street. I took half a dozen quick "hip shots", because I was standing fairly close to them, and didn't want them to notice me as I photographed them. While this was the best of the collection, unfortunately I inadvertently cut off part of their shoes.

 

Note: this photo was published in a Sep 6, 2009 blog titled "Homo Junkiens."

 

Moving into 2010, the photo was published in a Jan 10, 2010 blog titled "Childhood Obesity Statistics." And it was published in a Jan 26, 2010 blog titled "Michelle Obama targets childhood obesity." It was also published in a Mar 10, 2010 blog titled "Hallan nuevas alteraciones de la diabetes tipo 2 en jóvenes." And it was published in an undated (Mar 2010) all-about-obesity-dot-com blog , with the same title as the caption that I used on this Flickr page. It was also published in an undated blog titled "Childhood Obesity Statistics 2009: Images." And it was published in an Apr 13, 2010 blog titled "The Problem With Our War on Obesity." It was also published in an undated (Apr 2010) Squidoo blog titled "Adrenal Fatigue Diet," and an undated (Jul 2010) BennyHollywood blog titled "A Picture is Worth… In 1991 The Fattest US States Were As Thin As The Leanest in 2009." It was also published in a Sep 3, 2010 blog titled "Digital Camera Battery Tips." And it was published in a Sep 27, 2010 blog titled "Deutschland ist zu dick."

 

Moving into 2011, the photo was published in a Feb 13, 2011 blog titled "Childhood Obesity Statistics." It was also published in an Apr 5, 2011 blog titled "Arizona proposes fee for obese or smoking Medicaid recipients." It was also published in an Apr 28, 2011 blog titled "If You See Overweight People Will You Eat More?" And it was published in a Jul 2, 2011 blog titled "Según el informe Aladino 2011 la obesidad aumenta entre los niños españoles," as well as a Jul 6, 2011 blog titled "Diabetes: Getting Worse Every Day in Every Way." It was also published in an Aug 10, 2011 blog titled "Why There’s More Money in Maintaining the Obesity Crisis Than Ending It." And it was published in an Oct 5, 2011 blog titled "Is a ‘fat tax’ the answer to Australia’s obesity crisis?", as well as an Oct 13, 2011 blog titled "La obesidad infantil y sus consecuencias INTRODUCCION." It was also published in an Oct 14, 2011 blog titled "Desarrollo." And it was published in an Oct 16, 2011 blog titled "Problemas acarreados por la obesidad: Obesidad Infantil y sue consecuencias." It was also published in a Dec 16, 2011 blog titled "Childhood Obesity Rates Drop, But Disparities Remain."

 

Moving into 2012, the photo was published in an undated (early Jan 2012) blog titled "How Does Obesity Cause Diabetes?" It was also published in a Jan 17, 2012 blog titled "Quitting Smoking Among Adults: United States 2001-2010" And it was published in a Feb 15, 2012 blog titled "School Furniture Manufacturers Are Now Making Larger Desk Chairs For Fat Students." It was also published in a Mar 15, 2012 blog titled "Is It Counter Productive That the Whitehouse Wants to Fund the New?", as well as an Apr 15, 2012 blog titled "How to Prevent Childhood Obesity?" It was also published in a Jun 8, 2012 blog titled "Science, Evolutionary Biology, And Simple Economics Say Bloomberg's Soda Ban Is Right." And it was published in an Aug 30, 2012 blog titled "17 Things That Make You Dumber." It was also published in a Sep 21, 2012 blog titled "Additivi nella plastica? Il Bisfenolo A promuove l'obesità." And it was published in a Sep 26, 2012 blog titled "Childhood Obesity and Soda: Science Says It's A Problem, Soda Companies Say It's Not." It was also published in an Oct 29, 2012 blog titled "Why God Hates New York." And a severely cropped version of the photo was published in a Dec 7, 2012 blog titled "Should fat make the grade on report cards?"

 

Moving into 2013, the photo was published in a Jan 24, 2013 blog titled "Overweight and Obese People Need More Fat-Soluble Vitamins - Part 1 of 2." And it was published ina Feb 8, 2013 blog titled "Is it OK to make fun of overweight people?" It was also published in a Feb 22, 2013 blog titled "Dear Junk Food: We Love You, But You’re Bringing Us Down." And it was published in an undated (late June 2013) blog titled "24 Uplifting Short Hairstyles For Fat Women." Note: A cropped version of the photo was published in a blog titled "STUDY: 'Fat shaming' increases chance of becoming obese." It was also published in an Aug 16, 2013 blog titled "Obesity in America Is Three Times More Deadly Than We Thought."

 

****************************

 

This is the continuation of a photo-project that I began in the summer of 2008: a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue.

 

As I indicated when I started this project in 2008, I don't like to intrude on people's privacy, so I normally use a telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me.

 

I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep the camera switched on (which contradicts my traditional urge to conserve battery power), and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject.

 

Thus far, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are a few of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. I'm still looking for opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. We'll see how it goes ...

 

The only other thing I've noticed, thus far, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... but there was just nothing memorable about them.

Catedral de Zamora

*******************************

 

RECUERDA DONA TU FOTO >>> www.donatufoto.es

REMEMBER DONATE YOUR PHOTO >>> www.donatufoto.es

 

Por favor añade tu critica construtiva / Please add your constructive criticism

 

De Wikipedia, la enciclopedia libre

Saltar a navegación, búsqueda

Catedral de Zamora

Bien de Interés Cultural

Patrimonio Histórico de España

Catedral de Zamora (fachada principal)2.JPG

Declaración 1889.

Figura de protección Monumento Nacional.

Coordenadas 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667Coordenadas: 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667

Ubicación Bandera de Zamora.svg Zamora, Bandera de EspañaEspaña.

Construcción 1140–1174.

Estilos predominantes Románico.

 

La Catedral de Zamora (Zamora, España), dedicada a El Salvador, se inscribe dentro del denominado Románico del Duero, distinguiéndose por ser la más pequeña y la más antigua de las once de la Comunidad de Castilla y León.[1] Fue declarada Monumento Nacional por Real Orden de 5 de septiembre de 1889. Su planta es de cruz latina con tres naves de cuatro tramos, las laterales con bóveda de arista y la central de crucería simple. Los tres ábsides que tenía en origen fueron sustituidos por una cabecera gótica en el siglo XVI. En el crucero se alza un cimborrio con un tambor de 16 ventanas sobre el que se levanta una cúpula de gallones revestidos con escamas de piedra y soportada con pechinas de clara influencia bizantina. Es el elemento más llamativo, bello y original del templo, y un verdadero símbolo de la ciudad.

 

Antecedentes históricos

Vista general desde el Castillo.

 

La ciudad de Zamora, situada sobre una meseta de indiscutible valor estratégico, junto al Duero, habitada al menos desde la etapa final de la Edad del Bronce, sobre la que se asentará el oppidum vacceo de Ocelodurum, por el que discurriría la calzada romana de Mérida a Astorga, que con la turbulenta llegada de los pueblos germanos se convertiría en el enclave suevo de Sinimure y, seguidamente, en el hispanogodo de Simure.

 

Tras la invasión musulmana, la ciudad de Zamora fue abandonada hasta que en el 893 fue recuperada, reconstruida y repoblada por cristianos vasallos de Alfonso III, venidos estos del norte cristiano y de Al-Ándalus: mozárabes de Toledo, Mérida y Coria. De las construcciones se harían cargo los toledanos, que levantarían defensas militares, iglesias, baños y un palacio regio... que llevaría a que en el 901 se dotara de obispado a esta ciudad, siendo nombrado Atilano su primer pastor.

 

Poco a poco la frontera será desplazada hacia el sur, hasta incluir las tierras situadas al norte del río Tormes, lo que dio pie a una incipiente situación de progreso de la ciudad de Zamora, solo quebrada por las aceifas de Almanzor (المنصور), que el 986 la conquistó y destruyó.

 

Durante el reinado de Fernando I (1035-1065) la frontera será definitivamente consolidada, hecho que permitió la renovación de la población zamorana mediante una segunda repoblación y que la misma recibiera un breve fuero, además de ser entregada como señorío a favor de Urraca, la hija del monarca. Durante los reinados de Alfonso VI y Alfonso VII se consolidó la repoblación extramuros, lo que contribuyó definitivamente al progresivo auge de la ciudad de Zamora, hecho que impuso la necesidad de contar con una catedral acorde al rango e importancia que la misma había adquirido, idea que recibiría su impulso definitivo cuando la diócesis de Zamora consiguió definitivamente en 1120 su propia sede, al ser elegido obispo Bernardo de Perigord, monje de Sahagún y chantre de Toledo

 

En el reinado de Alfonso VII, el edificio que servía de sede, San Salvador, seguramente levantado en el mismo lugar que hoy ocupa la catedral, parece que no reunía las condiciones necesarias, motivando que el rey en 1135 donase la iglesia de Santo Tomás para que provisionalmente hiciese las veces de catedral. Entre 1150 y 1160 se documentan importantes mandas a la seo y nueve años más tarde, en 1169 ya hay documentación que corrobora la existencia de un templo románico.

[editar] Origen y construcción

Vista general del castillo y catedral de Zamora .

 

La construcción de la catedral se atribuye al obispo Esteban, sucesor de Bernardo, levantada seguramente sobre el local de la anterior, en lo mejor de la ciudad, junto al castillo, y patrocinada por Alfonso VII el Emperador y su hermana, la infanta-reina Sancha Raimúndez. Respecto a las fechas de inicio y final de las obras de la catedral, no hay acuerdo entre los autores, si bien existen una serie de datos que permiten hacer algunas precisiones.

«Esta casa se hizo sobre la salomónica que la precedió. Aquí añadid la fe. Y esta casa sucede a aquella por su magnificencia y coste. Se realizó en veintitrés años desde que se cimentó. Se consagró con la ayuda del Señor el año MCLXXIII, teniéndose a Esteban por su constructor».

 

Tradicionalmente se ha admitido que la fábrica se alzó de un solo tirón en tan solo 23 años (1151-1174), como parece atestiguar un epígrafe situado en el extremo norte del crucero en el que se copiaron otros más antiguos referentes a la breve historia de la catedral y epitafios de los tres primeros obispos. El que nos interesa dice así:

 

Recientes y meticulosos análisis de la documentación existente han permitido asegurar que las obras, al menos las de cimentación, estaban ya en marcha en 1139, en tiempos del obispo Bernardo y que, a su muerte, ya estaban edificadas la cabecera, nave meridional y portada de este lado pues fue enterrado en el lado sur, correspondiendo la continuación de la construcción a Esteban que la consagró en 1174, aunque este último detalle no supuso la terminación de las obras, ya que las mismas continuaron durante el obispado de su sucesor, Guillermo (1176-1192), que levantaría el transepto y el cuerpo de la iglesia, en tanto que el claustro y la torre estaban en obras en el primer tercio del s. XIII.

 

La insólita celeridad de su fábrica se tradujo en una unidad de estilo poco frecuente en aquel siglo y en una extrema austeridad decorativa, más propia de lo cisterciense que de otros templos coetáneos de la península. Aun así, se proyectó según los cánones borgoñones clásicos y, sobre su marcha, se introdujeron sustanciales novedades en la cobertura por influencia cisterciense y oriental. Las bóvedas de ojivas de su nave central son de las más tempranas de España y anuncian ya el gótico.

 

Un sólo maestro, anónimo como es habitual, la proyectó y dirigió su construcción. Para Gómez-Moreno era foráneo y figura de primer orden, seguramente francés traído por el obispo Bernardo, y hubo de estar en contacto con los maestros al servicio de los normandos en Sicilia, donde los orientalismos estaban al orden del día. Sin embargo, no se le puede identificar con el "Guillermo maçonerius" o el "Munendo pedreyo" que figuran en documentos de la época, ni tampoco con el "magister Oddo" que aparece dirigiendo los trabajos en 1182. Su personalidad habría de imponerse a otras en otras construcciones del valle del Duero, especialmente en Toro, Salamanca, Ciudad Rodrigo y Benavente. En las últimas fases debió intervenir el maestro Fruchel cuya presencia está documentada entre el 1182 y 1204.

[editar] Descripción

Torre del Salvador.

 

El templo románico, tiene planta de tres naves, en origen tres ábsides, que debían ser parecidos a los de la colegiata de Toro y que se sustituyeron en el siglo XV por los actuales góticos y un crucero poco marcados en planta. Los transeptos se cubren con bóvedas de cañón apuntado, las naves laterales con bóvedas de arista capilazadas, y la nave central con bóveda de crucería tardorrománica o protogótica.

 

Sobre el crucero, apoyado internamente, se alza el cimborrio, que es un tambor perforado por 16 ventanas sobre el que se elevan las dos cúpulas, una interna semicircular, gallonada, y otra externa ligeramente apuntada. sus formas. Tiene planta de cruz latina, tres naves de cuatro tramos y tres ábsides que fueron sustituidos por una cabecera gótica en el siglo XVI. El exterior se ameniza con cuatro cupulines que sirven para reforzar las esquinas y cuatro frontones hacia los puntos cardinales que apuntalan la bóveda. Es, con su decoración exterior de escamas, el elemento más destacado del templo y un auténtico símbolo de la ciudad. De «obra genial sin paralelo en la arquitectura medieval» la calificó el historiador José Ángel Rivera de las Heras, quien añade que se convirtió en «cabeza de serie de obras semejantes en la Catedral Vieja de Salamanca, la Colegiata de Toro o la sala capitular de la seo de Plasencia»,[2] singular grupo que fue denominado por el historiador Manuel Gómez-Moreno como cimborrios bizantino-leoneses.

 

Hay que destacar también el coro, que fue construido entre 1512 y 1516 por Juan de Bruselas. La sillería del coro destaca por la abundancia de temas de carácter profano: escenas basadas en fábulas, proverbios, refranes, mitología y también de la vida cotidiana.

 

La torre del Salvador, de 45 m de altura, se construyó a lo largo del siglo XIII aunque el estilo es románico. En tiempos debió de estar almenada. Sirvió hasta el terremoto de Lisboa como cárcel del Cabildo.

 

Desde el claustro se accede al Museo Catedralicio, que alberga una importante colección de tapices.

 

El interior del templo posee numerosos símbolos e inscripciones en sus muros que aún hoy siguen descubriéndose, como la que recientemente se ha recuperado de antiguas y desafortunadas intervenciones que hace mención a posesiones de la iglesia en "Orlelos" y "Carvillino" (actuales Roelos y Carbellino).

[editar] Retablos mayores

Cúpula románica gallonada.

 

Cuatro han sido los retablos mayores que ha tenido. El original románico fue sustituido por uno de estilo gótico hispano-flamenco, realizado por el pintor Fernando Gallego y su taller entre 1490 y 1494. Éste a su vez fue vendido en 1715 a la parroquia del pueblo de Arcenillas (a 7 kilómetros de la capital), por 3240 reales y algunas cargas de grano. Se desconoce cuántas tablas lo integraban, aunque se sabe que eran al menos 35. Con la desamortización 19 fueron a parar a manos del ejecutor de la misma en la zona, Manuel Ruiz-Zorrilla (dos descendientes suyos donaron en 1925 al Obispado las dos que se exhiben en el Museo Diocesano). En el inventario realizado en 1897 faltaba otra más, que no se había recuperado tras una exposición. El número continuó menguando con el paso del tiempo, pues de estas 15, cuatro fueron robadas el 22 de noviembre de 1993 y hasta la fecha no han sido recuperadas. De las otras 24 tablas sólo se conoce el paradero de tres: 2 se conservan actualmente en el Museo Diocesano: "Pentecostés" y "Noli me tangere", y otra más en el Museo de Bellas Artes de Asturias, "Adoración de los Magos", en el que ingresó en 1994, integrada en el conjunto de obras de la colección Masaveu que dicho museo recibió como dación de pago del impuesto de sucesiones de Pedro Masaveu. Este último cuadro fue identificado como procedente de Arcenillas en 2005 gracias a las investigaciones del zamorano Enrique Rodríguez García.[3] Ya antes de las tablas del altar mayor, la catedral había encargado a Gallego otro retablo para la capilla de San Ildefonso a finales de la década de 1470 (éste conservado in situ) y que está considerado como la obra más temprana de cuantas se conservan del pintor. El sustituto del retablo gótico fue un altar barroco del escultor Joaquín Benito Churriguera, de efímera vida, puesto que sufrió daños por el terremoto que el 1 de noviembre de 1755 arrasó Lisboa (cuyos efectos se sintieron también en otras provincias españolas) y a consecuencia de ello fue desmontado en 1758, siendo malvendido al año siguiente, parece ser que para hacer fuego, desapareciendo con ello la que según los datos que se conocen constituyó la obra cumbre de su autor. Lo sustituyó el actual, de mármoles y bronce dorado, diseñado en estilo neoclásico por Ventura Rodríguez, para el que se inspiró en el que había diseñado Sabatini para la Catedral de Segovia.

[editar] Epitafio de la infanta Sancha Raimúndez

 

En el muro izquierdo del presbiterio de la Catedral se encuentra colocado un epitafio, compuesto en 1620-1621 por Alonso de Remesal, en el que se consigna que la infanta Sancha Raimúndez, hija de la reina Urraca I de León y hermana de Alfonso VII el Emperador, recibió sepultura allí:

  

"HIC IACET ILLUSTRIS DOMINA SANCIA INFANTISSA SOROR ADEPHONSI IMPERATORIS" [4]

  

No obstante, a pesar de dicho epitafio y de los documentos y libros que señalan que la infanta Sancha recibió sepultura en la Catedral de Zamora, caso del historiador Fray Joseph Pérez en su obra "Historia del Real Monasterio de Sahagún",[5] el cadáver de la infanta Sancha recibió sepultura en el Panteón de Reyes de San Isidoro de León, donde en la actualidad se conserva su cadáver incorrupto.[6]

[editar] Puerta del Obispo

Puerta del Obispo.

 

La Puerta del Obispo es la única que se mantiene completa de las tres originales. Es junto al cimborrio la pieza más valiosa de todo lo románico de la Catedral de Zamora constituyendo un ejemplo de decoración arquitectónica, sin apenas escultura.

 

Se divide en tres calles que a su vez están divididas en dos pisos, los inferiores contienen sendos arquillos con lo mejor de la escultura románica zamorana, uno, con San Juan y San Pablo y otro con una Virgen Theotokos. En el siguiente piso sólo aparece una arquería ciega.

 

Rematando todo el conjunto se yerguen sobre los estribos y las dos pilastras acanaladas que recorren la fachada tres arcos ligeramente apuntados que conforman el remate del hastial.

 

---------------------------------------------

 

Catedral de Zamora

 

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Catedral de Zamora

Cultural Property

Spain's Historical Heritage

Zamora Cathedral (façade) 2.JPG

Declaration 1889.

Figure national monument protection.

Coordinates 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389,-5.7542667Coordenadas: 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389, -5.7542667

Zamora Zamora.svg Location Flag, Flag of EspañaEspaña.

Construction 1140-1174.

Prevailing Romanesque styles.

 

La Catedral de Zamora (Zamora, Spain), dedicated to El Salvador, is part of the Duero called Romanesque, distinguished for being the smallest and oldest of the eleven of the Community of Castilla y León. [1] was declared National monument by Royal Decree on September 5, 1889. Its plan is a Latin cross with three naves with four sections, the lateral cross-vaulted and ribbed central simple. The three apses that had originally been replaced by a header in the sixteenth century Gothic. In the transept stands a dome with a drum of 16 windows on which stands a dome of gallons of stone covered with scales and supported with clear scallops of Byzantine influence. Is the most striking, beautiful and original temple, and a true symbol of the city.

 

Historical Background

General view from the Castle.

 

The city of Zamora, situated on a plateau of undeniable strategic value along the Douro River, inhabited since at least the final stage of the Bronze Age, it will sit on the oppidum of Ocelodurum vacceo on the Roman road would run Merida to Astorga, with the turbulent arrival of the Germanic peoples became the enclave of Sinimure Swabian and then in the hispanogodo of SIMUR.

 

After the Muslim invasion, the city of Zamora was abandoned until the 893 was recovered, rebuilt and repopulated by Christians vassals of Alfonso III, come these Christian north and Al-Andalus: Mozarabic Toledo, Merida and Coria. Of buildings would be in charge of Toledo, which would raise military defenses, churches, baths and a royal palace ... leading to that at 901 was endowed a bishopric in this city, was appointed its first pastor Atilano.

 

Gradually, the border will be shifted to the south to include land north of the river Tormes, which led to an incipient state of progress of the city of Zamora, only broken by the aceifas Almanzor (المنصور), which the conquered and destroyed 986.

 

During the reign of Ferdinand I (1035-1065) the border will be definitely established, which allowed the renewal of the population by a second stocking Zamora and that it received a brief jurisdiction, as well as being given dominion for Urraca the daughter of the monarch. During the reign of Alfonso VI and Alfonso VII was consolidated extramural repopulation, which definitely contributed to the gradual rise of the city of Zamora, a fact which made it necessary to have a cathedral according to the range and importance that it had acquired, idea would receive his final drive when the diocese of Zamora finally got its own seat in 1120, being elected Bishop Bernardo de Perigord, monk and bard of Toledo Sahagún

 

In the reign of Alfonso VII, the building served as headquarters, San Salvador, probably built in the same place now occupied by the cathedral, it seems that did not meet the necessary conditions, prompting the king in 1135 donate the church of Santo Tomás tentatively it could make the times of a cathedral. Between 1150 and 1160 are documented important to send seo-nine years later, in 1169 and there is documentation that supports the existence of a Roman temple.

[Edit] Origin and Construction

Overview of the castle and cathedral of Zamora.

 

The construction of the cathedral is attributed to Bishop Stephen, successor Bernardo, built probably on the premises of the above, to the best of the city, next to the castle, and sponsored by Alfonso VII the Emperor and his sister, Princess-Queen Raimundez Sancha. Regarding the start and end dates of the works of the cathedral, there is no agreement among authors, although there are some data that allow for some clarifications.

"This house was made on the Solomonic that preceded it. Here add faith. And this house happens to that by their magnificence and cost. Was performed in twenty-three years since cemented. He devoted himself to the Lord's help MCLXXIII year, taking its constructor Stephen. "

 

Traditionally, the factory has admitted that rose from a single pull in just 23 years (1151-1174), as seems to witness a section located at the north end of the cruise where the older ones were copied for the brief history of Cathedral and epitaphs of the first three bishops. That concerns us reads as follows:

 

Recent and thorough analysis of existing documentation have ensured that the work, at least the foundation, were already under way in 1139, at the time of Bishop Bernardo and at his death, were already built the headboard, south aisle and cover because this side was buried on the south side, corresponding to the continuation of construction Stephen consecrated in 1174, although the latter detail is not meant the end of the work, since they continued during the bishopric of his successor, William (1176-1192), which would raise the transept and the body of the church, while the cloister and the tower was under construction in the first third of s. XIII.

 

The unusual speed of the factory resulted in a rare unity of style that age and in extreme austerity decorative, more typical of the Cistercian that of other contemporary temples of the peninsula. Still, it was projected as the classic Burgundian fees on their march, were introduced substantial innovations in coverage and Eastern Cistercian influence. Warheads vaults of the central nave are of the earliest of Spain and announce and the Gothic.

 

A single master, anonymous as usual, planned and directed its construction. For Gómez-Moreno was foreign and figure of the first order, the French probably brought by Bishop Bernardo, and had to be in contact with teachers in the service of the Normans in Sicily, where the Oriental was on the agenda. However, you can not identify with the "William maçonerius" or "Munendo pedreyo" in documents of the time, nor with the "magister Oddo" link directing the work in 1182. His personality would be imposed on others in other buildings of the Douro Valley, especially in Toro, Salamanca, Ciudad Rodrigo y Benavente. In the final stages the teacher had to intervene Fruchel whose presence is documented between 1182 and 1204.

[Edit] Description

Torre del Salvador.

 

The Romanesque church has three naves, three apses at source, which should be similar to the collegiate church of Toro and is replaced in the fifteenth century by the present Gothic and a cruise lightly marked on the ground. The transepts are covered with pointed barrel vaults, the aisles with capilazadas vaults and the central nave vaulting late Romanesque or protogothic.

 

On the cruise, domestic support, the dome stands, a drum pierced by windows 16 rising on the two domes, a semicircular inner, fluted, slightly pointed and external. its forms. It has a Latin cross plan, three aisles and three apses four sections which were replaced by a header in the sixteenth century Gothic. The exterior is enlivened with four cupolas that serve to reinforce the corners and four gables to the cardinal points that underpin the vault. Is, with its exterior decoration of scales, the most prominent feature of the temple and a true symbol of the city. Of 'work of genius without parallel in medieval architecture, "the historian called José Angel Rivera de las Heras, who adds that he became Head of a series of similar works in the Old Cathedral of Salamanca, Toro or collegiate chapter house of the Cathedral of Piacenza ', [2] singular group that was called by historian Manuel Gómez-Moreno and Byzantine domes and Leon.

 

We must also mention the choir, which was built between 1512 and 1516 by Juan de Bruxelles. The choir stalls noted for the abundance of profane themes: scenes based on fables, proverbs, mythology and everyday life.

 

Salvador tower, 45 meters high, was built during the XIII century, though the style is Romanesque. At times he must have been embattled. He served until the Lisbon earthquake as a prison of the Cabildo.

 

From the cloister you access to the Cathedral Museum, which houses an important collection of tapestries.

 

Inside the temple has many symbols and inscriptions on the walls that still continue to be discovered, as has recently been recovered from ancient and unfortunate interventions referred to possessions of the church in "Orlelos" and "Carvillino (Roel and current Carbellino).

[Edit] Altarpiece

Roman fluted dome.

 

There were four major altarpieces he has had. The original Romanesque was replaced by a Hispano-Flemish Gothic style, designed by the painter Fernando Gallego and his workshop between 1490 and 1494. This in turn was sold in 1715 to the parish of Arcenillas town (7 kilometers from the capital), by 3240 real and some loads of grain. It is unknown how many tables this package, although it is known that they were at least 35. With the seizure 19 were placed in the hands of the executor of the same in the area, Manuel Ruiz-Zorrilla (two in 1925 his descendants donated to the Bishop both on display at the Diocesan Museum). In the inventory made in 1897 was missing one more, which had not recovered after exposure. The number continued to wane over time because of the 15, four were stolen on November 22, 1993 and to date have not been recovered. Of the other 24 tables only knows the whereabouts of three: 2 are kept in the Diocesan Museum: "Pentecost" and "Noli me tangere", and another in the Museo de Bellas Artes de Asturias, "Adoration of the Magi" , which joined in 1994, integrated into the whole works in the collection that the museum Masaveu received payment in lieu of inheritance tax Peter Masaveu. The latter scenario was identified as coming from Arcenillas in 2005 thanks to the research of Enrique Zamora Rodríguez García. [3] Even before the boards of the altar, the cathedral was commissioned Gallego another altarpiece for the chapel of San Ildefonso in late the decade of 1470 (the latter conserved in situ) and is considered the earliest work of all those kept by the painter. The replacement was a Gothic altar altar Joaquín Benito Baroque sculptor Churriguera of ephemeral life as it was damaged by the earthquake that the November 1, 1755 devastated Lisbon (whose effects were felt in other Spanish provinces) and as a result was dismantled in 1758, being undersold in the following year, it seems to fire, thereby disappearing according to the data known was the masterpiece of its author. He was replaced by the current, marble and gilded bronze, designed in neoclassical style by Ventura Rodriguez, who was inspired by Sabatini had designed for the Cathedral of Segovia.

[Edit] Epitaph of the Infanta Sancha Raimundez

 

On the left wall of the chancel of the Cathedral is placed an epitaph, composed by Alonso de Remesal 1620-1621, in which it is stated that the Infanta Sancha Raimundez, daughter of Queen Urraca I of León and the sister of Alfonso VII Emperor, was buried there:

  

"HIC IACET illustris DOMINA Sanctions INFANTISSA Soror ADEPHONSI Imperatoris [4]

  

However, despite the epitaph and the documents and books that say that the Infanta Sancha was buried in the Cathedral of Zamora, where the historian Fray Joseph Perez in his book "Historia del Real Monasterio de Sahagún", [5] Infanta Sancha's corpse was buried in the Pantheon of Kings in San Isidoro of León, where he currently retains its corpse. [6]

[Edit] Bishop's Gate

Bishop's Gate.

 

The Bishop's Gate is the only complete remains of the three originals. It is next to the dome the most valuable piece of everything Romanesque Cathedral of Zamora being an example of architectural decoration, not just sculpture.

 

It is divided into three blocks which in turn are divided into two floors, each contain lower arches with the best of Romanesque sculpture Zamora, one with San Juan and San Pablo and the other with a Virgin Theotokos. On the next floor just get a blind arches.

 

Topping the whole stand in the stirrups and two fluted pilasters along the façade three slightly pointed arches that form the top of the gable.

Cúpula de la Catedral de Zamora desde dentro

*******************************

 

RECUERDA DONA TU FOTO >>> www.donatufoto.es

 

REMEMBER DONATE YOUR PHOTO >>> www.donatufoto.es

 

Por favor añade tu critica construtiva / Please add your constructive criticism

 

De Wikipedia, la enciclopedia libre

Saltar a navegación, búsqueda

Catedral de Zamora

Bien de Interés Cultural

Patrimonio Histórico de España

Catedral de Zamora (fachada principal)2.JPG

Declaración 1889.

Figura de protección Monumento Nacional.

Coordenadas 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667Coordenadas: 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667

Ubicación Bandera de Zamora.svg Zamora, Bandera de EspañaEspaña.

Construcción 1140–1174.

Estilos predominantes Románico.

 

La Catedral de Zamora (Zamora, España), dedicada a El Salvador, se inscribe dentro del denominado Románico del Duero, distinguiéndose por ser la más pequeña y la más antigua de las once de la Comunidad de Castilla y León.[1] Fue declarada Monumento Nacional por Real Orden de 5 de septiembre de 1889. Su planta es de cruz latina con tres naves de cuatro tramos, las laterales con bóveda de arista y la central de crucería simple. Los tres ábsides que tenía en origen fueron sustituidos por una cabecera gótica en el siglo XVI. En el crucero se alza un cimborrio con un tambor de 16 ventanas sobre el que se levanta una cúpula de gallones revestidos con escamas de piedra y soportada con pechinas de clara influencia bizantina. Es el elemento más llamativo, bello y original del templo, y un verdadero símbolo de la ciudad.

 

Antecedentes históricos

Vista general desde el Castillo.

 

La ciudad de Zamora, situada sobre una meseta de indiscutible valor estratégico, junto al Duero, habitada al menos desde la etapa final de la Edad del Bronce, sobre la que se asentará el oppidum vacceo de Ocelodurum, por el que discurriría la calzada romana de Mérida a Astorga, que con la turbulenta llegada de los pueblos germanos se convertiría en el enclave suevo de Sinimure y, seguidamente, en el hispanogodo de Simure.

 

Tras la invasión musulmana, la ciudad de Zamora fue abandonada hasta que en el 893 fue recuperada, reconstruida y repoblada por cristianos vasallos de Alfonso III, venidos estos del norte cristiano y de Al-Ándalus: mozárabes de Toledo, Mérida y Coria. De las construcciones se harían cargo los toledanos, que levantarían defensas militares, iglesias, baños y un palacio regio... que llevaría a que en el 901 se dotara de obispado a esta ciudad, siendo nombrado Atilano su primer pastor.

 

Poco a poco la frontera será desplazada hacia el sur, hasta incluir las tierras situadas al norte del río Tormes, lo que dio pie a una incipiente situación de progreso de la ciudad de Zamora, solo quebrada por las aceifas de Almanzor (المنصور), que el 986 la conquistó y destruyó.

 

Durante el reinado de Fernando I (1035-1065) la frontera será definitivamente consolidada, hecho que permitió la renovación de la población zamorana mediante una segunda repoblación y que la misma recibiera un breve fuero, además de ser entregada como señorío a favor de Urraca, la hija del monarca. Durante los reinados de Alfonso VI y Alfonso VII se consolidó la repoblación extramuros, lo que contribuyó definitivamente al progresivo auge de la ciudad de Zamora, hecho que impuso la necesidad de contar con una catedral acorde al rango e importancia que la misma había adquirido, idea que recibiría su impulso definitivo cuando la diócesis de Zamora consiguió definitivamente en 1120 su propia sede, al ser elegido obispo Bernardo de Perigord, monje de Sahagún y chantre de Toledo

 

En el reinado de Alfonso VII, el edificio que servía de sede, San Salvador, seguramente levantado en el mismo lugar que hoy ocupa la catedral, parece que no reunía las condiciones necesarias, motivando que el rey en 1135 donase la iglesia de Santo Tomás para que provisionalmente hiciese las veces de catedral. Entre 1150 y 1160 se documentan importantes mandas a la seo y nueve años más tarde, en 1169 ya hay documentación que corrobora la existencia de un templo románico.

[editar] Origen y construcción

Vista general del castillo y catedral de Zamora .

 

La construcción de la catedral se atribuye al obispo Esteban, sucesor de Bernardo, levantada seguramente sobre el local de la anterior, en lo mejor de la ciudad, junto al castillo, y patrocinada por Alfonso VII el Emperador y su hermana, la infanta-reina Sancha Raimúndez. Respecto a las fechas de inicio y final de las obras de la catedral, no hay acuerdo entre los autores, si bien existen una serie de datos que permiten hacer algunas precisiones.

«Esta casa se hizo sobre la salomónica que la precedió. Aquí añadid la fe. Y esta casa sucede a aquella por su magnificencia y coste. Se realizó en veintitrés años desde que se cimentó. Se consagró con la ayuda del Señor el año MCLXXIII, teniéndose a Esteban por su constructor».

 

Tradicionalmente se ha admitido que la fábrica se alzó de un solo tirón en tan solo 23 años (1151-1174), como parece atestiguar un epígrafe situado en el extremo norte del crucero en el que se copiaron otros más antiguos referentes a la breve historia de la catedral y epitafios de los tres primeros obispos. El que nos interesa dice así:

 

Recientes y meticulosos análisis de la documentación existente han permitido asegurar que las obras, al menos las de cimentación, estaban ya en marcha en 1139, en tiempos del obispo Bernardo y que, a su muerte, ya estaban edificadas la cabecera, nave meridional y portada de este lado pues fue enterrado en el lado sur, correspondiendo la continuación de la construcción a Esteban que la consagró en 1174, aunque este último detalle no supuso la terminación de las obras, ya que las mismas continuaron durante el obispado de su sucesor, Guillermo (1176-1192), que levantaría el transepto y el cuerpo de la iglesia, en tanto que el claustro y la torre estaban en obras en el primer tercio del s. XIII.

 

La insólita celeridad de su fábrica se tradujo en una unidad de estilo poco frecuente en aquel siglo y en una extrema austeridad decorativa, más propia de lo cisterciense que de otros templos coetáneos de la península. Aun así, se proyectó según los cánones borgoñones clásicos y, sobre su marcha, se introdujeron sustanciales novedades en la cobertura por influencia cisterciense y oriental. Las bóvedas de ojivas de su nave central son de las más tempranas de España y anuncian ya el gótico.

 

Un sólo maestro, anónimo como es habitual, la proyectó y dirigió su construcción. Para Gómez-Moreno era foráneo y figura de primer orden, seguramente francés traído por el obispo Bernardo, y hubo de estar en contacto con los maestros al servicio de los normandos en Sicilia, donde los orientalismos estaban al orden del día. Sin embargo, no se le puede identificar con el "Guillermo maçonerius" o el "Munendo pedreyo" que figuran en documentos de la época, ni tampoco con el "magister Oddo" que aparece dirigiendo los trabajos en 1182. Su personalidad habría de imponerse a otras en otras construcciones del valle del Duero, especialmente en Toro, Salamanca, Ciudad Rodrigo y Benavente. En las últimas fases debió intervenir el maestro Fruchel cuya presencia está documentada entre el 1182 y 1204.

[editar] Descripción

Torre del Salvador.

 

El templo románico, tiene planta de tres naves, en origen tres ábsides, que debían ser parecidos a los de la colegiata de Toro y que se sustituyeron en el siglo XV por los actuales góticos y un crucero poco marcados en planta. Los transeptos se cubren con bóvedas de cañón apuntado, las naves laterales con bóvedas de arista capilazadas, y la nave central con bóveda de crucería tardorrománica o protogótica.

 

Sobre el crucero, apoyado internamente, se alza el cimborrio, que es un tambor perforado por 16 ventanas sobre el que se elevan las dos cúpulas, una interna semicircular, gallonada, y otra externa ligeramente apuntada. sus formas. Tiene planta de cruz latina, tres naves de cuatro tramos y tres ábsides que fueron sustituidos por una cabecera gótica en el siglo XVI. El exterior se ameniza con cuatro cupulines que sirven para reforzar las esquinas y cuatro frontones hacia los puntos cardinales que apuntalan la bóveda. Es, con su decoración exterior de escamas, el elemento más destacado del templo y un auténtico símbolo de la ciudad. De «obra genial sin paralelo en la arquitectura medieval» la calificó el historiador José Ángel Rivera de las Heras, quien añade que se convirtió en «cabeza de serie de obras semejantes en la Catedral Vieja de Salamanca, la Colegiata de Toro o la sala capitular de la seo de Plasencia»,[2] singular grupo que fue denominado por el historiador Manuel Gómez-Moreno como cimborrios bizantino-leoneses.

 

Hay que destacar también el coro, que fue construido entre 1512 y 1516 por Juan de Bruselas. La sillería del coro destaca por la abundancia de temas de carácter profano: escenas basadas en fábulas, proverbios, refranes, mitología y también de la vida cotidiana.

 

La torre del Salvador, de 45 m de altura, se construyó a lo largo del siglo XIII aunque el estilo es románico. En tiempos debió de estar almenada. Sirvió hasta el terremoto de Lisboa como cárcel del Cabildo.

 

Desde el claustro se accede al Museo Catedralicio, que alberga una importante colección de tapices.

 

El interior del templo posee numerosos símbolos e inscripciones en sus muros que aún hoy siguen descubriéndose, como la que recientemente se ha recuperado de antiguas y desafortunadas intervenciones que hace mención a posesiones de la iglesia en "Orlelos" y "Carvillino" (actuales Roelos y Carbellino).

[editar] Retablos mayores

Cúpula románica gallonada.

 

Cuatro han sido los retablos mayores que ha tenido. El original románico fue sustituido por uno de estilo gótico hispano-flamenco, realizado por el pintor Fernando Gallego y su taller entre 1490 y 1494. Éste a su vez fue vendido en 1715 a la parroquia del pueblo de Arcenillas (a 7 kilómetros de la capital), por 3240 reales y algunas cargas de grano. Se desconoce cuántas tablas lo integraban, aunque se sabe que eran al menos 35. Con la desamortización 19 fueron a parar a manos del ejecutor de la misma en la zona, Manuel Ruiz-Zorrilla (dos descendientes suyos donaron en 1925 al Obispado las dos que se exhiben en el Museo Diocesano). En el inventario realizado en 1897 faltaba otra más, que no se había recuperado tras una exposición. El número continuó menguando con el paso del tiempo, pues de estas 15, cuatro fueron robadas el 22 de noviembre de 1993 y hasta la fecha no han sido recuperadas. De las otras 24 tablas sólo se conoce el paradero de tres: 2 se conservan actualmente en el Museo Diocesano: "Pentecostés" y "Noli me tangere", y otra más en el Museo de Bellas Artes de Asturias, "Adoración de los Magos", en el que ingresó en 1994, integrada en el conjunto de obras de la colección Masaveu que dicho museo recibió como dación de pago del impuesto de sucesiones de Pedro Masaveu. Este último cuadro fue identificado como procedente de Arcenillas en 2005 gracias a las investigaciones del zamorano Enrique Rodríguez García.[3] Ya antes de las tablas del altar mayor, la catedral había encargado a Gallego otro retablo para la capilla de San Ildefonso a finales de la década de 1470 (éste conservado in situ) y que está considerado como la obra más temprana de cuantas se conservan del pintor. El sustituto del retablo gótico fue un altar barroco del escultor Joaquín Benito Churriguera, de efímera vida, puesto que sufrió daños por el terremoto que el 1 de noviembre de 1755 arrasó Lisboa (cuyos efectos se sintieron también en otras provincias españolas) y a consecuencia de ello fue desmontado en 1758, siendo malvendido al año siguiente, parece ser que para hacer fuego, desapareciendo con ello la que según los datos que se conocen constituyó la obra cumbre de su autor. Lo sustituyó el actual, de mármoles y bronce dorado, diseñado en estilo neoclásico por Ventura Rodríguez, para el que se inspiró en el que había diseñado Sabatini para la Catedral de Segovia.

[editar] Epitafio de la infanta Sancha Raimúndez

 

En el muro izquierdo del presbiterio de la Catedral se encuentra colocado un epitafio, compuesto en 1620-1621 por Alonso de Remesal, en el que se consigna que la infanta Sancha Raimúndez, hija de la reina Urraca I de León y hermana de Alfonso VII el Emperador, recibió sepultura allí:

  

"HIC IACET ILLUSTRIS DOMINA SANCIA INFANTISSA SOROR ADEPHONSI IMPERATORIS" [4]

  

No obstante, a pesar de dicho epitafio y de los documentos y libros que señalan que la infanta Sancha recibió sepultura en la Catedral de Zamora, caso del historiador Fray Joseph Pérez en su obra "Historia del Real Monasterio de Sahagún",[5] el cadáver de la infanta Sancha recibió sepultura en el Panteón de Reyes de San Isidoro de León, donde en la actualidad se conserva su cadáver incorrupto.[6]

[editar] Puerta del Obispo

Puerta del Obispo.

 

La Puerta del Obispo es la única que se mantiene completa de las tres originales. Es junto al cimborrio la pieza más valiosa de todo lo románico de la Catedral de Zamora constituyendo un ejemplo de decoración arquitectónica, sin apenas escultura.

 

Se divide en tres calles que a su vez están divididas en dos pisos, los inferiores contienen sendos arquillos con lo mejor de la escultura románica zamorana, uno, con San Juan y San Pablo y otro con una Virgen Theotokos. En el siguiente piso sólo aparece una arquería ciega.

 

Rematando todo el conjunto se yerguen sobre los estribos y las dos pilastras acanaladas que recorren la fachada tres arcos ligeramente apuntados que conforman el remate del hastial.

 

---------------------------------------------

 

Catedral de Zamora

 

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Catedral de Zamora

Cultural Property

Spain's Historical Heritage

Zamora Cathedral (façade) 2.JPG

Declaration 1889.

Figure national monument protection.

Coordinates 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389,-5.7542667Coordenadas: 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389, -5.7542667

Zamora Zamora.svg Location Flag, Flag of EspañaEspaña.

Construction 1140-1174.

Prevailing Romanesque styles.

 

La Catedral de Zamora (Zamora, Spain), dedicated to El Salvador, is part of the Duero called Romanesque, distinguished for being the smallest and oldest of the eleven of the Community of Castilla y León. [1] was declared National monument by Royal Decree on September 5, 1889. Its plan is a Latin cross with three naves with four sections, the lateral cross-vaulted and ribbed central simple. The three apses that had originally been replaced by a header in the sixteenth century Gothic. In the transept stands a dome with a drum of 16 windows on which stands a dome of gallons of stone covered with scales and supported with clear scallops of Byzantine influence. Is the most striking, beautiful and original temple, and a true symbol of the city.

 

Historical Background

General view from the Castle.

 

The city of Zamora, situated on a plateau of undeniable strategic value along the Douro River, inhabited since at least the final stage of the Bronze Age, it will sit on the oppidum of Ocelodurum vacceo on the Roman road would run Merida to Astorga, with the turbulent arrival of the Germanic peoples became the enclave of Sinimure Swabian and then in the hispanogodo of SIMUR.

 

After the Muslim invasion, the city of Zamora was abandoned until the 893 was recovered, rebuilt and repopulated by Christians vassals of Alfonso III, come these Christian north and Al-Andalus: Mozarabic Toledo, Merida and Coria. Of buildings would be in charge of Toledo, which would raise military defenses, churches, baths and a royal palace ... leading to that at 901 was endowed a bishopric in this city, was appointed its first pastor Atilano.

 

Gradually, the border will be shifted to the south to include land north of the river Tormes, which led to an incipient state of progress of the city of Zamora, only broken by the aceifas Almanzor (المنصور), which the conquered and destroyed 986.

 

During the reign of Ferdinand I (1035-1065) the border will be definitely established, which allowed the renewal of the population by a second stocking Zamora and that it received a brief jurisdiction, as well as being given dominion for Urraca the daughter of the monarch. During the reign of Alfonso VI and Alfonso VII was consolidated extramural repopulation, which definitely contributed to the gradual rise of the city of Zamora, a fact which made it necessary to have a cathedral according to the range and importance that it had acquired, idea would receive his final drive when the diocese of Zamora finally got its own seat in 1120, being elected Bishop Bernardo de Perigord, monk and bard of Toledo Sahagún

 

In the reign of Alfonso VII, the building served as headquarters, San Salvador, probably built in the same place now occupied by the cathedral, it seems that did not meet the necessary conditions, prompting the king in 1135 donate the church of Santo Tomás tentatively it could make the times of a cathedral. Between 1150 and 1160 are documented important to send seo-nine years later, in 1169 and there is documentation that supports the existence of a Roman temple.

[Edit] Origin and Construction

Overview of the castle and cathedral of Zamora.

 

The construction of the cathedral is attributed to Bishop Stephen, successor Bernardo, built probably on the premises of the above, to the best of the city, next to the castle, and sponsored by Alfonso VII the Emperor and his sister, Princess-Queen Raimundez Sancha. Regarding the start and end dates of the works of the cathedral, there is no agreement among authors, although there are some data that allow for some clarifications.

"This house was made on the Solomonic that preceded it. Here add faith. And this house happens to that by their magnificence and cost. Was performed in twenty-three years since cemented. He devoted himself to the Lord's help MCLXXIII year, taking its constructor Stephen. "

 

Traditionally, the factory has admitted that rose from a single pull in just 23 years (1151-1174), as seems to witness a section located at the north end of the cruise where the older ones were copied for the brief history of Cathedral and epitaphs of the first three bishops. That concerns us reads as follows:

 

Recent and thorough analysis of existing documentation have ensured that the work, at least the foundation, were already under way in 1139, at the time of Bishop Bernardo and at his death, were already built the headboard, south aisle and cover because this side was buried on the south side, corresponding to the continuation of construction Stephen consecrated in 1174, although the latter detail is not meant the end of the work, since they continued during the bishopric of his successor, William (1176-1192), which would raise the transept and the body of the church, while the cloister and the tower was under construction in the first third of s. XIII.

 

The unusual speed of the factory resulted in a rare unity of style that age and in extreme austerity decorative, more typical of the Cistercian that of other contemporary temples of the peninsula. Still, it was projected as the classic Burgundian fees on their march, were introduced substantial innovations in coverage and Eastern Cistercian influence. Warheads vaults of the central nave are of the earliest of Spain and announce and the Gothic.

 

A single master, anonymous as usual, planned and directed its construction. For Gómez-Moreno was foreign and figure of the first order, the French probably brought by Bishop Bernardo, and had to be in contact with teachers in the service of the Normans in Sicily, where the Oriental was on the agenda. However, you can not identify with the "William maçonerius" or "Munendo pedreyo" in documents of the time, nor with the "magister Oddo" link directing the work in 1182. His personality would be imposed on others in other buildings of the Douro Valley, especially in Toro, Salamanca, Ciudad Rodrigo y Benavente. In the final stages the teacher had to intervene Fruchel whose presence is documented between 1182 and 1204.

[Edit] Description

Torre del Salvador.

 

The Romanesque church has three naves, three apses at source, which should be similar to the collegiate church of Toro and is replaced in the fifteenth century by the present Gothic and a cruise lightly marked on the ground. The transepts are covered with pointed barrel vaults, the aisles with capilazadas vaults and the central nave vaulting late Romanesque or protogothic.

 

On the cruise, domestic support, the dome stands, a drum pierced by windows 16 rising on the two domes, a semicircular inner, fluted, slightly pointed and external. its forms. It has a Latin cross plan, three aisles and three apses four sections which were replaced by a header in the sixteenth century Gothic. The exterior is enlivened with four cupolas that serve to reinforce the corners and four gables to the cardinal points that underpin the vault. Is, with its exterior decoration of scales, the most prominent feature of the temple and a true symbol of the city. Of 'work of genius without parallel in medieval architecture, "the historian called José Angel Rivera de las Heras, who adds that he became Head of a series of similar works in the Old Cathedral of Salamanca, Toro or collegiate chapter house of the Cathedral of Piacenza ', [2] singular group that was called by historian Manuel Gómez-Moreno and Byzantine domes and Leon.

 

We must also mention the choir, which was built between 1512 and 1516 by Juan de Bruxelles. The choir stalls noted for the abundance of profane themes: scenes based on fables, proverbs, mythology and everyday life.

 

Salvador tower, 45 meters high, was built during the XIII century, though the style is Romanesque. At times he must have been embattled. He served until the Lisbon earthquake as a prison of the Cabildo.

 

From the cloister you access to the Cathedral Museum, which houses an important collection of tapestries.

 

Inside the temple has many symbols and inscriptions on the walls that still continue to be discovered, as has recently been recovered from ancient and unfortunate interventions referred to possessions of the church in "Orlelos" and "Carvillino (Roel and current Carbellino).

[Edit] Altarpiece

Roman fluted dome.

 

There were four major altarpieces he has had. The original Romanesque was replaced by a Hispano-Flemish Gothic style, designed by the painter Fernando Gallego and his workshop between 1490 and 1494. This in turn was sold in 1715 to the parish of Arcenillas town (7 kilometers from the capital), by 3240 real and some loads of grain. It is unknown how many tables this package, although it is known that they were at least 35. With the seizure 19 were placed in the hands of the executor of the same in the area, Manuel Ruiz-Zorrilla (two in 1925 his descendants donated to the Bishop both on display at the Diocesan Museum). In the inventory made in 1897 was missing one more, which had not recovered after exposure. The number continued to wane over time because of the 15, four were stolen on November 22, 1993 and to date have not been recovered. Of the other 24 tables only knows the whereabouts of three: 2 are kept in the Diocesan Museum: "Pentecost" and "Noli me tangere", and another in the Museo de Bellas Artes de Asturias, "Adoration of the Magi" , which joined in 1994, integrated into the whole works in the collection that the museum Masaveu received payment in lieu of inheritance tax Peter Masaveu. The latter scenario was identified as coming from Arcenillas in 2005 thanks to the research of Enrique Zamora Rodríguez García. [3] Even before the boards of the altar, the cathedral was commissioned Gallego another altarpiece for the chapel of San Ildefonso in late the decade of 1470 (the latter conserved in situ) and is considered the earliest work of all those kept by the painter. The replacement was a Gothic altar altar Joaquín Benito Baroque sculptor Churriguera of ephemeral life as it was damaged by the earthquake that the November 1, 1755 devastated Lisbon (whose effects were felt in other Spanish provinces) and as a result was dismantled in 1758, being undersold in the following year, it seems to fire, thereby disappearing according to the data known was the masterpiece of its author. He was replaced by the current, marble and gilded bronze, designed in neoclassical style by Ventura Rodriguez, who was inspired by Sabatini had designed for the Cathedral of Segovia.

[Edit] Epitaph of the Infanta Sancha Raimundez

 

On the left wall of the chancel of the Cathedral is placed an epitaph, composed by Alonso de Remesal 1620-1621, in which it is stated that the Infanta Sancha Raimundez, daughter of Queen Urraca I of León and the sister of Alfonso VII Emperor, was buried there:

  

"HIC IACET illustris DOMINA Sanctions INFANTISSA Soror ADEPHONSI Imperatoris [4]

  

However, despite the epitaph and the documents and books that say that the Infanta Sancha was buried in the Cathedral of Zamora, where the historian Fray Joseph Perez in his book "Historia del Real Monasterio de Sahagún", [5] Infanta Sancha's corpse was buried in the Pantheon of Kings in San Isidoro of León, where he currently retains its corpse. [6]

[Edit] Bishop's Gate

Bishop's Gate.

 

The Bishop's Gate is the only complete remains of the three originals. It is next to the dome the most valuable piece of everything Romanesque Cathedral of Zamora being an example of architectural decoration, not just sculpture.

 

It is divided into three blocks which in turn are divided into two floors, each contain lower arches with the best of Romanesque sculpture Zamora, one with San Juan and San Pablo and the other with a Virgin Theotokos. On the next floor just get a blind arches.

 

Topping the whole stand in the stirrups and two fluted pilasters along the façade three slightly pointed arches that form the top of the gable.

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

 

Centuries old and now neglected and partly overgrown the "Midgley Pin Fold" is indeed a very important part of village history = as was "Pinfold's" located at every village in the Country !!! = The use of "Pinfolds" was to "Pin" or "Detain" straying Animals which had wandered onto another persons "Patch" of Land in the Days when very little existed in the Way of Barriers to keep Domestic Animals in Check from straying and eating a Neighbour's "Juicer" Crops !!! + of course since the very earliest days of Wild Animal Domestication and Animal Husbandry and the rearing of Animals for Food instead of just Hunting Wild Creatures there have been "Herder's" - People who's sole purpose in life was to keep a watchful eye on the Animals in their Charge and not let them stray - But many of these "Herder's" was also Children and or immature or inexperienced People so "Animals Strayed" with the result that they had to be detained and for a small Fee the Owners could get their Animals back from the "Pinfold" which was also known in some villages as "A Pound" (place where Animals was "Impounded") = However the Court Records For the ancient Manor of Wakefield show that at "Midgley" the Straying of Animals was "Rife" so it can be safely concluded that some of the "Straying" was a bit and possibly a lot "Deliberate" !!! = Most of the "Well Dressing" is done by the Children of the village of "Midgley" so a round of applause is required for this very simple yet immensely "Valliant" effort do something with this neglected relic of the "Ancient side of the very long history of "Midgley' and place it in there with Current Events like the "Tour de France" Cycle Race - and Viewers may notice that "Dandelions" have been used to provide the Race's winning "Yellow Colour" !!! = Perhaps the "Well Fairies" gave a helping hand ??? !!!

 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = Séculos de idade e agora negligenciado e parcialmente coberto o " Midgley Pin Fold " é na verdade uma parte muito importante da história da aldeia = como foi " de Pinfold ", localizado em cada aldeia no País ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadios que tinha vagavam para outra pessoas "Patch " da Terra nos dias em que muito pouco existia no Caminho de Barreiras para manter os animais domésticos in Check se afastasse e comer Crops " Juicer " de um vizinho ! + Claro desde os primeiros dias de Wild Animal domesticação e criação de animais e à criação de animais para a alimentação , em vez de apenas caça criaturas selvagens houve " Herder do " - As pessoas que tem o único propósito na vida era manter um olhar atento sobre os Animais a seu cargo e não deixá-los disperso - Mas muitos destes " Herder da " era também Crianças e ou Pessoas imaturas ou inexperientes, " Animals desviaram " com o resultado que eles tinham que ser detidos e por uma pequena taxa os proprietários poderiam obter os seus animais de volta do " Pinfold ", que também era conhecido em algumas aldeias como " a Libra " ( lugar onde os animais foi " apreendido ") = no entanto, os registros do tribunal para a Manor antiga de Wakefield mostram que a " Midgley " o Straying dos Animais foi " Rife ", assim pode-se concluir com segurança que alguns dos" Straying " foi um pouco e, possivelmente, muito" deliberada " ! = A maioria dos " Bem Dressing " é feito pelas crianças da aldeia de " Midgley " para uma salva de palmas é necessário para isso ainda imensamente " Valliant " esforço muito simples fazer algo com esta relíquia negligenciada do "lado antigo do longa história de " Midgley ' e colocá-lo lá dentro com eventos atuais , como o " Tour de France " Raça do ciclo - e espectadores podem notar que " leão "foram usados ​​para fornecer da raça vencedora" Cor Amarelo " ! = Talvez os "Bem Fadas " deu uma mãozinha ? ? !

 

Lat i teraz zaniedbane i częściowo zarośnięte" Midgley Pin Fold " jest rzeczywiściebardzo ważną częścią historii wsi = jak został " Pinfold za " znajduje się na każdej wiosce w Kraju ! =Użycie " Pinfolds " było " pin " lub " zatrzymania " odejście Zwierzęta który zawędrował na kolejne osoby " poprawkę" ziemi w dni , kiedy bardzo mało istniał w Drodze Barier utrzymania Zwierzęta domowe Wyjazd z błądzą i Juicer " jedzenie " Sąsiad w zbożu ! + Oczywiście od samego zarania Wild Animal udomowienie i hodowli zwierząt i hodowli zwierząt na mięso , a nie tylko Polowanie dzikich stworzeń nie było " Herdera " - Ludzie, którzy się jedynym celem w życiu było zachować okiem na zwierzętach w ich ładunku i nie pozwól im bezpański - Ale wielu z nich " Herdera " był także Dzieci i lub niedojrzałe lub niedoświadczeni ludzie tak " Zwierzęta zeszli " z wyniku , że musiał zostać zatrzymany , a za niewielką opłatą właściciele mogli dostać swoje zwierzęta z powrotem z " Pinfold ", który był znany także w niektórych wsiach jako " Pound " (miejsce , gdzie zwierzęta zostało " zatrzymane " ) = Jednakże akt sądowych dla starożytnych Dwór Wakefield wynika, że ​​w " Midgley "odejście zwierząt było " szerzy " może więc być bezpiecznie stwierdzić, że niektóre z " odejście " byłnieco i być możewiele " Celowe " ! = Większość" Dobrze Dressing " odbywa się przez dzieci na wsi " Midgley " więcbrawa dla tego wymagana jest bardzo prosty, ale niezwykle " Valliant " wysiłku zrobić coś z tym zaniedbanym relikt " starożytnego stronie bardzo długa historia " Midgley " i umieścić go tam z bieżących wydarzeń , takich jak " Tour de France " Cycle Race - a widzowie mogą zauważyć , że " Mniszek " zostały wykorzystane do zapewnienia wyścig wygrywa "Żółty Kolor " ! = Może "No Wróżki " dał pomocną dłoń ? ? !

 

Столетия старый и теперь пренебречь и частично заросшие" Мидгли Pin вислоухая " действительно является очень важной частью истории деревни = как это было " загон для скота в " расположен в каждой деревне в Стране ! = Использование " Pinfolds " было " Pin " или " задержали " сбивается животных, которые бродили на другим лицам " Patch" из земли в те дни, когда очень мало существовала на Пути барьерам , чтобы сохранить домашних животных Отъезд забрели и есть " Соковыжималка " вырезание Соседские ! + Конечно начиная с самых ранних дней дикой одомашнивание животных и животноводства и выращивания животных для производства продовольствия , а не просто Охота диких существ были " Гердера " - Люди , кто единственной целью в жизни было внимательно следить на животных в их обязанности , а не позволить им бродячих - Но многие из них " Гердера " был также дети и или незрелые или неопытные люди так " Животные Заблудившиеся " , в результате чего они должны были быть задержаны и за небольшую плату владельцы могли получить свои Животные назад от " Пинфолд ", который также был известен в некоторых деревнях , как « фунт » ( место, где животные были " изъяты " ) = Однако протоколов судебных заседаний для древних Усадьба Wakefield показывают, что при " Midgley "сбивается животных было " Райф ", так что можно смело сделать вывод, что некоторые из" сбивается " было немного и, возможно, много " ​​Умышленное " ! = Большинство" Ну одевания" делается в интересах детей села " Midgley " так аплодисменты для этого требуется очень простой, но очень " Valliant " усилий сделать что-то с этим пренебречь пережиток "Древний стороне очень долгая история " Мидгли ' и поместите его в там с текущих событий , как" Тур де Франс "Cycle Race - и зрителей можно заметить, что " Одуванчики " были использованы для обеспечения гонку выигрывает " Желтый цвет " ! = Возможно, " Ну Феи " протянул руку помощи ? ? !

 

Århundraden gamla och nu försummade och delvis igenvuxen med " Midgley Pin Fold " är verkligen en mycket viktig del av byn historia = som var " Pinfold s " ligger på varje by på landet ! = Användning av " Pinfolds " var att " Pin " eller " kvarhålla " förirra Djur som hade vandrat in på en annan personer " Patch " av mark i dagar när mycket lite fanns i vägen för Hinder för att hålla Tamdjur in Check från att förirra sig och äta en granne s " Juicer " Grödor ! + Naturligtvis eftersom de allra tidigaste dagarna av Wild Animal Domesticering och djurhållning och uppfödning av djur för mat istället för att bara jaga vilda varelser har det varit " Herders " - Människor som är enda syfte i livet var att hålla ett vakande öga på djur i deras Charge och inte låta dem herrelösa - Men många av dessa " Herders " var också barn och eller omogna eller oerfarna människor så " Djur kommit bort " med resultatet att de måste kvarhållas och för en liten avgift ägarna kunde få sina djur tillbaka från " Pinfold " , som också var känd i vissa byar som " A Pound " ( plats där djur var " beslagtas " ) = Men de domböcker för den gamla herrgård i Wakefield visar att vid " Midgley " att förirra sig av djur var " Rife "så att det säkert kan dra slutsatsen att en del av den " straying " var lite och eventuellt en hel " Avsiktlig " ! = De flesta av de " Well Dressing " görs av barn i byn " Midgley " så en applåd krävs för denna mycket enkla men oerhört " Valliant " försök göra något med detta försummade relik av "Ancient sidan av mycket lång historia av " Midgley " och placera den i det med aktuella händelser som " Tour de France " Cycle Race - och Tittarna kanske märker att " Maskrosor " har använts för att ge Race vinnande " gul färg" ! = Kanske " Well Fairies " gav en hjälpande hand ? ? !

 

Vecchio di secoli e ora trascurata e in parte invaso il " Fold Midgley Pin " è davvero una parte molto importante della storia del paese = come è stato " di Pinfold " che si trova in ogni villaggio nel Paese ! = L'uso di " Pinfolds " era di " Pin " o " Detain " Gli animali randagi che aveva vagato su un'altra persona "Patch " della Terra nei giorni in cui molto poco esistito nella Via degli ostacoli per tenere animali domestici in Check di allontanarsi e mangiare Coltivazioni " Juicer " di un Neighbour ! + Naturalmente sin dai primi giorni della Wild Animal addomesticamento e Zootecnica e l'allevamento di animali per l'alimentazione invece di Caccia creature selvagge ci sono stati " Herder di " - persone che è unico scopo nella vita era quello di tenere un occhio vigile sugli animali nella loro carica e non lasciarli randagio - Ma molti di questi " Herder di " è stato anche per i bambini e o persone immaturi o inesperti così "Animali deviato ", con il risultato che dovevano essere detenuti e per una piccola tassa i proprietari potrebbero ottenere i loro animali indietro dalla " Pinfold " che è stato conosciuto anche in alcuni villaggi come "A Pound " (luogo in cui gli animali sono stati " sequestrati ") = Tuttavia, le casellario giudiziale per l'antico maniero di Wakefield mostrano che a " Midgley " il randagismo degli animali era " Rife ", così si può concludere con certezza che alcuni dei" randagismo "è stato un po ' e possibilmente molto" deliberata " ! = La maggior parte dei " Well vestire" si fa con i bambini del villaggio di " Midgley ", così è necessario un applauso per questo molto semplice immenso sforzo ancora " Vaillant " fare qualcosa con questa reliquia trascurata della "Antica lato della storia molto lunga di " Midgley ' e metterlo in là con l'attualità come il " Tour de France "Cycle Race - e spettatori può notare che " denti di leone "sono stati utilizzati per fornire la gara vincente" Giallo " ! = Forse i " Well Fate" ha dato una mano ? ? ? !

 

Jahrhunderte alt und jetzt vernachlässigt und teilweise überwachsen der " Midgley Pin Falten " ist in der Tat ein sehr wichtiger Teil der Dorfgeschichte = wurde als " Pinfold ist " in jedem Dorf im Land befindet ! = Die Verwendung von " Pinfolds " war es, "Pin" oder " Detain " verirrte Tiere , die auf weitere Personen " Patch" von Land in den Tagen gewandert war , wenn sehr wenig in der Art von Barrieren für Haustiere in Check von herumstreunenden halten gab und essen " Entsafter " Crops ein Nachbar ! + Natürlich seit den frühesten Tagen der Wild Animal Domestikation und Tierhaltung und die Aufzucht von Tieren für Lebensmittel und nicht nur Jagd auf wilde Kreaturen gab es " Herder " - Menschen, die alleinige Ziel im Leben war es, ein wachsames Auge auf die Tiere zu halten in ihrem Laden und nicht im Stich lassen Streu - Aber viele von diesen " Herder " war auch Kinder und oder unreife oder unerfahrene Menschen so " Tiere Strayed " mit dem Ergebnis, dass sie musste in Gewahrsam genommen werden und für eine kleine Gebühr die Besitzer konnten ihre Tiere bekommen von der " Pinfold ", die auch in einigen Dörfern als "A Pound " ( Ort, wo Tiere wurde " Beschlagnahmte " ) bekannt wurde back = die Gerichtsakten für die alte Manor von Wakefield zeigen jedoch, dass bei " Midgley " die Streunende Tiere der war " Rife " so ist es sicher geschlossen werden kann, dass einige der" Streunende " war ein bisschen und möglicherweise eine Menge " Absichtliche " ! = Die meisten der " Well Dressing " wird von den Kindern des Dorfes " Midgley " getan, damit eine Runde Applaus für diese sehr einfache, aber ungemein " Vaillant " Anstrengung etwas zu tun mit dieser vernachlässigten Relikt der "Ancient Seite die erforderliche sehr lange Geschichte von " Midgley " und legen Sie sie dort mit Current Events wie die " Tour de France " Cycle Race - und Zuschauer können feststellen, dass " Löwenzahn " verwendet worden, um das Rennen zu gewinnen bieten " Farbe Gelb " ! = Vielleicht sind die "Nun Fairies " gab eine helfende Hand ? ? !

 

Séculos de idade e agora negligenciado e parcialmente cuberto o " Midgley Pin Fold " é en realidade unha parte moi importante da historia da aldea = como foi "de Pinfold ", situado en cada aldea no país ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadíos que vagaban a outra xente " Patch " da Terra nos días en que moi pouco existía no Camiño de Barreiras para manter os animais domésticos in Check se afastase e comer Crops " Juicer " dun veciño ! + Suposto desde os primeiros días de Wild Animal domesticación e creación de animais e á creación de animais para a alimentación, no canto de só caza criaturas salvaxes houbo " Herder do" - A xente que ten o único propósito na vida era manter un ollar atento sobre os animais ao seu cargo e non deixalos disperso - Pero moitos destes " Herder da" era tamén Nenos e ou persoas inmaturas ou inexperientes , " Animals desviaron " co resultado que eles tiñan que ser detidos e por unha pequena taxa os propietarios poderían obter os seus animais de volta do " Pinfold ", que tamén era coñecido nalgunhas aldeas como "A Libra " ( lugar onde os animais se " incautados ") = Sen embargo , os rexistros do tribunal para a Manor antiga de Wakefield mostran que a " Midgley " o Straying dos Animais foi " Rife ", así pódese concluír con seguridade que algúns dos" Straying "foi un pouco e , posiblemente, moi" deliberada "! = A maioría dos "Ben Dressing " está feito polos nenos da aldea de " Midgley " para unha salva de palmas é necesario para iso aínda inmensamente " Valliant " esforzo moi sinxelo facer algo con esta reliquia negligenciada do " lado antigo do longa historia de " Midgley ' e colocar- lo alí dentro con eventos actuais , como o" Tour de Francia " raza do ciclo - e espectadores poden ter en conta que " león " foron usados ​​para proporcionar da raza gañadora " Cor Amarela "! = Quizais os "Ben Fadas " deu unha pequena man ? !

 

Vieille de plusieurs siècles et maintenant négligé et en partie envahi la " Fold Midgley Pin » est en effet un élément très important de l'histoire du village = comme on l'a situé " de Pinfold " à tous les villages du Pays ! = L'utilisation de " Pinfolds " était de "Pin" ou " Détenir " Les animaux errants qui s'était aventuré sur un autre personnes "Patch" de la Terre à l'époque où très peu existé dans la Voie des obstacles à garder des animaux domestiques Arrivée de s'égarer et manger " Juicer " les cultures d'un Voisin ! + Bien sûr depuis les tout premiers jours de sauvage domestication des animaux et de l'élevage et l'élevage des animaux pour l'alimentation au lieu de simplement la chasse créatures sauvages ont été " Herder " - Les gens qui est le seul but dans la vie était de garder un œil vigilant sur les animaux dans leur charge et ne pas les laisser égaré - Mais beaucoup de ces " Herder " a également été enfants et ou personnes immatures ou inexpérimentés ainsi " Animaux Egarés " avec le résultat qu'ils devaient être arrêtés et pour une somme modique les propriétaires pourraient obtenir leurs animaux retour de la « Pinfold » qui était aussi connu dans certains villages comme «un livre» ( lieu où les animaux ont été " mis en fourrière ») = Toutefois, les dossiers de la Cour pour l'ancien Manoir de Wakefield montrent qu'au " Midgley " la divagation des animaux était " Rife " si on peut conclure avec certitude que certains des " Divagation " c'était un peu et peut-être beaucoup " volontaire " ! = La plupart des " Eh bien Dressing " est fait par les enfants du village de " Midgley " si une salve d'applaudissements est nécessaire pour cette immense effort très simple mais " Vaillant " faire quelque chose avec cette relique négligé de le «côté antique de la très longue histoire de " Midgley ' et le placer là avec l'actualité comme le " tour de France "Cycle Race - et téléspectateurs peuvent remarquer que « pissenlits »ont été utilisées pour fournir gagnante de la course " Couleur Jaune " ! = Peut-être le «bien Fairies" a donné un coup de main ? ? !

 

Vuosisatoja vanha ja nyt laiminlyöty ja osittain umpeen" Midgley Pin Fold " on todellakinerittäin tärkeä osa kylän historiaa = kuten " Pinfold n " sijaitsee jokaisessa kylässäMaa ! =Käyttö " Pinfolds " oli " Pin " tai " pidättää " taival Eläimet , joka oli kulkenut toiseen henkilöt " Patch " maapäivää , kun hyvin vähän olemassatapa esteet pitää Kotieläimet Mihin hajautuminen ja syöminenNaapurin " Tuoremehulinko " Viljelykasvit ! + Tietenkin sillähyvin alkuajoista Wild Animal kesyttäminen ja kotieläintuotanto jakasvatus ravinnoksi eikä vain Metsästys Wild Creatures on ollut " Herder n " - Ihmiset, jotka ainoa tarkoitus elämässä oli pitääsilmälläEläimet niiden arvo laskee, ja anna heidän harhailla - Mutta monet näistä " Herder n " oli myös lapsia ja tai kypsymättömiä tai kokemattomien ihmiset niin " Eläimet eksyneet " sillä seurauksella, että ne piti ottaa haltuun ja pientä maksuaomistajat voisivat saada Eläimet takaisin" Pinfold ", joka tunnetaan myös joissakin kylissä kuin "Pound " ( paikka, jossa eläimet on " Talteenotetut " ) = kuitenkinrikosrekisteriä sillävanha kartano Wakefield osoittavat, että " Midgley "Irrallaan tavattuja of Animals oli " yleistä ", niin se voidaan turvallisesti päätellä, että joitakin" Irrallaan tavattuja "oli vähän ja mahdollisesti paljon " tahallinen " ! = Suurin osa"No Pukeutuminen " tehdäänlapsetkylässä " Midgley " niinaplodit tarvitaan tätä hyvin yksinkertainen, mutta äärimmäisen " Valliant " vaivaa tehdä jotain tämän laiminlyöty jäänne"Ancient puolella hyvin pitkä historia " Midgley " ja laita se siellä Ajankohtaista kuten" Tour de France " Cycle Race - ja katsojat saattavat huomata, että " voikukat " on käytetty antamaanRace voittaa " Yellow Colour " ! = Ehkä"No Fairies " antoiauttavaa kättä ? ? ? !

 

Eeuwen oud en nu verwaarloosd en deels overwoekerd de " Midgley Pin Fold " is inderdaad een zeer belangrijk onderdeel van de dorpsgeschiedenis = zo was " Pinfold 's " gelegen aan elk dorp in het Land ! = Het gebruik van " Pinfolds " was om "Speld " of " vast te houden " Zwervende dieren die was afgedwaald naar andere personen " Patch " van Land in de dagen toen heel weinig bestaan ​​in de manier van Belemmeringen voor Huisdieren in toom te houden van dwalen en het eten van een Buur " Juicer " Gewassen ! + Natuurlijk sinds de vroegste dagen van de Wild Animal Domesticatie en Veeteelt en het fokken van dieren voor voedsel in plaats van alleen de jacht op wilde Creatures er zijn geweest " Herder " - Mensen die er enige doel in het leven was om een waakzaam oog op de dieren houden in hun Charge en hen niet verdwaalde laten - Maar veel van deze " Herder " was ook kinderen en of onvolwassen of onervaren mensen zo " Dieren Strayed " met als gevolg dat ze moesten worden gearresteerd en voor een kleine vergoeding de eigenaars konden hun dieren krijgen terug van de " Pinfold ", die ook in sommige dorpen als " A Pound " ( plaats waar de dieren werd " in beslag genomen " ) bekend werd = het Hof heeft echter Records voor het oude landhuis van Wakefield blijkt dat bij " Midgley " het afdwalen van Dieren was " Rife " zodat het veilig kan worden geconcludeerd dat een aantal van de " dwalen " was een beetje en misschien veel " Opzettelijke " ! = De meeste van de " Well Dressing " wordt gedaan door de kinderen van het dorp " Midgley " dus een applaus is vereist voor deze zeer eenvoudige, maar enorm " Vaillant " poging iets te doen met deze verwaarloosde overblijfsel van de " Oude kant van de zeer lange geschiedenis van " Midgley ' en plaats het daar met Current Events zoals de" Tour de France "Cycle Race - en kijkers kunnen merken dat " Paardebloemen " zijn gebruikt om de Race winnende bieden " Geel Kleur " ! = Misschien is de " Well Feeën " gaf een helpende hand ? ? !

 

Thế kỷ cũ và bây giờ bị bỏ quên và một phần phát triển quá mức các " Midgley Pin Fold " thực sự là một phần rất quan trọng của lịch sử làng = như đã được " Pinfold của " đặt tại mỗi làng trong gia ! = Việc sử dụng " Pinfolds " là " Pin " hay " bắt giữ " đi lạc vật đó đã đi lang thang vào người khác "Patch" của đất trong những ngày rất ít khi tồn tại trong cách các rào cản để giữ động vật trong nước Trả từ đi lạc và ăn " Máy ép trái cây " cây của hàng xóm ! + Tất nhiên kể từ những ngày đầu tiên của động vật hoang dã Thuần hoá và chăn nuôi và nuôi động vật cho thực phẩm thay vì chỉ săn sinh vật hoang dã đã có " Herder của " - Những người ai mục đích duy nhất trong cuộc sống là để giữ một con mắt thận trọng trên động vật phụ trách của họ và không để cho họ đi lạc - Nhưng nhiều các " Herder của " cũng là trẻ em và hoặc người chưa trưởng thành hoặc thiếu kinh nghiệm như vậy " Động vật đi lạc " với kết quả là họ đã bị giam giữ và cho một phí nhỏ chủ sở hữu có thể nhận được vật của họ trở lại từ " Pinfold " cũng đã được biết đến ở một số làng như " Một Pound " ( nơi mà động vật đã được " tịch thu " ) = Tuy nhiên, Tòa án ghi Đối với Manor cổ Wakefield cho thấy tại " Midgley " các động vật đi lạc là " đầy rẫy "vì vậy có thể kết luận một cách an toàn mà một số các" đi lạc " đã được một chút và có thể rất nhiều " Cố ý " ! = Hầu hết các " Vâng mặc quần áo " được thực hiện bởi trẻ em của làng " Midgley " do đó, một tràng pháo tay là cần thiết cho rất đơn giản nhưng vô cùng " Valliant " nỗ lực này làm điều gì đó với di tích bị lãng quên này của " bên cổ của lịch sử rất dài của " Midgley ' và đặt nó ở đó với các sự kiện hiện tại như" Tour de France " Mùa Race - và người xem có thể nhận thấy rằng " bồ công anh " đã được sử dụng để cung cấp của Race chiến thắng " vàng Màu sắc " ! = Có lẽ " Vâng nàng tiên " đã đưa ra một bàn tay giúp đỡ ? !

 

百年的歷史,現在被忽視,部分雜草叢生的“米奇利引腳折”確實是村史的一個非常重要的組成部分=正如“ Pinfold的”位於每個村的國家! =使用“ Pinfolds ”的是“針”或“拘留”誤入其中已經飛到到另一個人的“補丁”土地在天,當在壁壘的方式來保持家畜的區別從偏離很少存在和動物。吃了鄰居的“榨汁機”作物! +當然,由於野生動物馴化和畜牧業的最早的天,動物,而不只是狩獵野生動物有過“赫爾德的”飼養的食物 - 人民誰的人生唯一的目的是保持一種密切注意動物在他們的收費,而不是讓他們流浪 - 但許多這些“赫爾德的”也是兒童和左右的“動物誤入”其結果是,他們被扣留,而一小筆費用的業主可以得到他們的動物不成熟或沒有經驗的人從“ Pinfold ”這也是眾所周知的一些村莊為“一斤” (地方動物被“被扣” )回=然而,法庭記錄韋克菲爾德的古老莊園表明,在“米奇利”動物的誤入了“成風“,所以它可以安全地得出結論,一些的”誤闖“是有點,可能很多”故意“ ! =的大多數“好門面”是由“米奇利”村的孩子這樣做的掌聲是需要這種簡單卻非常“ VALLIANT ”努力做一些事情的“古代方這一被忽視的遺物的“米奇利” ,並將其放置在那裡與時事,如“環法自行車賽很長的歷史”週期種族 - 和觀眾可能會注意到, “蒲公英”已經被用來提供競賽​​的獲獎“黃顏色” ! =也許“好神仙”給了一個伸出援助之手? ? ? !

   

Hi! I'm selling an Elysium Hugo-n head, normal skin. I bought this limited head in 2009 and nowadays it's discontinued. I'm the first owner and It's in perfect conditions, like new. It never have been outside home or in contact with sun light. It has no noticeable yellowing. It only had got one make-up (the one that you can see in the photos), done by me. This head is SD size (scale 1/3).

 

The make-up has a little scratch in the cheek, and the tape that I used to join the head and the headback damaged a bit the msc of the upper part of the head, but it's no noticeable with the wig on.

  

Price: 130€ + shipping

 

Payment Options: Paypal (No fees with paypal, please choose the "gift" option when you pay)

 

I can accept a 3 month layaway. All payments are non-refundable.

 

I'm from Spain and I will ship internationally.

 

DOA's sale thread: www.denofangels.com/forums/showthread.php?503672

  

Please, don't hesitate to contact me if you are interested :)

 

---------------------

 

Buenas! Vendo una cabeza de Hugo-n de Elysium en normal skin. Es una cabeza limitada que compré en 2009, hoy en día está descontinuada. Soy su primera dueña y está en perfectas condiciones, nunca ha estado fuera de casa ni en contacto con la luz del sol. No ha amarilleado. Sólo ha tenido un único maquillaje (hecho por mí), el que se puede ver en las fotos. La cabeza es de tamaño SD (escala 1/3).

 

El maquillaje tiene un pequeño rasguño en la mejilla y cuando lo desmonté me di cuenta de que la cinta adhesiva que utilizaba para cerrar bien la cabeza había desconchado parte del msc de la parte superior de la cabeza, pero con la peluca puesta no se nota nada.

  

Pido por ella 130€ + envío

 

Método de pago: Transferencia bancaria cuenta de La Caixa o por Paypal si lo preferís, pero encargándoos vosotros de las comisiones (elegid la opción"regalo").

 

Acepto un layaway (pago a plazos) de tres meses. Todos los pagos son no reembolsables.

 

Vivo en España y envío internacionalmente.

  

Hilo de venta en DOA: www.denofangels.com/forums/showthread.php?503672

 

Hilo de venta en Bjdoll: www.bjdoll.net/index.php?topic=10164.0

  

Por favor, no dudes en ponerte en contacto conmigo si estás interesado :)

*

Libertaria y Solidaria *

 

Confederación General del Trabajo (CGT)

 

www.cgtbarcelona.org

www.cgtcatalunya.cat

www.cgt.org.es

  

*

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

 

Centuries old and now neglected and partly overgrown the "Midgley Pin Fold" is indeed a very important part of village history = as was "Pinfold's" located at every village in the Country !!! = The use of "Pinfolds" was to "Pin" or "Detain" straying Animals which had wandered onto another persons "Patch" of Land in the Days when very little existed in the Way of Barriers to keep Domestic Animals in Check from straying and eating a Neighbour's "Juicer" Crops !!! + of course since the very earliest days of Wild Animal Domestication and Animal Husbandry and the rearing of Animals for Food instead of just Hunting Wild Creatures there have been "Herder's" - People who's sole purpose in life was to keep a watchful eye on the Animals in their Charge and not let them stray - But many of these "Herder's" was also Children and or immature or inexperienced People so "Animals Strayed" with the result that they had to be detained and for a small Fee the Owners could get their Animals back from the "Pinfold" which was also known in some villages as "A Pound" (place where Animals was "Impounded") = However the Court Records For the ancient Manor of Wakefield show that at "Midgley" the Straying of Animals was "Rife" so it can be safely concluded that some of the "Straying" was a bit and possibly a lot "Deliberate" !!! = Most of the "Well Dressing" is done by the Children of the village of "Midgley" so a round of applause is required for this very simple yet immensely "Valliant" effort do something with this neglected relic of the "Ancient side of the very long history of "Midgley' and place it in there with Current Events like the "Tour de France" Cycle Race - and Viewers may notice that "Dandelions" have been used to provide the Race's winning "Yellow Colour" !!! = Perhaps the "Well Fairies" gave a helping hand ??? !!!

 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = Séculos de idade e agora negligenciado e parcialmente coberto o " Midgley Pin Fold " é na verdade uma parte muito importante da história da aldeia = como foi " de Pinfold ", localizado em cada aldeia no País ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadios que tinha vagavam para outra pessoas "Patch " da Terra nos dias em que muito pouco existia no Caminho de Barreiras para manter os animais domésticos in Check se afastasse e comer Crops " Juicer " de um vizinho ! + Claro desde os primeiros dias de Wild Animal domesticação e criação de animais e à criação de animais para a alimentação , em vez de apenas caça criaturas selvagens houve " Herder do " - As pessoas que tem o único propósito na vida era manter um olhar atento sobre os Animais a seu cargo e não deixá-los disperso - Mas muitos destes " Herder da " era também Crianças e ou Pessoas imaturas ou inexperientes, " Animals desviaram " com o resultado que eles tinham que ser detidos e por uma pequena taxa os proprietários poderiam obter os seus animais de volta do " Pinfold ", que também era conhecido em algumas aldeias como " a Libra " ( lugar onde os animais foi " apreendido ") = no entanto, os registros do tribunal para a Manor antiga de Wakefield mostram que a " Midgley " o Straying dos Animais foi " Rife ", assim pode-se concluir com segurança que alguns dos" Straying " foi um pouco e, possivelmente, muito" deliberada " ! = A maioria dos " Bem Dressing " é feito pelas crianças da aldeia de " Midgley " para uma salva de palmas é necessário para isso ainda imensamente " Valliant " esforço muito simples fazer algo com esta relíquia negligenciada do "lado antigo do longa história de " Midgley ' e colocá-lo lá dentro com eventos atuais , como o " Tour de France " Raça do ciclo - e espectadores podem notar que " leão "foram usados ​​para fornecer da raça vencedora" Cor Amarelo " ! = Talvez os "Bem Fadas " deu uma mãozinha ? ? !

 

Lat i teraz zaniedbane i częściowo zarośnięte" Midgley Pin Fold " jest rzeczywiściebardzo ważną częścią historii wsi = jak został " Pinfold za " znajduje się na każdej wiosce w Kraju ! =Użycie " Pinfolds " było " pin " lub " zatrzymania " odejście Zwierzęta który zawędrował na kolejne osoby " poprawkę" ziemi w dni , kiedy bardzo mało istniał w Drodze Barier utrzymania Zwierzęta domowe Wyjazd z błądzą i Juicer " jedzenie " Sąsiad w zbożu ! + Oczywiście od samego zarania Wild Animal udomowienie i hodowli zwierząt i hodowli zwierząt na mięso , a nie tylko Polowanie dzikich stworzeń nie było " Herdera " - Ludzie, którzy się jedynym celem w życiu było zachować okiem na zwierzętach w ich ładunku i nie pozwól im bezpański - Ale wielu z nich " Herdera " był także Dzieci i lub niedojrzałe lub niedoświadczeni ludzie tak " Zwierzęta zeszli " z wyniku , że musiał zostać zatrzymany , a za niewielką opłatą właściciele mogli dostać swoje zwierzęta z powrotem z " Pinfold ", który był znany także w niektórych wsiach jako " Pound " (miejsce , gdzie zwierzęta zostało " zatrzymane " ) = Jednakże akt sądowych dla starożytnych Dwór Wakefield wynika, że ​​w " Midgley "odejście zwierząt było " szerzy " może więc być bezpiecznie stwierdzić, że niektóre z " odejście " byłnieco i być możewiele " Celowe " ! = Większość" Dobrze Dressing " odbywa się przez dzieci na wsi " Midgley " więcbrawa dla tego wymagana jest bardzo prosty, ale niezwykle " Valliant " wysiłku zrobić coś z tym zaniedbanym relikt " starożytnego stronie bardzo długa historia " Midgley " i umieścić go tam z bieżących wydarzeń , takich jak " Tour de France " Cycle Race - a widzowie mogą zauważyć , że " Mniszek " zostały wykorzystane do zapewnienia wyścig wygrywa "Żółty Kolor " ! = Może "No Wróżki " dał pomocną dłoń ? ? !

 

Столетия старый и теперь пренебречь и частично заросшие" Мидгли Pin вислоухая " действительно является очень важной частью истории деревни = как это было " загон для скота в " расположен в каждой деревне в Стране ! = Использование " Pinfolds " было " Pin " или " задержали " сбивается животных, которые бродили на другим лицам " Patch" из земли в те дни, когда очень мало существовала на Пути барьерам , чтобы сохранить домашних животных Отъезд забрели и есть " Соковыжималка " вырезание Соседские ! + Конечно начиная с самых ранних дней дикой одомашнивание животных и животноводства и выращивания животных для производства продовольствия , а не просто Охота диких существ были " Гердера " - Люди , кто единственной целью в жизни было внимательно следить на животных в их обязанности , а не позволить им бродячих - Но многие из них " Гердера " был также дети и или незрелые или неопытные люди так " Животные Заблудившиеся " , в результате чего они должны были быть задержаны и за небольшую плату владельцы могли получить свои Животные назад от " Пинфолд ", который также был известен в некоторых деревнях , как « фунт » ( место, где животные были " изъяты " ) = Однако протоколов судебных заседаний для древних Усадьба Wakefield показывают, что при " Midgley "сбивается животных было " Райф ", так что можно смело сделать вывод, что некоторые из" сбивается " было немного и, возможно, много " ​​Умышленное " ! = Большинство" Ну одевания" делается в интересах детей села " Midgley " так аплодисменты для этого требуется очень простой, но очень " Valliant " усилий сделать что-то с этим пренебречь пережиток "Древний стороне очень долгая история " Мидгли ' и поместите его в там с текущих событий , как" Тур де Франс "Cycle Race - и зрителей можно заметить, что " Одуванчики " были использованы для обеспечения гонку выигрывает " Желтый цвет " ! = Возможно, " Ну Феи " протянул руку помощи ? ? !

 

Århundraden gamla och nu försummade och delvis igenvuxen med " Midgley Pin Fold " är verkligen en mycket viktig del av byn historia = som var " Pinfold s " ligger på varje by på landet ! = Användning av " Pinfolds " var att " Pin " eller " kvarhålla " förirra Djur som hade vandrat in på en annan personer " Patch " av mark i dagar när mycket lite fanns i vägen för Hinder för att hålla Tamdjur in Check från att förirra sig och äta en granne s " Juicer " Grödor ! + Naturligtvis eftersom de allra tidigaste dagarna av Wild Animal Domesticering och djurhållning och uppfödning av djur för mat istället för att bara jaga vilda varelser har det varit " Herders " - Människor som är enda syfte i livet var att hålla ett vakande öga på djur i deras Charge och inte låta dem herrelösa - Men många av dessa " Herders " var också barn och eller omogna eller oerfarna människor så " Djur kommit bort " med resultatet att de måste kvarhållas och för en liten avgift ägarna kunde få sina djur tillbaka från " Pinfold " , som också var känd i vissa byar som " A Pound " ( plats där djur var " beslagtas " ) = Men de domböcker för den gamla herrgård i Wakefield visar att vid " Midgley " att förirra sig av djur var " Rife "så att det säkert kan dra slutsatsen att en del av den " straying " var lite och eventuellt en hel " Avsiktlig " ! = De flesta av de " Well Dressing " görs av barn i byn " Midgley " så en applåd krävs för denna mycket enkla men oerhört " Valliant " försök göra något med detta försummade relik av "Ancient sidan av mycket lång historia av " Midgley " och placera den i det med aktuella händelser som " Tour de France " Cycle Race - och Tittarna kanske märker att " Maskrosor " har använts för att ge Race vinnande " gul färg" ! = Kanske " Well Fairies " gav en hjälpande hand ? ? !

 

Vecchio di secoli e ora trascurata e in parte invaso il " Fold Midgley Pin " è davvero una parte molto importante della storia del paese = come è stato " di Pinfold " che si trova in ogni villaggio nel Paese ! = L'uso di " Pinfolds " era di " Pin " o " Detain " Gli animali randagi che aveva vagato su un'altra persona "Patch " della Terra nei giorni in cui molto poco esistito nella Via degli ostacoli per tenere animali domestici in Check di allontanarsi e mangiare Coltivazioni " Juicer " di un Neighbour ! + Naturalmente sin dai primi giorni della Wild Animal addomesticamento e Zootecnica e l'allevamento di animali per l'alimentazione invece di Caccia creature selvagge ci sono stati " Herder di " - persone che è unico scopo nella vita era quello di tenere un occhio vigile sugli animali nella loro carica e non lasciarli randagio - Ma molti di questi " Herder di " è stato anche per i bambini e o persone immaturi o inesperti così "Animali deviato ", con il risultato che dovevano essere detenuti e per una piccola tassa i proprietari potrebbero ottenere i loro animali indietro dalla " Pinfold " che è stato conosciuto anche in alcuni villaggi come "A Pound " (luogo in cui gli animali sono stati " sequestrati ") = Tuttavia, le casellario giudiziale per l'antico maniero di Wakefield mostrano che a " Midgley " il randagismo degli animali era " Rife ", così si può concludere con certezza che alcuni dei" randagismo "è stato un po ' e possibilmente molto" deliberata " ! = La maggior parte dei " Well vestire" si fa con i bambini del villaggio di " Midgley ", così è necessario un applauso per questo molto semplice immenso sforzo ancora " Vaillant " fare qualcosa con questa reliquia trascurata della "Antica lato della storia molto lunga di " Midgley ' e metterlo in là con l'attualità come il " Tour de France "Cycle Race - e spettatori può notare che " denti di leone "sono stati utilizzati per fornire la gara vincente" Giallo " ! = Forse i " Well Fate" ha dato una mano ? ? ? !

 

Jahrhunderte alt und jetzt vernachlässigt und teilweise überwachsen der " Midgley Pin Falten " ist in der Tat ein sehr wichtiger Teil der Dorfgeschichte = wurde als " Pinfold ist " in jedem Dorf im Land befindet ! = Die Verwendung von " Pinfolds " war es, "Pin" oder " Detain " verirrte Tiere , die auf weitere Personen " Patch" von Land in den Tagen gewandert war , wenn sehr wenig in der Art von Barrieren für Haustiere in Check von herumstreunenden halten gab und essen " Entsafter " Crops ein Nachbar ! + Natürlich seit den frühesten Tagen der Wild Animal Domestikation und Tierhaltung und die Aufzucht von Tieren für Lebensmittel und nicht nur Jagd auf wilde Kreaturen gab es " Herder " - Menschen, die alleinige Ziel im Leben war es, ein wachsames Auge auf die Tiere zu halten in ihrem Laden und nicht im Stich lassen Streu - Aber viele von diesen " Herder " war auch Kinder und oder unreife oder unerfahrene Menschen so " Tiere Strayed " mit dem Ergebnis, dass sie musste in Gewahrsam genommen werden und für eine kleine Gebühr die Besitzer konnten ihre Tiere bekommen von der " Pinfold ", die auch in einigen Dörfern als "A Pound " ( Ort, wo Tiere wurde " Beschlagnahmte " ) bekannt wurde back = die Gerichtsakten für die alte Manor von Wakefield zeigen jedoch, dass bei " Midgley " die Streunende Tiere der war " Rife " so ist es sicher geschlossen werden kann, dass einige der" Streunende " war ein bisschen und möglicherweise eine Menge " Absichtliche " ! = Die meisten der " Well Dressing " wird von den Kindern des Dorfes " Midgley " getan, damit eine Runde Applaus für diese sehr einfache, aber ungemein " Vaillant " Anstrengung etwas zu tun mit dieser vernachlässigten Relikt der "Ancient Seite die erforderliche sehr lange Geschichte von " Midgley " und legen Sie sie dort mit Current Events wie die " Tour de France " Cycle Race - und Zuschauer können feststellen, dass " Löwenzahn " verwendet worden, um das Rennen zu gewinnen bieten " Farbe Gelb " ! = Vielleicht sind die "Nun Fairies " gab eine helfende Hand ? ? !

 

Séculos de idade e agora negligenciado e parcialmente cuberto o " Midgley Pin Fold " é en realidade unha parte moi importante da historia da aldea = como foi "de Pinfold ", situado en cada aldea no país ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadíos que vagaban a outra xente " Patch " da Terra nos días en que moi pouco existía no Camiño de Barreiras para manter os animais domésticos in Check se afastase e comer Crops " Juicer " dun veciño ! + Suposto desde os primeiros días de Wild Animal domesticación e creación de animais e á creación de animais para a alimentación, no canto de só caza criaturas salvaxes houbo " Herder do" - A xente que ten o único propósito na vida era manter un ollar atento sobre os animais ao seu cargo e non deixalos disperso - Pero moitos destes " Herder da" era tamén Nenos e ou persoas inmaturas ou inexperientes , " Animals desviaron " co resultado que eles tiñan que ser detidos e por unha pequena taxa os propietarios poderían obter os seus animais de volta do " Pinfold ", que tamén era coñecido nalgunhas aldeas como "A Libra " ( lugar onde os animais se " incautados ") = Sen embargo , os rexistros do tribunal para a Manor antiga de Wakefield mostran que a " Midgley " o Straying dos Animais foi " Rife ", así pódese concluír con seguridade que algúns dos" Straying "foi un pouco e , posiblemente, moi" deliberada "! = A maioría dos "Ben Dressing " está feito polos nenos da aldea de " Midgley " para unha salva de palmas é necesario para iso aínda inmensamente " Valliant " esforzo moi sinxelo facer algo con esta reliquia negligenciada do " lado antigo do longa historia de " Midgley ' e colocar- lo alí dentro con eventos actuais , como o" Tour de Francia " raza do ciclo - e espectadores poden ter en conta que " león " foron usados ​​para proporcionar da raza gañadora " Cor Amarela "! = Quizais os "Ben Fadas " deu unha pequena man ? !

 

Vieille de plusieurs siècles et maintenant négligé et en partie envahi la " Fold Midgley Pin » est en effet un élément très important de l'histoire du village = comme on l'a situé " de Pinfold " à tous les villages du Pays ! = L'utilisation de " Pinfolds " était de "Pin" ou " Détenir " Les animaux errants qui s'était aventuré sur un autre personnes "Patch" de la Terre à l'époque où très peu existé dans la Voie des obstacles à garder des animaux domestiques Arrivée de s'égarer et manger " Juicer " les cultures d'un Voisin ! + Bien sûr depuis les tout premiers jours de sauvage domestication des animaux et de l'élevage et l'élevage des animaux pour l'alimentation au lieu de simplement la chasse créatures sauvages ont été " Herder " - Les gens qui est le seul but dans la vie était de garder un œil vigilant sur les animaux dans leur charge et ne pas les laisser égaré - Mais beaucoup de ces " Herder " a également été enfants et ou personnes immatures ou inexpérimentés ainsi " Animaux Egarés " avec le résultat qu'ils devaient être arrêtés et pour une somme modique les propriétaires pourraient obtenir leurs animaux retour de la « Pinfold » qui était aussi connu dans certains villages comme «un livre» ( lieu où les animaux ont été " mis en fourrière ») = Toutefois, les dossiers de la Cour pour l'ancien Manoir de Wakefield montrent qu'au " Midgley " la divagation des animaux était " Rife " si on peut conclure avec certitude que certains des " Divagation " c'était un peu et peut-être beaucoup " volontaire " ! = La plupart des " Eh bien Dressing " est fait par les enfants du village de " Midgley " si une salve d'applaudissements est nécessaire pour cette immense effort très simple mais " Vaillant " faire quelque chose avec cette relique négligé de le «côté antique de la très longue histoire de " Midgley ' et le placer là avec l'actualité comme le " tour de France "Cycle Race - et téléspectateurs peuvent remarquer que « pissenlits »ont été utilisées pour fournir gagnante de la course " Couleur Jaune " ! = Peut-être le «bien Fairies" a donné un coup de main ? ? !

 

Vuosisatoja vanha ja nyt laiminlyöty ja osittain umpeen" Midgley Pin Fold " on todellakinerittäin tärkeä osa kylän historiaa = kuten " Pinfold n " sijaitsee jokaisessa kylässäMaa ! =Käyttö " Pinfolds " oli " Pin " tai " pidättää " taival Eläimet , joka oli kulkenut toiseen henkilöt " Patch " maapäivää , kun hyvin vähän olemassatapa esteet pitää Kotieläimet Mihin hajautuminen ja syöminenNaapurin " Tuoremehulinko " Viljelykasvit ! + Tietenkin sillähyvin alkuajoista Wild Animal kesyttäminen ja kotieläintuotanto jakasvatus ravinnoksi eikä vain Metsästys Wild Creatures on ollut " Herder n " - Ihmiset, jotka ainoa tarkoitus elämässä oli pitääsilmälläEläimet niiden arvo laskee, ja anna heidän harhailla - Mutta monet näistä " Herder n " oli myös lapsia ja tai kypsymättömiä tai kokemattomien ihmiset niin " Eläimet eksyneet " sillä seurauksella, että ne piti ottaa haltuun ja pientä maksuaomistajat voisivat saada Eläimet takaisin" Pinfold ", joka tunnetaan myös joissakin kylissä kuin "Pound " ( paikka, jossa eläimet on " Talteenotetut " ) = kuitenkinrikosrekisteriä sillävanha kartano Wakefield osoittavat, että " Midgley "Irrallaan tavattuja of Animals oli " yleistä ", niin se voidaan turvallisesti päätellä, että joitakin" Irrallaan tavattuja "oli vähän ja mahdollisesti paljon " tahallinen " ! = Suurin osa"No Pukeutuminen " tehdäänlapsetkylässä " Midgley " niinaplodit tarvitaan tätä hyvin yksinkertainen, mutta äärimmäisen " Valliant " vaivaa tehdä jotain tämän laiminlyöty jäänne"Ancient puolella hyvin pitkä historia " Midgley " ja laita se siellä Ajankohtaista kuten" Tour de France " Cycle Race - ja katsojat saattavat huomata, että " voikukat " on käytetty antamaanRace voittaa " Yellow Colour " ! = Ehkä"No Fairies " antoiauttavaa kättä ? ? ? !

 

Eeuwen oud en nu verwaarloosd en deels overwoekerd de " Midgley Pin Fold " is inderdaad een zeer belangrijk onderdeel van de dorpsgeschiedenis = zo was " Pinfold 's " gelegen aan elk dorp in het Land ! = Het gebruik van " Pinfolds " was om "Speld " of " vast te houden " Zwervende dieren die was afgedwaald naar andere personen " Patch " van Land in de dagen toen heel weinig bestaan ​​in de manier van Belemmeringen voor Huisdieren in toom te houden van dwalen en het eten van een Buur " Juicer " Gewassen ! + Natuurlijk sinds de vroegste dagen van de Wild Animal Domesticatie en Veeteelt en het fokken van dieren voor voedsel in plaats van alleen de jacht op wilde Creatures er zijn geweest " Herder " - Mensen die er enige doel in het leven was om een waakzaam oog op de dieren houden in hun Charge en hen niet verdwaalde laten - Maar veel van deze " Herder " was ook kinderen en of onvolwassen of onervaren mensen zo " Dieren Strayed " met als gevolg dat ze moesten worden gearresteerd en voor een kleine vergoeding de eigenaars konden hun dieren krijgen terug van de " Pinfold ", die ook in sommige dorpen als " A Pound " ( plaats waar de dieren werd " in beslag genomen " ) bekend werd = het Hof heeft echter Records voor het oude landhuis van Wakefield blijkt dat bij " Midgley " het afdwalen van Dieren was " Rife " zodat het veilig kan worden geconcludeerd dat een aantal van de " dwalen " was een beetje en misschien veel " Opzettelijke " ! = De meeste van de " Well Dressing " wordt gedaan door de kinderen van het dorp " Midgley " dus een applaus is vereist voor deze zeer eenvoudige, maar enorm " Vaillant " poging iets te doen met deze verwaarloosde overblijfsel van de " Oude kant van de zeer lange geschiedenis van " Midgley ' en plaats het daar met Current Events zoals de" Tour de France "Cycle Race - en kijkers kunnen merken dat " Paardebloemen " zijn gebruikt om de Race winnende bieden " Geel Kleur " ! = Misschien is de " Well Feeën " gaf een helpende hand ? ? !

 

Thế kỷ cũ và bây giờ bị bỏ quên và một phần phát triển quá mức các " Midgley Pin Fold " thực sự là một phần rất quan trọng của lịch sử làng = như đã được " Pinfold của " đặt tại mỗi làng trong gia ! = Việc sử dụng " Pinfolds " là " Pin " hay " bắt giữ " đi lạc vật đó đã đi lang thang vào người khác "Patch" của đất trong những ngày rất ít khi tồn tại trong cách các rào cản để giữ động vật trong nước Trả từ đi lạc và ăn " Máy ép trái cây " cây của hàng xóm ! + Tất nhiên kể từ những ngày đầu tiên của động vật hoang dã Thuần hoá và chăn nuôi và nuôi động vật cho thực phẩm thay vì chỉ săn sinh vật hoang dã đã có " Herder của " - Những người ai mục đích duy nhất trong cuộc sống là để giữ một con mắt thận trọng trên động vật phụ trách của họ và không để cho họ đi lạc - Nhưng nhiều các " Herder của " cũng là trẻ em và hoặc người chưa trưởng thành hoặc thiếu kinh nghiệm như vậy " Động vật đi lạc " với kết quả là họ đã bị giam giữ và cho một phí nhỏ chủ sở hữu có thể nhận được vật của họ trở lại từ " Pinfold " cũng đã được biết đến ở một số làng như " Một Pound " ( nơi mà động vật đã được " tịch thu " ) = Tuy nhiên, Tòa án ghi Đối với Manor cổ Wakefield cho thấy tại " Midgley " các động vật đi lạc là " đầy rẫy "vì vậy có thể kết luận một cách an toàn mà một số các" đi lạc " đã được một chút và có thể rất nhiều " Cố ý " ! = Hầu hết các " Vâng mặc quần áo " được thực hiện bởi trẻ em của làng " Midgley " do đó, một tràng pháo tay là cần thiết cho rất đơn giản nhưng vô cùng " Valliant " nỗ lực này làm điều gì đó với di tích bị lãng quên này của " bên cổ của lịch sử rất dài của " Midgley ' và đặt nó ở đó với các sự kiện hiện tại như" Tour de France " Mùa Race - và người xem có thể nhận thấy rằng " bồ công anh " đã được sử dụng để cung cấp của Race chiến thắng " vàng Màu sắc " ! = Có lẽ " Vâng nàng tiên " đã đưa ra một bàn tay giúp đỡ ? !

 

百年的歷史,現在被忽視,部分雜草叢生的“米奇利引腳折”確實是村史的一個非常重要的組成部分=正如“ Pinfold的”位於每個村的國家! =使用“ Pinfolds ”的是“針”或“拘留”誤入其中已經飛到到另一個人的“補丁”土地在天,當在壁壘的方式來保持家畜的區別從偏離很少存在和動物。吃了鄰居的“榨汁機”作物! +當然,由於野生動物馴化和畜牧業的最早的天,動物,而不只是狩獵野生動物有過“赫爾德的”飼養的食物 - 人民誰的人生唯一的目的是保持一種密切注意動物在他們的收費,而不是讓他們流浪 - 但許多這些“赫爾德的”也是兒童和左右的“動物誤入”其結果是,他們被扣留,而一小筆費用的業主可以得到他們的動物不成熟或沒有經驗的人從“ Pinfold ”這也是眾所周知的一些村莊為“一斤” (地方動物被“被扣” )回=然而,法庭記錄韋克菲爾德的古老莊園表明,在“米奇利”動物的誤入了“成風“,所以它可以安全地得出結論,一些的”誤闖“是有點,可能很多”故意“ ! =的大多數“好門面”是由“米奇利”村的孩子這樣做的掌聲是需要這種簡單卻非常“ VALLIANT ”努力做一些事情的“古代方這一被忽視的遺物的“米奇利” ,並將其放置在那裡與時事,如“環法自行車賽很長的歷史”週期種族 - 和觀眾可能會注意到, “蒲公英”已經被用來提供競賽​​的獲獎“黃顏色” ! =也許“好神仙”給了一個伸出援助之手? ? ? !

   

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

 

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

  

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

  

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

  

DROWNING GIRL : Original Source

Original Artist: Tony Abruzzo

 

Artist Tony Abruzzo –vs- Roy Lichtenstein

 

- Roy Lichtenstein: Copied / Traced / Swiped & Ripped Off Artist Tony Abruzzo

 

- Roy Lichtenstein gave Artist Tony Abruzzo no credit or compensation for stealing his ART.

 

- While Roy Lichtenstein made millions…. Artist Tony Abruzzo received nothing.

 

DECONSTRUCTING ROY LICHTENSTEIN:tm: :copyright: 2000

 

David Barsalou MFA Hartford Art School

 

www.facebook.com/group.php?gid=230408213304

 

www.flickr.com/photos/deconstructing-roy-lichtenstein/

 

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

 

Thanks, David---for reminding me how a great agent and PR person can convince the ignorant public that THIS was considered ART and not plagiarism to the nth degree--absolutely ridiculous!

Alex Saviuk

 

THE BEAT by Heidi MacDonald

The News Blog Of Comics Culture

Deconstructing Roy Lichtenstein

pwbeat.publishersweekly.com/blog/2008/07/02/flickr-decons...

 

This Flickr stream comparing the original comics panel Roy Lichtenstein “deconstructed” with his high art verions may just be the best such page we’ve yet seen. And where is Tony Abruzzo now, we wonder?

 

The assembler, David Barsalou, sent us a few more links:

 

His own Lichtenstein Project page

 

A blog post looking at the project

 

An article taking Lichtenstein’s borrowings to task.

 

This entry was posted on 07/2/08 at 8:05 am and is filed under Art.

 

Lichtenstein remains one of the most overrated artists in history. I went to a retrospective of his work in SF a couple of years ago, fully expecting to walk away with a new appreciation of his work, and instead had the opposite experience — the retrospective made me see just how shallow, unimportant and creatively bankrupt his ideas are.

 

Seeing the Barsalou project doesn’t improve my opinion any — without exception, the original panels, with their tiny size, their machine-produced colors and their blotted lines, look about ten thousand times better than Lichtenstein’s “fine art” reproductions.

 

ACUARELA

Roy Lichtenstein, Deconstructed

aquarel.blogspot.com/2006/01/roy-lichtenstein-deconstruct...

An example of the collection of Deconstructing Lichtenstein Have you ever wondered where did all the images used by Roy Lichtenstein in his works come from? Now there is an easy way: just browse the Flickr collection called Deconstructing Lichtenstein. At the moment there are over 100 images, where you will find all the familiar comic strips, ads and other popular culture paraphernalia that ended up, enlarged and altered, in Lichtenstein canvases, drawings and printed work.

Posted by Joan M. Mas on 29.1.06

 

www.lifelounge.com/Deconstructing-Lichtenstein.aspx

 

A DISTANT SOIL

Deconstructing Lichtenstein October 18 2006

adistantsoil.com/blog/?p=790

 

An art teacher has catalogued almost every comic art swipe in the work of pop artist Roy Lichtenstein who made his name copying comic book panels and selling them as fine art. Lichtenstein paintings sell for millions, yet the original artists have received no compensation or recognition, including Russ Heath, George Tuska, and Joe Kubert.

 

While most artists would be sued for plagiariasm, Lichtenstein skated away scott free. Not one of the cartoonists, nor comc book publishers, ever sought compensation from Lichtenstein. Some did not even know that their work had been used in his paintings.

 

13 comments

 

1. hamlet:

 

I’ve decided to redraw the Sandman panel by panel in the name of “codifying sentiment.” What a wonderfully meaningless phrase. It must have been uttered by a post-structuralist academic.

2. Thom Gladhill:

 

Sweet concept, hamlet! I think I will contemplate redrawing Watchmen. People should be ashamed for giving Roy Lichtenstein the validity they have.

3. François Peneaud:

 

The Icelandic “artist” Erro does the same, still does AND has expressed contempt for comics.

I could recognize some individual panels and poses in his paintings! This guy is celebrated in contemporary art…

Look:

www.insecula.com/oeuvre/photo_ME0000055506.html

And Gil Kane… www.galerielc.com/tableaux/ERRO-LeCarnavalXL.jpg

4. François Peneaud:

 

The Icelandic “artist” Erro does the same… and has expressed contempt for comics.

I could even recognize some individual poses and panels in his paintings!

www.insecula.com/oeuvre/photo_ME0000055506.html

And here’s some Gil Kane… www.galerielc.com/tableaux/ERRO-LeCarnavalXL.jpg

5. Bill Myers:

 

I was an art minor at Ithaca College, and the art department was heavily skewed towards the “fine art” sensibility. I put that in quotes because I think much of the “fine art” world today is synonymous with “fraudulent.”

 

I remember getting into an argument with some self-satisfied little art-punk about Lichtenstein. I pointed out that by any objective measure Lichtenstein was doing nothing more than plagiarizing art. The little art-punk said, with a condescending, arrogant smirk, “Nope, you’re wrong, he was mocking it.” As though a shit-eating smirk and arrogance is enough to make up for an unsupportable argument completely devoid of logic.

 

If I recall, Lichtenstein’s shtick was to take panels of comic-book artwork and do extremely enlarged reproductions, right? Well, then, why don’t I do even more enlarged reproductions of Lichtenstein’s paintings and say I’m making fun of them, hmmm? It would be interesting to see what happens to the condescending smirks on the faces of arrogant “fine artists” then.

6. Bill Myers:

 

You know, I wrote my prior post just after learning that my employer would be more than doubling my health insurance contribution. It’s probably not a good idea to post when I’m super-pissed. :|

7. Allan:

 

Lichtenstein was a talentless fraud only given credence by hair-brained intellectuals who are too thick to figure things out for themselves. Most appreciation of modern art is a take on the Emperor’s new clothes. If X says it’s great Art then Y feels he has to follow suit lest his credentials be called into question… and everyone else follows along like sheep.

 

That Lichtenstein still fills galleries is just f*ing wrong. You’ll note that in every case of his plagiarism, the original art is far superior. Gil Kane, John Romita, Gene Colan, Bernie Krigstein and the others were/are all better artists, and yet their work is belittled.

 

“There is no exact copy,” bleats Jack Cowart.

 

Gah. It makes me sick.

8. Han:

 

Heh. I remember when I was a kid ( about 8 years old) I had thought the Lichtenstein pieces were clever when I discovered them and told my father so. He then gave me a huge lecture on plagiarism. I was told how this guy was not only thieving from comic artists (”that probably can barely afford to eat”) but lazy minded as well and pointed out that if I were to trace or copy comics for art class I would get an “F”. This example made a very strong impression on me.

9. Bill Myers:

 

You know, I re-read the article and now I’m even angrier. And this is independent of my own personal burn over what my employer is doing to my health insurance.

 

I mean, Good Lord! David Barsalou has demonstrated beyond a reasonable doubt that Lichtenstein was a fraud, and the best Jack Cowart (read: Coward) can come up with is “Barsalou is boring to us”??? Cowart/Coward is obviously one of those delicate little flowers who has been insulated from the rigors of the larger world. As a result, he has deluded himself into believing that all he needs to counter a devastatingly logical argument is his own good opinion of himself. What an infantile prick!

 

I mean, for Christ’s sake, the intro page of the Lichtenstein Foundation’s Web site has the temerity to incorporate an image plagiarized from the work of Joe Kubert in a message asserting copyright protection! I take it plagiarists now have rights???

 

What a little punk-ass snot.

 

I think I am going to write him a letter. Will it do any good? Probably not. But at least I will have the satisfaction of making it clear that many of us see through this little prick and his beloved fraud, Lichtenstein.

10. Colleen:

 

We’re all so middle class, we just don’t understand.

 

I never noticed before how Lichtenstein’s comic art redux images completely killed the line in the original works.

11. Colleen:

 

Francois, I have never seen that artist Erro before. He likes Gil Kane a lot, doesn’t he? Maybe he should call himself “Echo”.

12. Kneon:

 

“I never noticed before how Lichtenstein’s comic art redux images completely killed the line in the original works.”

 

Yeah, when viewed side-by-side it’s not only apparent that he copied all of his “masterpieces,” but copied them poorly to boot. Like a junior high kid tracing over a Jim Lee drawing.

 

Maybe that in itself is some sort of statement on pop culture… ?

 

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

ASIFA-Hollywood: The International Animated Film Society

www.asifa-hollywood.org/2006/10/can-copyright-thief-sue-t...

 

Wednesday, October 18, 2006

 

Can a Copyright Thief Sue to Protect His Stolen Images?

Alex Beam of the Boston Globe has an article on Roy Lichtenstein, the man who made a fortune on the backs of real artist like Wally Wood and Joe Kubert. lichtenstein creator or copycat

I have had very little respect for the fine arts copyist and even less for his foundation that is trying to protect his stolen images. They make you click on a copyright disclaimer (almost like a porn site) before you can view the stolen comic book art. Here is the Joe Kubert dog they use as an image on their disclaimer.

The article deals with art teacher David Barsalou and his web site Deconstructing Roy Lichtenstein LICHTENSTEINPROJECT that catalogs the source materials from which Lichtenstein stole his images.

The Lichtenstein Foundation is still claiming that good ol Roy made major changes in his images. The only changes I see are due to poor draftsmanship on the part of Lichtenstein.

 

www.livejournal.com/users/obsequiosity/

The View From the Catbird Seat

Thursday, March 31st, 2005 12:11 pm

Deconstructing Roy Lichtenstein

Just felt like putting this up for posterity.

 

Roy made a living doing poor copies of other people's work. I'm sure it's ironic or clever or something, but mainly I'm amused that Lichtenstein seemed to have such issues with proportion when he already had his subject broken down into line art for him.

 

Have fun flipping through all the pics; just be warned that the word "hack" will brought to mind so often you'll think your hypothalamus is having a coughing fit...

 

So his is on the right?

 

I figured he did the stuff on the left and other people were updating his stuff as a tribute or something. (Looking at the page again, I read that at the top...dur)

 

actually, copying line art can be pretty difficult when they are side by side. The perspective of the paper to your line of sight can change how you draw things.

 

His stuff is on the right. The stuff on the left is the comic panel he originally copied from. Now, granted, he tended to paint these things in huge displays, but they're still lousy copies with poor understanding of anatomy.

 

--Obs, The original artists, who never got rich or famous or anything, actually *understood* why those lines were supposed to be far away from each other as they were.

 

A Hobgoblin’s HoBohemia

puckrobin.wordpress.com/

 

The unsung heroes responsible for Roy Lichtenstein’s art

July 13, 2008 by puckrobin

 

Yesterday I was talking about classic comic book artist Russ Heath with a friend. (Heath will be at the San Diego Comic Con this year. Most famous for his war comics, I’ll always have a soft spot for Heath’s Robin Hood art in The Brave and the Bold comics of the 1950s.) Anyway, I mentioned that some of his art was … borrowed … by Roy Lichtenstein, and I thought I’d do a quick rant about that.

 

First, thanks to the efforts of David Barsalou, an art teacher … here’s a comparison of some comic panels by Russ Heath that fetched Heath only a subsistance wage and the pop art of Roy Lichtenstein that has fetched millions. (Lichtenstein’s work is in the corner.)

 

www.flickr.com/photos/deconstructing-roy-lichtenstein/408...

 

www.flickr.com/photos/deconstructing-roy-lichtenstein/458...

 

And here is Barsalou’s side-by-side comparison of several other Lichtenstein works — borrowed from numerous comic book artists.

 

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

 

I’ve always admired the large pop-art versions of these images. And I won’t deny Lichtenstein a share of the credit. But it annoys me to no end that he did not share credit or cash with the people whose art he borrowed. It’s one thing to repurpose comic art — that I doesn’t bother me. But to claim it as solely your own … that pisses me off.

 

And as some other blogs have mentioned, it’s just plain ironic that the Lichtenstein Foundation uses a “Lichtenstein” image borrowed from Joe Kubert — another comic book legend — to warn against copyright violation. Hypocrisy incarnate.

 

Also, I often think the original art has more expression in the faces.

 

Tags: comics, Comic Books, Comic Book Creators, Russ Heath, Roy Lichtenstein, copyright, theft

Posted in Comic Book Creators, Comic Books, DC Comics

 

ASIFA-Hollywood: The International Animated Film Society

Tuesday, October 31, 2006

Can a Copyright Thief Sue to Protect His Stolen Images?

 

Alex Beam of the Boston Globe has an article on Roy Lichtenstein, the man who made a fortune on the backs of real artist like Wally Wood and Joe Kubert. lichtenstein creator or copycat

 

I have had very little respect for the fine arts copyist and even less for his foundation that is trying to protect his stolen images. They make you click on a copyright disclaimer (almost like a porn site) before you can view the stolen comic book art. Here is the Joe Kubert dog they use as an image on their disclaimer.

 

The article deals with artist David Barsalou and his web site Deconstructing Roy Lichtenstein LICHTENSTEINPROJECT that catalogs the source materials from which Lichtenstein stole his images.

 

The Lichtenstein Foundation is still claiming that good ol Roy made major changes in his images. The only changes I see are due to poor draftsmanship on the part of Lichtenstein.

 

gocomics.typepad.com/rcharvey/2007/04/index.html

Rants & Raves

MORE ART FOR ART'S SAKE

 

Richard Corliss, exercising his franchise as art critic at Time, committed a long disquisition on “comics as art” on February 4, ostensibly reviewing the Masters of American Comics exhibition. He begins by noting that aficionados of the medium have never felt comics enjoyed sufficient status in the art world, and then he offers a reason for the neglect: “To the arbiters of 20th century art, comics had plenty of handicaps. It was printed on disposable paper (hence not worth saving, owning or investing in). It was popular (the wrong people liked it), American (when high culture was a European near-monopoly) and, worst of all, funny.” He continues: “This snobbery still vexes Art Spiegelman. ‘I have all sorts of issues with the idea that a Lichtenstein painting of a comic book panel is art but the original comic panel it draws on is not considered art,’ he told Time’s Jeanne McDowell for a 2005 story we did on the exhibition. ‘I hate that whole attitude and way of looking at this stuff. Lichtenstein did for comics what Warhol did for Campbell’s Soup? It had nothing to do with comics. It had to do with exploiting the form without any of the content.”

 

Corliss eventually concludes that comics don’t belong on a museum wall but not because he dislikes comics; in fact, he loves comics. But the “museuming of comics,” he says, seems to glorify the wrong thing -- the pictures instead of the writing. Corliss, like too many critics, thinks the making of comics consists of two distinct creative acts, drawing and writing, when, as we all know, making comics consists of “writing” by “drawing.” To dramatize his point, Corliss asks whether we’d rather “see (read) Kurtzman’s Mad or Spiegelman’s Maus illustrated by other artists or have others write stories for which Kurtzman and Spiegelman provided the drawings. The first, obviously, because the genius is in the writing.” True. But, as I said, in making comics, drawing is writing. In any event, Corliss concludes: “The way to appreciate comic book art is by reading them, in book form” not on museum walls. ...You don’t need a museum to tell you that this stuff is great.” Can’t quarrel with that.

 

But Roy Lichtenstein continues to lurk, an annoying barb forever lodged in the side of cartooning, the emblem if not the progenitor of the “comics are art” magpies. He lurks behind a current exhibition at New York’s Museum of Modern Art (MOMA). Entitled “Comic Abstraction: Image-Breaking, Image-Making,” the show displays about 30 works by 13 artists who, as Roberta Smith tells us in The New York Times, “borrow one way or another from comic strips, cartoons and animation.” The idea behind the show, she goes on, is that “the lively and essential contamination of abstract art by popular culture that began with Surrealists ... has greatly expanded during the last 30 years.” The works on display “use the conventions of comics ‘not to withdraw from reality but to address perplexing questions about war and global conflicts, the loss of innocence and racial stereotyping.’ But in the end, the works here are mostly cute,” Smith finishes, “neat and perfectly pleasant, implying a view of contemporary art as mildly titillating but basically toothless entertainment.”

I watched a slideshow of some of the pieces online, and I must say that I had to work hard to see any connection to comics in many of them. One looked like an imitation Jackson Pollock roil of paint, not a cartoon except, perhaps, in the same way that all of Pollock is a cartoon, a mockery of painting as an art form. Speech balloons float across the prospect in a couple samples. In one, they float like balloons over head. In another, the words have been deleted; ditto, the pictures, leaving panels of different flat monochromes, sprinkled with blank speech balloons. They say, in other words, nothing. Says Smith: “They provide some welcome if relatively pure visual intensity, regardless of what the label says about the cultural significance of the comics used.” She has little use for many of MOMA’s recent shows: “Beyond the big solo retrospectives that MOMA handles with expert aplomb, too many of the museum’s recent exhibitions have a veneer of political piousness that limits and shortchanges everything -- art, artists, the public and the institution itself.”

But Lichtenstein endures. Last month, UK cartoonist Eddie Campbell wrote online approvingly of the painter’s comics phase, that period during which Lichtenstein achieved immortality by painting enlargements of panels from comic books. “In theory,” said Campbell, “it was like painting a view of a building or a vase. He worked through a long series of the same kind of thing before applying the particular treatments he had devised, such as the mechanical dots, to other kinds of images, ultimately including abstract images as in the brushstrokes series. I find his whole project quite astonishing and invigorating. It was good for art. Hell, it was even good for the comic book medium, setting a precedent for it to be taken seriously.” I don’t know about that. I’m not sure Lichtenstein was taking comics seriously by making paintings of them. He seems, rather, to be mocking comics. But why do comics need to be taken any more seriously than they are? They are read in the nation’s newspapers every day by millions of people, for most of whom, Charlie Brown is an intimate friend. That is the ultimate achievement of art, the accolade of rendering the imaginary real. Like Corliss, I believe the way to best appreciate the form is to read comics in their native, newsprint habitat, not, necessarily, on museum walls, where they appear only fleetingly, breeding only backache as we stand there, reading what we would enjoy better were we sitting down and turning pages. Yes, it’s good for the cultural status of the medium. But the social status -- the power in status -- in this society stems from the money comics generate for those who do them or who deal in them.

 

The Lichtenstein folks, meanwhile, are a bit defensive about the artistic accomplishment of their idol. As Campbell reports, “On the opening page of their site, an excellent document on the artist and his life, it says: ‘The contents of this site are for personal and/or educational use only. Neither text nor photographs may be reproduced in any form without the permission of the Roy Lichtenstein Foundation,’ and then you have to click on the ‘I agree’ button” to gain entrance.” It is, as Campbell says (“smiling at life’s daftness without a hint of indignation”) “one last irony.” The very stuff of cartoons.

 

If, by chance, you think Lichtenstein did much originating of imagery when copying panels from comic books, visit David Barsalou’s site, davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html, where he has collected 85 of Lichtenstein’s masterpieces, pairing them with their four-color inspirations. “The [art] critics,” says Barsalou, “are of one mind that Lichtenstein made major changes, but if you look at the work, he copied them almost verbatim. Only a few were original.” Jack Cowart, the executive director of the Lichtenstein Foundation, is not impressed by this sort of reasoning. “Barsalou is boring to us,” he said, quoted by Alex Beam in the Boston Globe (October 18, 2006). “Roy’s work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. Barsalou’s thesis notwithstanding, the panels were changed in scale, color, treatment, and in their implications. There is no exact copy.” Well, yes -- there is some variation from one to the other, but the variations are not as consequential as the similarities. Clearly, Lichtenstein was a bitterly frustrated comic book artist, aspiring to the fame he was denied in the funnybooks. Which editor turned him away after pawing through his portfolio of samples? After which, the dejected Lichtenstein went back to whatever dank basement he was using as a studio, and, like any yearning young comic book artist, performed his apprenticeship, copying, as nearly as he could, his favorite comic book artists, panel by panel.

 

Most copyright attorneys contacted by Beam believe copyright law has been violated. Perhaps, one lawyer speculates, there was a private settlement between DC Comics, the source of most of the inspirational images, and the painter. But it no longer matters: the statute of limitations for copyright infringement is three years. Russ Heath, one of the DC artists whose work Lichtenstein appropriated, told Beam that DC was never interested in suing, probably because there wasn’t much money to be made. “He never even had me over for a cocktail,” sniffed Heath, “and then he died. So I guess I’m out of luck.”

 

From : Eric

Sent : Wednesday, October 11, 2006 10:42 PM

To :

Subject : WOW! I never knew.

David,

For years I have been a fan of Lichtenstein’s work and today a little bit of that fandom has died.

This afternoon I happened across a BOINGBOING article on your Deconstructing Lichtenstein webpage!

www.boingboing.net/2006/10/11/roy_lichtenstein_swi.html

I had no idea Lichtenstein did not create these famous images on his own!

Thank you for making these ‘swipes’ available and for all your research!

Sincerely,

Eric

 

From : John Irvine

Sent : Wednesday, October 11, 2006 8:30 PM

To : deconstructingroylichtenstein@hotmail.com

Subject : Lichtenstein

 

Thanks for the site.

Did he take good comic art and copy it badly on purpose? In every instance, the original comic panel is just better art.

-John

 

From : Donald Pasewark

Sent : Monday, July 17, 2006 8:32 PM

To : deconstructingroylichtenstein@hotmail.com

Subject : Love your site!

Hello,

I love your site, Deconstructing Roy Lichtenstein. I was wondering if you have the comic book names and issue #'s & dates of the original comic book panels.

I'm really interested in seeing the original books.

Thanks,

Don

Donald Pasewark

d.pasewark@mac.com

 

Hi David,

I got your email address from Natasha Sigmund. I am a comic collector,

and for the last 10 years I have been trying to track down all the

comics Roy used as references in his work, and get a copy of each comic

book. I have about 6, but I know there are a lot more. Natasha thought

you may be able to help me.

thank you

tom horvitz

 

Dear Mr. Barsalou, Is there any exhibition catalogue from this show.

I would love to purchase it. Please let me know.

Thank you. Carol

Salus salusc@nls.net

 

talking_tees says:

Man that makes me sick. Good find. I'm so angry now.

 

DECONSTRUCTING ROY LICHTENSTEIN :copyright: 2000

www.crawler.com

 

DECONSTRUCTING ROY LICHTENSTEIN :copyright: 2000

DAVID BARSALOU M.F.A.

 

Blah Blah Blah !!

 

Cultural Studies – Representing Gender – Close Reading of Drowning Girl by Roy Lichtenstein

Published on May 10, 2010 in Academic and Writing.

Cultural Studies – Representing Gender – Close Reading of Drowning Girl by Roy Lichtenstein

 

Drowning Girl is a 1963 painting by American pop artist, Roy Lichtenstein. Lichtenstein and other pop artists of this era were challenging the concepts behind traditional art and expressing new ideas in relation to issues such as gender. Rather than focusing on simply capturing a subject like traditional paintings, Drowning Girl is made up of melodramatic content appropriated and adapted from comics. By altering this content and reintroducing the signatures of mass production, Lichtenstein ultimately subverts this material, turning the focus on the portrayal of gender within the media and greater society. This exposes a process of construction within societal concepts of gender, coinciding with Simone de Beauvoir’s idea that ‘one is not born a woman, but, rather becomes one.’ (Beauvoir cited in Storey, 2006:124)

 

The painting focuses on a single dark-haired female character, crying and surrounded by a torrent of swirling waves. A speech bubble appears above her head, encasing the words, “I don’t care! I’d rather sink — than call Brad for help!” The woman’s head is just visible above the waves, along with her right shoulder. Her left hand is also above the surface of the water, and we can see that she has fairly long, seemingly manicured fingernails. The waves themselves seem tumultuous but small, seeming to suggest an overly dramatic view of the situation on the part of the woman. This could in itself suggest some inherent weakness in women, but it also seems to suggest some sort of fault within the male gaze of art and media, which repeatedly cast women in these predictable, melodramatic roles.

 

The surrounding colour of the waves seems in some ways a tip of the hat to abstract expressionist painters such as Willem de Kooning, who often depicted women within a sea of colour and strong brush strokes. Lichtenstein was at times an expressionist himself; however his best known works were adapted from comics and painted in oil and Manga paint. He claimed that the wave was adapted from the famous wave painting by the Japanese artist Hokusai, which can also be seen in the way the wave crests in a decorative fashion. Completely converse to these artistic flairs, however, is one of the things which made Lichtenstein’s work stand out. His use of hand-painted Benday dots was a simulation of the mass production techniques used in printing comics and advertisements. This use of the commercial touch reinforces this idea about construction of the subject’s gender. We get the sense that there is something false or unoriginal about the situation, though the artist himself appears to make no such judgment. By using form and style which is familiar to the viewer, Lichtenstein empowers us to make our own judgments about the piece.

 

While Lichtenstein has scaled this art up vastly and has hand painted all of the details, he has essentially gone to great effort to reproduce something very similar to its original source, which was entitled Run for Love! and was published by DC Comics in 1962. Drowning Girl has been cropped from the original image, which included the woman’s boyfriend, hanging on to a wrecked boat in the background. Lichtenstein also altered the text within the image, changing the name Mal to a more common American name, Brad. He also changed the text ‘I don’t care if I have a cramp’ to a more vague and mysterious ‘I don’t care’ which creates a vast gap in interpretation. Having cropped the image so dramatically to the woman and by removing the reference to the cramp, Lichtenstein removes all other information and invites us to focus on the narrative. We begin to ask questions about this woman’s relationship with the Brad character, who also appears in relationships with other women in Lichtenstein’s work. We wonder how badly he has hurt her, what transpired between them, and how she could possibly be so weakened by this man that she would submit so easily to her own demise. It becomes a stereotypical image of the melodramatic, almost too ridiculous to take seriously. We see a woman who typifies the comic representation of feminine beauty as she cries and mentally breaks down because of some personal catastrophe regarding her relationship with the absent Brad. This can be seen as a parody of the commercial comic, which used stereotype and oversimplification of people, gender, action and emotion in order to cater to the popular opinion, essentially equating to the male gaze. The fact that these images and stories are familiar to the viewer can in some ways be seen to suggest a certain level of complicity on their part, given that they are part of the market for these commercial products.

 

Drowning Girl successfully subverts both form and content by abstracting them from the central plot, in essence defamiliarising comic strips and asking us to look closer. Without making a single evident judgment, the hand-simulated commercial form and the altered vague narrative trivialise and generalize the life and emotion of the female character, providing insight into the commercial depiction of gender. We have no information as to why she is immersed in water, which leads to thoughts of suicide or even abandonment by Brad. At the same time, the presentation of the idealised comic-strip depiction of female beauty could lead some to interpretations involving nudity and eventually sexuality; especially given the exposed shoulder and delicate manicured hand. Nevertheless, the juxtaposition of sex and death will ultimately lead to questions about the piece far beyond any questions or issues prompted by its original source.

 

In closing, it is clear that Drowning Girl exposes the process of construction associated with gender in society. By utilising the form of comic strips, Lichtenstein successfully takes on the tone and authority of popular advertising and mass production. His sophisticated use of these tools in order to expose and subvert their influence reveals the use of banal stereotype and trivialization to represent gender in society, in essence asking the reader to reconsider. Using the simulated signature of mass production and the altered litany of the comic within the piece, Lichtenstein exposes the melodramatic falsehoods inherent in these commercial depictions and suggests a sort of complicity on part of society for their acceptance and consumption of these views. Standing neutral, the piece makes no clear judgments itself while prompting the viewer to make his or her own.

 

ridingthewind.net/2010/05/10/cultural-studies-representin...

 

www.lichtensteinfoundation.org/

 

David Barsalou MFA

decostruzione roy lichtenstein

 

Pilfering from the aNYthing glob (a web-scouring monster these days.. endless entertainment): Deconstructing Lichtenstein.

bywayof.net/news/2006/10/you_get_a_car_a.html

 

Funny Fish Fountain Comics

Gracias a Rosa Carla Soda Pop por compartir esto. Me ha hecho la noche...

 

Deconstructing Lichtenstein: Source Comics Revealed and Credited - ComicsAlliance | Comics culture,.

www.comicsalliance.com

Imagine you drew a comic book for a nominal fee and a world-famous artist recreated in paint a panel from that work and sold it

 

Museum of Modern Art

New York, New York

www.moma.org

Drowning Girl, 1963. Oil on canvas

68 x 68 inches; 172.7 x 172.7 cm

 

www.artandpopularculture.com/Deconstruction - En caché - Similares

Flickr: DECONSTRUCTING ROY LICHTENSTEIN's Photostream - [ Traducir esta página ]ART DAS KUNSTMAGAZIN March 2007 Page 13 Deconstructing Roy Lichtenstein by Claudia Bodin Art das... Anyone can see this photo All rights reserved ...

www.flickr.com/.../deconstructing-roy-lichtenstein/ - En caché - Similares

 

Run For Love

 

David Barsalou has dedicated decades to identifying all of Lichtenstein's source materials and has posted over 1000 images on Flickr detailing Lichtenstein's unrecognized sources.

 

"There are a lot of younger artists who are rejecting the gallery system pretty much altogether. They're trying to engage communities directly and are doing nonobjective type of work, so they can't be commodified as easily. It remains to be seen whether that's going to be something that becomes a dominant form for art".

Eric Fischl

 

Drowning Girl

Wikipedia

 

Although Lichtenstein's work is now widely accepted, there remain critics who continue to raise issues about it such as the claim that every comic-based work was done without attributing the original creators, nor paying any royalties or seeking permission from the original copyright holders. David Barsalou has dedicated decades to identifying all of Lichtenstein's source materials and has posted over 1000 images on Flickr detailing Lichtenstein's unrecognized sources.

 

Today some critics question Lichtenstein's artistic skills as it relates to comics. Everett Kinstler notes that, although today Lichtenstein is closely associated with romance comics due to his teary "mannered close-ups", in his day "no comics publisher would have hired Lichtenstein—he wasn't good enough." He felt Lichtenstein lacked the ability to portray the emotional range of the story through facial expressions and body language independently.

 

en.wikipedia.org/wiki/Drowning_Girl

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

  

Centuries old and now neglected and partly overgrown the "Midgley Pin Fold" is indeed a very important part of village history = as was "Pinfold's" located at every village in the Country !!! = The use of "Pinfolds" was to "Pin" or "Detain" straying Animals which had wandered onto another persons "Patch" of Land in the Days when very little existed in the Way of Barriers to keep Domestic Animals in Check from straying and eating a Neighbour's "Juicer" Crops !!! + of course since the very earliest days of Wild Animal Domestication and Animal Husbandry and the rearing of Animals for Food instead of just Hunting Wild Creatures there have been "Herder's" - People who's sole purpose in life was to keep a watchful eye on the Animals in their Charge and not let them stray - But many of these "Herder's" was also Children and or immature or inexperienced People so "Animals Strayed" with the result that they had to be detained and for a small Fee the Owners could get their Animals back from the "Pinfold" which was also known in some villages as "A Pound" (place where Animals was "Impounded") = However the Court Records For the ancient Manor of Wakefield show that at "Midgley" the Straying of Animals was "Rife" so it can be safely concluded that some of the "Straying" was a bit and possibly a lot "Deliberate" !!! = Most of the "Well Dressing" is done by the Children of the village of "Midgley" so a round of applause is required for this very simple yet immensely "Valliant" effort do something with this neglected relic of the "Ancient side of the very long history of "Midgley' and place it in there with Current Events like the "Tour de France" Cycle Race - and Viewers may notice that "Dandelions" have been used to provide the Race's winning "Yellow Colour" !!! = Perhaps the "Well Fairies" gave a helping hand ??? !!!

 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == = = = = = = = = = = = = = = = = = = = = = = = = = = = Séculos de idade e agora negligenciado e parcialmente coberto o " Midgley Pin Fold " é na verdade uma parte muito importante da história da aldeia = como foi " de Pinfold ", localizado em cada aldeia no País ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadios que tinha vagavam para outra pessoas "Patch " da Terra nos dias em que muito pouco existia no Caminho de Barreiras para manter os animais domésticos in Check se afastasse e comer Crops " Juicer " de um vizinho ! + Claro desde os primeiros dias de Wild Animal domesticação e criação de animais e à criação de animais para a alimentação , em vez de apenas caça criaturas selvagens houve " Herder do " - As pessoas que tem o único propósito na vida era manter um olhar atento sobre os Animais a seu cargo e não deixá-los disperso - Mas muitos destes " Herder da " era também Crianças e ou Pessoas imaturas ou inexperientes, " Animals desviaram " com o resultado que eles tinham que ser detidos e por uma pequena taxa os proprietários poderiam obter os seus animais de volta do " Pinfold ", que também era conhecido em algumas aldeias como " a Libra " ( lugar onde os animais foi " apreendido ") = no entanto, os registros do tribunal para a Manor antiga de Wakefield mostram que a " Midgley " o Straying dos Animais foi " Rife ", assim pode-se concluir com segurança que alguns dos" Straying " foi um pouco e, possivelmente, muito" deliberada " ! = A maioria dos " Bem Dressing " é feito pelas crianças da aldeia de " Midgley " para uma salva de palmas é necessário para isso ainda imensamente " Valliant " esforço muito simples fazer algo com esta relíquia negligenciada do "lado antigo do longa história de " Midgley ' e colocá-lo lá dentro com eventos atuais , como o " Tour de France " Raça do ciclo - e espectadores podem notar que " leão "foram usados ​​para fornecer da raça vencedora" Cor Amarelo " ! = Talvez os "Bem Fadas " deu uma mãozinha ? ? !

 

Lat i teraz zaniedbane i częściowo zarośnięte" Midgley Pin Fold " jest rzeczywiściebardzo ważną częścią historii wsi = jak został " Pinfold za " znajduje się na każdej wiosce w Kraju ! =Użycie " Pinfolds " było " pin " lub " zatrzymania " odejście Zwierzęta który zawędrował na kolejne osoby " poprawkę" ziemi w dni , kiedy bardzo mało istniał w Drodze Barier utrzymania Zwierzęta domowe Wyjazd z błądzą i Juicer " jedzenie " Sąsiad w zbożu ! + Oczywiście od samego zarania Wild Animal udomowienie i hodowli zwierząt i hodowli zwierząt na mięso , a nie tylko Polowanie dzikich stworzeń nie było " Herdera " - Ludzie, którzy się jedynym celem w życiu było zachować okiem na zwierzętach w ich ładunku i nie pozwól im bezpański - Ale wielu z nich " Herdera " był także Dzieci i lub niedojrzałe lub niedoświadczeni ludzie tak " Zwierzęta zeszli " z wyniku , że musiał zostać zatrzymany , a za niewielką opłatą właściciele mogli dostać swoje zwierzęta z powrotem z " Pinfold ", który był znany także w niektórych wsiach jako " Pound " (miejsce , gdzie zwierzęta zostało " zatrzymane " ) = Jednakże akt sądowych dla starożytnych Dwór Wakefield wynika, że ​​w " Midgley "odejście zwierząt było " szerzy " może więc być bezpiecznie stwierdzić, że niektóre z " odejście " byłnieco i być możewiele " Celowe " ! = Większość" Dobrze Dressing " odbywa się przez dzieci na wsi " Midgley " więcbrawa dla tego wymagana jest bardzo prosty, ale niezwykle " Valliant " wysiłku zrobić coś z tym zaniedbanym relikt " starożytnego stronie bardzo długa historia " Midgley " i umieścić go tam z bieżących wydarzeń , takich jak " Tour de France " Cycle Race - a widzowie mogą zauważyć , że " Mniszek " zostały wykorzystane do zapewnienia wyścig wygrywa "Żółty Kolor " ! = Może "No Wróżki " dał pomocną dłoń ? ? !

 

Столетия старый и теперь пренебречь и частично заросшие" Мидгли Pin вислоухая " действительно является очень важной частью истории деревни = как это было " загон для скота в " расположен в каждой деревне в Стране ! = Использование " Pinfolds " было " Pin " или " задержали " сбивается животных, которые бродили на другим лицам " Patch" из земли в те дни, когда очень мало существовала на Пути барьерам , чтобы сохранить домашних животных Отъезд забрели и есть " Соковыжималка " вырезание Соседские ! + Конечно начиная с самых ранних дней дикой одомашнивание животных и животноводства и выращивания животных для производства продовольствия , а не просто Охота диких существ были " Гердера " - Люди , кто единственной целью в жизни было внимательно следить на животных в их обязанности , а не позволить им бродячих - Но многие из них " Гердера " был также дети и или незрелые или неопытные люди так " Животные Заблудившиеся " , в результате чего они должны были быть задержаны и за небольшую плату владельцы могли получить свои Животные назад от " Пинфолд ", который также был известен в некоторых деревнях , как « фунт » ( место, где животные были " изъяты " ) = Однако протоколов судебных заседаний для древних Усадьба Wakefield показывают, что при " Midgley "сбивается животных было " Райф ", так что можно смело сделать вывод, что некоторые из" сбивается " было немного и, возможно, много " ​​Умышленное " ! = Большинство" Ну одевания" делается в интересах детей села " Midgley " так аплодисменты для этого требуется очень простой, но очень " Valliant " усилий сделать что-то с этим пренебречь пережиток "Древний стороне очень долгая история " Мидгли ' и поместите его в там с текущих событий , как" Тур де Франс "Cycle Race - и зрителей можно заметить, что " Одуванчики " были использованы для обеспечения гонку выигрывает " Желтый цвет " ! = Возможно, " Ну Феи " протянул руку помощи ? ? !

 

Århundraden gamla och nu försummade och delvis igenvuxen med " Midgley Pin Fold " är verkligen en mycket viktig del av byn historia = som var " Pinfold s " ligger på varje by på landet ! = Användning av " Pinfolds " var att " Pin " eller " kvarhålla " förirra Djur som hade vandrat in på en annan personer " Patch " av mark i dagar när mycket lite fanns i vägen för Hinder för att hålla Tamdjur in Check från att förirra sig och äta en granne s " Juicer " Grödor ! + Naturligtvis eftersom de allra tidigaste dagarna av Wild Animal Domesticering och djurhållning och uppfödning av djur för mat istället för att bara jaga vilda varelser har det varit " Herders " - Människor som är enda syfte i livet var att hålla ett vakande öga på djur i deras Charge och inte låta dem herrelösa - Men många av dessa " Herders " var också barn och eller omogna eller oerfarna människor så " Djur kommit bort " med resultatet att de måste kvarhållas och för en liten avgift ägarna kunde få sina djur tillbaka från " Pinfold " , som också var känd i vissa byar som " A Pound " ( plats där djur var " beslagtas " ) = Men de domböcker för den gamla herrgård i Wakefield visar att vid " Midgley " att förirra sig av djur var " Rife "så att det säkert kan dra slutsatsen att en del av den " straying " var lite och eventuellt en hel " Avsiktlig " ! = De flesta av de " Well Dressing " görs av barn i byn " Midgley " så en applåd krävs för denna mycket enkla men oerhört " Valliant " försök göra något med detta försummade relik av "Ancient sidan av mycket lång historia av " Midgley " och placera den i det med aktuella händelser som " Tour de France " Cycle Race - och Tittarna kanske märker att " Maskrosor " har använts för att ge Race vinnande " gul färg" ! = Kanske " Well Fairies " gav en hjälpande hand ? ? !

 

Vecchio di secoli e ora trascurata e in parte invaso il " Fold Midgley Pin " è davvero una parte molto importante della storia del paese = come è stato " di Pinfold " che si trova in ogni villaggio nel Paese ! = L'uso di " Pinfolds " era di " Pin " o " Detain " Gli animali randagi che aveva vagato su un'altra persona "Patch " della Terra nei giorni in cui molto poco esistito nella Via degli ostacoli per tenere animali domestici in Check di allontanarsi e mangiare Coltivazioni " Juicer " di un Neighbour ! + Naturalmente sin dai primi giorni della Wild Animal addomesticamento e Zootecnica e l'allevamento di animali per l'alimentazione invece di Caccia creature selvagge ci sono stati " Herder di " - persone che è unico scopo nella vita era quello di tenere un occhio vigile sugli animali nella loro carica e non lasciarli randagio - Ma molti di questi " Herder di " è stato anche per i bambini e o persone immaturi o inesperti così "Animali deviato ", con il risultato che dovevano essere detenuti e per una piccola tassa i proprietari potrebbero ottenere i loro animali indietro dalla " Pinfold " che è stato conosciuto anche in alcuni villaggi come "A Pound " (luogo in cui gli animali sono stati " sequestrati ") = Tuttavia, le casellario giudiziale per l'antico maniero di Wakefield mostrano che a " Midgley " il randagismo degli animali era " Rife ", così si può concludere con certezza che alcuni dei" randagismo "è stato un po ' e possibilmente molto" deliberata " ! = La maggior parte dei " Well vestire" si fa con i bambini del villaggio di " Midgley ", così è necessario un applauso per questo molto semplice immenso sforzo ancora " Vaillant " fare qualcosa con questa reliquia trascurata della "Antica lato della storia molto lunga di " Midgley ' e metterlo in là con l'attualità come il " Tour de France "Cycle Race - e spettatori può notare che " denti di leone "sono stati utilizzati per fornire la gara vincente" Giallo " ! = Forse i " Well Fate" ha dato una mano ? ? ? !

 

Jahrhunderte alt und jetzt vernachlässigt und teilweise überwachsen der " Midgley Pin Falten " ist in der Tat ein sehr wichtiger Teil der Dorfgeschichte = wurde als " Pinfold ist " in jedem Dorf im Land befindet ! = Die Verwendung von " Pinfolds " war es, "Pin" oder " Detain " verirrte Tiere , die auf weitere Personen " Patch" von Land in den Tagen gewandert war , wenn sehr wenig in der Art von Barrieren für Haustiere in Check von herumstreunenden halten gab und essen " Entsafter " Crops ein Nachbar ! + Natürlich seit den frühesten Tagen der Wild Animal Domestikation und Tierhaltung und die Aufzucht von Tieren für Lebensmittel und nicht nur Jagd auf wilde Kreaturen gab es " Herder " - Menschen, die alleinige Ziel im Leben war es, ein wachsames Auge auf die Tiere zu halten in ihrem Laden und nicht im Stich lassen Streu - Aber viele von diesen " Herder " war auch Kinder und oder unreife oder unerfahrene Menschen so " Tiere Strayed " mit dem Ergebnis, dass sie musste in Gewahrsam genommen werden und für eine kleine Gebühr die Besitzer konnten ihre Tiere bekommen von der " Pinfold ", die auch in einigen Dörfern als "A Pound " ( Ort, wo Tiere wurde " Beschlagnahmte " ) bekannt wurde back = die Gerichtsakten für die alte Manor von Wakefield zeigen jedoch, dass bei " Midgley " die Streunende Tiere der war " Rife " so ist es sicher geschlossen werden kann, dass einige der" Streunende " war ein bisschen und möglicherweise eine Menge " Absichtliche " ! = Die meisten der " Well Dressing " wird von den Kindern des Dorfes " Midgley " getan, damit eine Runde Applaus für diese sehr einfache, aber ungemein " Vaillant " Anstrengung etwas zu tun mit dieser vernachlässigten Relikt der "Ancient Seite die erforderliche sehr lange Geschichte von " Midgley " und legen Sie sie dort mit Current Events wie die " Tour de France " Cycle Race - und Zuschauer können feststellen, dass " Löwenzahn " verwendet worden, um das Rennen zu gewinnen bieten " Farbe Gelb " ! = Vielleicht sind die "Nun Fairies " gab eine helfende Hand ? ? !

 

Séculos de idade e agora negligenciado e parcialmente cuberto o " Midgley Pin Fold " é en realidade unha parte moi importante da historia da aldea = como foi "de Pinfold ", situado en cada aldea no país ! = O uso de " Pinfolds " era " Pin " ou " Detain " animais vadíos que vagaban a outra xente " Patch " da Terra nos días en que moi pouco existía no Camiño de Barreiras para manter os animais domésticos in Check se afastase e comer Crops " Juicer " dun veciño ! + Suposto desde os primeiros días de Wild Animal domesticación e creación de animais e á creación de animais para a alimentación, no canto de só caza criaturas salvaxes houbo " Herder do" - A xente que ten o único propósito na vida era manter un ollar atento sobre os animais ao seu cargo e non deixalos disperso - Pero moitos destes " Herder da" era tamén Nenos e ou persoas inmaturas ou inexperientes , " Animals desviaron " co resultado que eles tiñan que ser detidos e por unha pequena taxa os propietarios poderían obter os seus animais de volta do " Pinfold ", que tamén era coñecido nalgunhas aldeas como "A Libra " ( lugar onde os animais se " incautados ") = Sen embargo , os rexistros do tribunal para a Manor antiga de Wakefield mostran que a " Midgley " o Straying dos Animais foi " Rife ", así pódese concluír con seguridade que algúns dos" Straying "foi un pouco e , posiblemente, moi" deliberada "! = A maioría dos "Ben Dressing " está feito polos nenos da aldea de " Midgley " para unha salva de palmas é necesario para iso aínda inmensamente " Valliant " esforzo moi sinxelo facer algo con esta reliquia negligenciada do " lado antigo do longa historia de " Midgley ' e colocar- lo alí dentro con eventos actuais , como o" Tour de Francia " raza do ciclo - e espectadores poden ter en conta que " león " foron usados ​​para proporcionar da raza gañadora " Cor Amarela "! = Quizais os "Ben Fadas " deu unha pequena man ? !

 

Vieille de plusieurs siècles et maintenant négligé et en partie envahi la " Fold Midgley Pin » est en effet un élément très important de l'histoire du village = comme on l'a situé " de Pinfold " à tous les villages du Pays ! = L'utilisation de " Pinfolds " était de "Pin" ou " Détenir " Les animaux errants qui s'était aventuré sur un autre personnes "Patch" de la Terre à l'époque où très peu existé dans la Voie des obstacles à garder des animaux domestiques Arrivée de s'égarer et manger " Juicer " les cultures d'un Voisin ! + Bien sûr depuis les tout premiers jours de sauvage domestication des animaux et de l'élevage et l'élevage des animaux pour l'alimentation au lieu de simplement la chasse créatures sauvages ont été " Herder " - Les gens qui est le seul but dans la vie était de garder un œil vigilant sur les animaux dans leur charge et ne pas les laisser égaré - Mais beaucoup de ces " Herder " a également été enfants et ou personnes immatures ou inexpérimentés ainsi " Animaux Egarés " avec le résultat qu'ils devaient être arrêtés et pour une somme modique les propriétaires pourraient obtenir leurs animaux retour de la « Pinfold » qui était aussi connu dans certains villages comme «un livre» ( lieu où les animaux ont été " mis en fourrière ») = Toutefois, les dossiers de la Cour pour l'ancien Manoir de Wakefield montrent qu'au " Midgley " la divagation des animaux était " Rife " si on peut conclure avec certitude que certains des " Divagation " c'était un peu et peut-être beaucoup " volontaire " ! = La plupart des " Eh bien Dressing " est fait par les enfants du village de " Midgley " si une salve d'applaudissements est nécessaire pour cette immense effort très simple mais " Vaillant " faire quelque chose avec cette relique négligé de le «côté antique de la très longue histoire de " Midgley ' et le placer là avec l'actualité comme le " tour de France "Cycle Race - et téléspectateurs peuvent remarquer que « pissenlits »ont été utilisées pour fournir gagnante de la course " Couleur Jaune " ! = Peut-être le «bien Fairies" a donné un coup de main ? ? !

 

Vuosisatoja vanha ja nyt laiminlyöty ja osittain umpeen" Midgley Pin Fold " on todellakinerittäin tärkeä osa kylän historiaa = kuten " Pinfold n " sijaitsee jokaisessa kylässäMaa ! =Käyttö " Pinfolds " oli " Pin " tai " pidättää " taival Eläimet , joka oli kulkenut toiseen henkilöt " Patch " maapäivää , kun hyvin vähän olemassatapa esteet pitää Kotieläimet Mihin hajautuminen ja syöminenNaapurin " Tuoremehulinko " Viljelykasvit ! + Tietenkin sillähyvin alkuajoista Wild Animal kesyttäminen ja kotieläintuotanto jakasvatus ravinnoksi eikä vain Metsästys Wild Creatures on ollut " Herder n " - Ihmiset, jotka ainoa tarkoitus elämässä oli pitääsilmälläEläimet niiden arvo laskee, ja anna heidän harhailla - Mutta monet näistä " Herder n " oli myös lapsia ja tai kypsymättömiä tai kokemattomien ihmiset niin " Eläimet eksyneet " sillä seurauksella, että ne piti ottaa haltuun ja pientä maksuaomistajat voisivat saada Eläimet takaisin" Pinfold ", joka tunnetaan myös joissakin kylissä kuin "Pound " ( paikka, jossa eläimet on " Talteenotetut " ) = kuitenkinrikosrekisteriä sillävanha kartano Wakefield osoittavat, että " Midgley "Irrallaan tavattuja of Animals oli " yleistä ", niin se voidaan turvallisesti päätellä, että joitakin" Irrallaan tavattuja "oli vähän ja mahdollisesti paljon " tahallinen " ! = Suurin osa"No Pukeutuminen " tehdäänlapsetkylässä " Midgley " niinaplodit tarvitaan tätä hyvin yksinkertainen, mutta äärimmäisen " Valliant " vaivaa tehdä jotain tämän laiminlyöty jäänne"Ancient puolella hyvin pitkä historia " Midgley " ja laita se siellä Ajankohtaista kuten" Tour de France " Cycle Race - ja katsojat saattavat huomata, että " voikukat " on käytetty antamaanRace voittaa " Yellow Colour " ! = Ehkä"No Fairies " antoiauttavaa kättä ? ? ? !

 

Eeuwen oud en nu verwaarloosd en deels overwoekerd de " Midgley Pin Fold " is inderdaad een zeer belangrijk onderdeel van de dorpsgeschiedenis = zo was " Pinfold 's " gelegen aan elk dorp in het Land ! = Het gebruik van " Pinfolds " was om "Speld " of " vast te houden " Zwervende dieren die was afgedwaald naar andere personen " Patch " van Land in de dagen toen heel weinig bestaan ​​in de manier van Belemmeringen voor Huisdieren in toom te houden van dwalen en het eten van een Buur " Juicer " Gewassen ! + Natuurlijk sinds de vroegste dagen van de Wild Animal Domesticatie en Veeteelt en het fokken van dieren voor voedsel in plaats van alleen de jacht op wilde Creatures er zijn geweest " Herder " - Mensen die er enige doel in het leven was om een waakzaam oog op de dieren houden in hun Charge en hen niet verdwaalde laten - Maar veel van deze " Herder " was ook kinderen en of onvolwassen of onervaren mensen zo " Dieren Strayed " met als gevolg dat ze moesten worden gearresteerd en voor een kleine vergoeding de eigenaars konden hun dieren krijgen terug van de " Pinfold ", die ook in sommige dorpen als " A Pound " ( plaats waar de dieren werd " in beslag genomen " ) bekend werd = het Hof heeft echter Records voor het oude landhuis van Wakefield blijkt dat bij " Midgley " het afdwalen van Dieren was " Rife " zodat het veilig kan worden geconcludeerd dat een aantal van de " dwalen " was een beetje en misschien veel " Opzettelijke " ! = De meeste van de " Well Dressing " wordt gedaan door de kinderen van het dorp " Midgley " dus een applaus is vereist voor deze zeer eenvoudige, maar enorm " Vaillant " poging iets te doen met deze verwaarloosde overblijfsel van de " Oude kant van de zeer lange geschiedenis van " Midgley ' en plaats het daar met Current Events zoals de" Tour de France "Cycle Race - en kijkers kunnen merken dat " Paardebloemen " zijn gebruikt om de Race winnende bieden " Geel Kleur " ! = Misschien is de " Well Feeën " gaf een helpende hand ? ? !

 

Thế kỷ cũ và bây giờ bị bỏ quên và một phần phát triển quá mức các " Midgley Pin Fold " thực sự là một phần rất quan trọng của lịch sử làng = như đã được " Pinfold của " đặt tại mỗi làng trong gia ! = Việc sử dụng " Pinfolds " là " Pin " hay " bắt giữ " đi lạc vật đó đã đi lang thang vào người khác "Patch" của đất trong những ngày rất ít khi tồn tại trong cách các rào cản để giữ động vật trong nước Trả từ đi lạc và ăn " Máy ép trái cây " cây của hàng xóm ! + Tất nhiên kể từ những ngày đầu tiên của động vật hoang dã Thuần hoá và chăn nuôi và nuôi động vật cho thực phẩm thay vì chỉ săn sinh vật hoang dã đã có " Herder của " - Những người ai mục đích duy nhất trong cuộc sống là để giữ một con mắt thận trọng trên động vật phụ trách của họ và không để cho họ đi lạc - Nhưng nhiều các " Herder của " cũng là trẻ em và hoặc người chưa trưởng thành hoặc thiếu kinh nghiệm như vậy " Động vật đi lạc " với kết quả là họ đã bị giam giữ và cho một phí nhỏ chủ sở hữu có thể nhận được vật của họ trở lại từ " Pinfold " cũng đã được biết đến ở một số làng như " Một Pound " ( nơi mà động vật đã được " tịch thu " ) = Tuy nhiên, Tòa án ghi Đối với Manor cổ Wakefield cho thấy tại " Midgley " các động vật đi lạc là " đầy rẫy "vì vậy có thể kết luận một cách an toàn mà một số các" đi lạc " đã được một chút và có thể rất nhiều " Cố ý " ! = Hầu hết các " Vâng mặc quần áo " được thực hiện bởi trẻ em của làng " Midgley " do đó, một tràng pháo tay là cần thiết cho rất đơn giản nhưng vô cùng " Valliant " nỗ lực này làm điều gì đó với di tích bị lãng quên này của " bên cổ của lịch sử rất dài của " Midgley ' và đặt nó ở đó với các sự kiện hiện tại như" Tour de France " Mùa Race - và người xem có thể nhận thấy rằng " bồ công anh " đã được sử dụng để cung cấp của Race chiến thắng " vàng Màu sắc " ! = Có lẽ " Vâng nàng tiên " đã đưa ra một bàn tay giúp đỡ ? !

 

百年的歷史,現在被忽視,部分雜草叢生的“米奇利引腳折”確實是村史的一個非常重要的組成部分=正如“ Pinfold的”位於每個村的國家! =使用“ Pinfolds ”的是“針”或“拘留”誤入其中已經飛到到另一個人的“補丁”土地在天,當在壁壘的方式來保持家畜的區別從偏離很少存在和動物。吃了鄰居的“榨汁機”作物! +當然,由於野生動物馴化和畜牧業的最早的天,動物,而不只是狩獵野生動物有過“赫爾德的”飼養的食物 - 人民誰的人生唯一的目的是保持一種密切注意動物在他們的收費,而不是讓他們流浪 - 但許多這些“赫爾德的”也是兒童和左右的“動物誤入”其結果是,他們被扣留,而一小筆費用的業主可以得到他們的動物不成熟或沒有經驗的人從“ Pinfold ”這也是眾所周知的一些村莊為“一斤” (地方動物被“被扣” )回=然而,法庭記錄韋克菲爾德的古老莊園表明,在“米奇利”動物的誤入了“成風“,所以它可以安全地得出結論,一些的”誤闖“是有點,可能很多”故意“ ! =的大多數“好門面”是由“米奇利”村的孩子這樣做的掌聲是需要這種簡單卻非常“ VALLIANT ”努力做一些事情的“古代方這一被忽視的遺物的“米奇利” ,並將其放置在那裡與時事,如“環法自行車賽很長的歷史”週期種族 - 和觀眾可能會注意到, “蒲公英”已經被用來提供競賽​​的獲獎“黃顏色” ! =也許“好神仙”給了一個伸出援助之手? ? ? !

   

Title: Breeder and sportsman

Identifier: breedersportsma691916sanf

Year: 1882 (1880s)

Authors:

Subjects: Horses

Publisher: San Francisco, Calif. : [s. n. ]

Contributing Library: San Francisco Public Library

Digitizing Sponsor: California State Library Califa/LSTA Grant

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

-*- " -m â - â ââ -^ I 1 ,1 TILLY ALCARTRAâTHE GREATEST COW IN THE WORLD Again a dairy cow has given evi- dence of the astonishing amount of food that she is capable of produc- ing in one year, and again it is a Holstein-Friesian that has beaten all previous records for production. Tilly Alcartra has been in the lime- light of the dairy world before. One feat was a 7-day record of 40 lbs. butter from 729.1 lbs. milkâbut that is by the way. Her production for 1918 amounts to 33,4248 lbs. milk, from which the butterfat is equal to 1,322.25 lbs. but- ter. She averaged over 42 quarts of milk per day for the whole year, and her total production if sold at 9 cents per quart would bring a return of $1,400! For four years she has an average of 27,629.4 lbs. milk, 1,- 185.92 lbs, butter, and for six years her average is 26,129 lbs. milk and 1.023.18 lbs. butter; while the total production for the six years is 156,- 776.2 lbs. milk, 6,141.36 lbs. butter. By this demonstration she has proven beyond all doubt that she is the greatest and most - wonderful milch cow the world has ever known. The nearest competitor to Tilly Alcartra is the Jersey cow, Sophie 19th of Hood Farm, whose six years' production is 75.920.8 lbs. milk, 5.217 lbs. butter; the milk being less than half that given by the Holstein. "Tilly" is 10 years and 3 months old; she has had six calves, and is a sister of 13 cows who have been a credit to the Holstein breed, two of whom have exceeded 20.000 lbs. milk and over 900 lbs. butter in a year, and six have records from 732 up to 796 lbs. butter. She is a daughter of Alcartra Polk- adot Corrector 30C24 and out of the dam, Tilly Lou 2d 82057. Alcartra Polkadot Corrector is a son of Al- cartra Polkadot, a 29-lb. cow having five A. R. O. daughters, two with records of over 33 lbs. butter each in 7 days and one over 31 lbs. "Til- ly" was bred by McKay Brothers, of Buckingham, Iowa, and was pur- chased as a 2-year-old by the A. W. Morris Corporation, of. Woodland, Cal., in whose hands she has made all her big records. Tilly Alcartra stands, at the begin- ning of nineteen hundred and nine- teen, without peer in the dairy world, having proven that the Holstein- Friesian breed of cattle is well-nigh incomparable. THE LIVESTOCK INDUSTRY It is generally understood that the time to go into the livestock industry is when animals are cheap. The same rule would apply to buying land and in fact, everything, but while this is the approved system so far as theory and advice giving is concerned it is far from being the practice. More people engage in the livestock indus- try when prices are soaring skyward than any other time and they buy land when grain is high. The boom prices are the chief incentive to enter any business. Men are buying land and are building irrigating ditches just now because all kinds of farm products were never so high before and it occurs to us that there is no better time than the present to en- gage in growing livestock. However before we have the animals, before we buy animals we must make some preparation to feed them. The" man that feeds livestock must have hay meadows either native or artificial and must have water to make the grass grow. There must be a com- bination of land and water. We urge our friends who want a permanent home and who want an industry, to fortify themselves in this way and they will be fixed for life. There is no better property on earth that a man can own and no better pursuit a man can follow. Grain growing wears land out but the livestock ranches are more productive by far than they were fifty years ago and fifty years hence the same thing will be true. This is easy but it takes work to preserve the fertility of a grain ranch and keep it from deter- iorating. The stock ranch is all the time growing better but every crop of grain that is grown upon a field weakens it just that much unless some system of growing the legume is employed. There is an opportun- ity now to buy land and make it pay for itself in a short time. HORSES AND MULES IN THE ARMY Some idea of what has been done in furnishing horses and mules for overseas service may be gained from a report made by the Statistical Sec- tion of the Remount Division. This shows that up to January 11, there had been shipped overseas from this country a total of 67,948 animals which included 5.4S9 cavalry horses; 33.396 draft horses; 28.0S8 draft mules and 975 pack mules. The total num- ber of animals lost enroute overseas so far reported is 600 horses and mules, or less than one per cent of the total number of animals shipped. The total number of animals pur- chased overseas to date is 152,336. Purchases of horses in France amounted to 109.848; in Spain, 1531 and in Great Britain, 11,898. The value of purchases in France was $43,- 122.1.93.52; Spain, S589.159.96, and Great Britain. $5,314,711.15, or a to- tal value of $49,025,964.63 for 123,277 horses purchased overseas. The total number of mules purchased overseas amounted to 29.059 with a value of $11,115,846.72. There were 9341 mules valued at $2,895,927.76 purchased in France; 12,941 mule? with a value of $5,619,155.74 purchased in Spain and 6777 mules valued at $2,600,763.22 purchased in Great Britain. There were on hand with the American Expeditionary Forces De- cember 25th, 1918. a total of 191.631 animals. This total included 26.023 cavalry horses; 109,528 draft horses. 48.614 draft mules and 74i6 pack and riding mules. The total loss over- seas to December 25, 19l8, amounted to 42.311 animals which included 36,- 189 horses and 6122 mules. No ar- rangements have yet been made by any foreign government for taking over the animals belonging to the I'nited States which are now in Eu- rope. The matter has been infor- mally discussed in this country and TUTTLE'S ELIXIR

 

Text Appearing After Image:

Trads Mark Best Leg and Body With Ever Made It Never Falls to Keep Your Horse Sound Get it today of your dealer. If he doesn't have it, send us his name and 60 cents and we will send you a large size bottle, prepaid, also a copy of "Veterinary Ex- perience," a valuable book by the late Dr. S. A. Tuttle. Tuttle's elixir is meritorious in cases of Colic, Lung Fever, Sore Throat, Shipping Fever, Curbs, Spllnti, Spavin, Lameness, Knotted Cords, Cockle Joints, Sprains, Shoe Bolls, when first Started, Swellings, Founder and Distemper. TUTTLE'S ELIXIR CO., 19 BEVERLY ST., BOSTON, MASS. the Remount Division was informed that no objections would be raised if the animals should be turned over to the Allies as there is an ample sup- ply of animals in this country. Plans are now being outlined by the Remount Division for the en- couragement of horse-breeding in this country with a view to supplying suitable cavalry and artillery horses in the future. Reports from the Bu- reau of Animal Industry show that there were 2.9 per cent more horses and 8.4 per cent more mules on the farms in the United States on Janu- ary 1, 1918, than there were on Janu- ary 1, 1914. According to reports there is no appreciable decreases in the number of animals in the rural districts of England while there is about a 20 per cent pre-war decrease in France. of scratches, pricks of thorns, stub- ble beards and penetrating foreign bodies which may puncture the =kin. Cattle between six months and two years are the most susceptible. The disease does not usually spread from animal to animal, but the germs from the sick or dead, animal get into the soil and from the soil to another ani- mal. For this reason the dead ani- mal should be burned or buried (at least six feet deep) and quick lime sprinkled over it. In case of burning, it must be done thoroughly, then dis- infect thoroughly. Where blackleg is known to have occurred all rattle should be vacc'.nated. DON'T CUT OUT I A Shoe Boil, Capped] Hock or Bursitis : FOR BLACKLEG Blackleg is a disease that affects cattle. The first indication of it is depression, loss of appetite, a failure to ruminate and a high fever. The Vreathing becomes rapid, and the ani- mal moves with difficulty and lies down often. In a few hours swell- ings appear under the skin, and in twelve hours the animal may become paralytic. The muscles of the af- fected quarters become dark brown or black. Blackleg is caused by a germ found in the soil in some sections. These germs get through the skin by way ABSORBINE *^ 'SUDf MARK BtG.U.S.PAT OFF will reduce them and leave no blemishes. Stops lameness promptly. Does not blis- ter or remove the hair, and horse can be worked. 52. SOabottlc delivered. B00K6 Rfree. ABSORBINE. JR., for mankind, the antiaeptje Onlment for Belli. Braiaea, Sorei. SwelUnn. Varieoae Vein*. Allay P*ia"dInflammation. Pricell.25 a bottle at dreg. juu or delivered. Will tell you more It you write. W.F.YOUNG,P.D.F., 5-1 TempleSt.,Springfield, Mass. For aale by Laaglay A Mtefcaala, San Franeiaca, Calif i Woodward, Clark 4 Co , Por'.Ued On . Cal Trrag « Ckaaa. do., Bnanawtg Pru Co . Waatara Wfcolaaala Drag Co., Lm Annlaa. CalK. Eirt, Olaarr * Co.. laoranaate, Calif.. >..â »* .OaXV THE STANDARD TROTTING STALLION HEALANI 56150 WILL MAKE THE SEASON 1919 AT THE DIXON RACE TRACK WITH RETURN PRIVILEGE FEE, $20 FOR THE SEASON HEALANI is by Zolock 2:05'4 (McKinney's fastest son), dam Queen Derby 2:06'4. by Charles Derby (sire of Jim Loqan 2:013a. Don Derby 2:0-3' 'A, and 8 others In the 2:10 list); second dam Addie Ash. by Indianapolis; third dam Addte H.. by Ashland Chief. HEALANI 56150 is not only hiahly and fashionably bred, but is a handsome and stylish individual. He has size, style and quality. Without doubt he is one of the fastest speed inheritance stallions (if not the fastest) on the Pacific Coast. He is coal black and absolutely sound, without a spot or blemish, and one of the best mannered horses living, so aentle a lady or child can handle him. Will stand with his head over stall door and pays no attention to mares belna cross tied In front of his stable door. This horse was wori-.ed snme last summer and fall, after 14 months without having a harness on him, and trotted miles in ?:?6. halves In 1:09, and has and can now show two minute speed and better for ' a of a mile. Has been Jogcjed 5 or 6 miles a day all winter and looks and feels aood and. no doubt will trot a mile close to 2:10 or perhaps better this fall. He Is a nice going line trotter and can carry his speed. He is only 8 years old. Best of care taken of rrares. with no responsibility assumed for accidents Or escapes. Address all correspondence to WM. M. FERGUSON, DIXON, CAL. HORSE SALE DISTEMPER v n know that r >ugh the sales in liCty tn . stable "SPOHN's" Is your in: 1. your only 1 ;ill your horses with It. you prevent itlve, no matter how they are "exposed "

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

 

*

BarcelonA - AnarquistA *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643657256375

 

+

Barcelona - Arte Rebelde *

Photo-Report - March 2014

www.flickr.com/photos/sterneck/sets/72157643655743885

 

- * -

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports:

www.flickr.com/sterneck/sets

Articles (german / english) :

www.sterneck.net

 

- * -

 

JO TAMBÉ ESTAVA AL PARLAMENT... I HO TORNARIA A FER

 

El dia 31 de març comença el judici contra les 20 persones imputades per l’intent de bloqueig del Parlament del 15 de Juny del 2011. Aquell dia s'anaven a iniciar el tràmits per aprovar els pressupostos amb el primer paquet de retallades a Catalunya, que va propiciar el tancament d'empreses públiques, la privatització de la sanitat, les retallades al sector de la cultura, educació, etc.

  

La mobilització “Aturem el Parlament” va succeir dues setmanes després del brutal desallotjament de la Plaça Catalunya a mans dels antidisturbis dels Mossos d'Esquadra a les ordres del que era conseller d'Interior i ara ho és d'Empresa i Ocupació, Felip Puig. També responsable del dispositiu policial que va disparar contra l'ull d'Esther Quintana.

  

La criminalització per part de la premsa subvencionada pel Govern i l'escalada repressiva que va venir després (judicis contra persones que volien impedir un desnonament al Clot, nombroses detencions a les vagues generals, multes absurdes per les persones que es manifestaven o per enganxar cartells, etc), va ser i és encara, una resposta planejada per procurar frenar l'augment de la indignació i de la força de les protestes populars contra el poder polític, econòmic i altres injustícies quotidianes, com el patriarcat i el racisme.

  

Durant aquells dies, la gent es va organitzar arreu per construir política des del carrer, com moltes seguim fent. La política que volem és assembleària, horitzontal, autogestionada, sense representants, és del poble i per al poble, i xoca amb la política institucional que ens governa. La qual ha estat protagonista d'un espiral de corrupció i de tenir llaços, sovint familiars o personals, amb grans empreses privades que reben encàrrecs d'obres públiques i amb els peixos grossos del poder financer.

  

Aquell dia érem milers de persones les que vam anar a intentar aturar el Parlament, per combatre el drama de tantes vides immerses en la misèria, els acomiadaments per les retallades, els suïcidis pels desnonaments, etc. Perquè moltes d'aquestes barbàries s'aproven dins dels murs d'aquest edifici. Per aquest motiu estàvem assenyalant els culpables el 15 de Juny de 2011 i per això mateix, ho tornaríem a fer sense por, perquè legitimem la nostra actuació, i perquè si la gent del carrer, a qui ens afecta tot això, no lluitem, ningú altre ho farà per nosaltres.

  

Sabem i tenim clar que aquest és un judici polític, una farsa per atemorir a aquelles que decideixen plantar cara i actuar contra els responsables de tanta precarietat. De fet, ens reafirmem al comprovar que l'acció directa contra els poderosos i generar alternatives de vida els molesta, i molt. Per això, i perquè som conscients del poder que podem tenir quan ens organitzem, no ens volem doblegar davant les seves intimidacions i fem una crida a estendre la solidaritat a aquells i aquelles que pateixen la repressió i la violència quotidiana d'aquest sistema econòmic, en les seves infinitats de formes.

  

Convoquem manifestació el dia 29 de març a Barcelona a les 18:30 a Plaça Catalunya.

  

SOLIDARITAT AMB TOTES LES REPRESALIADES I AMB AQUELLES QUE LLUITEN!!

 

La propera vegada que agafin un helicòpter, que sigui per marxar ben lluny i no tornar a molestar!

 

encausadesparlament.wordpress.com

 

-----------

 

I was at the Catalan Parliament too…

and I would do it again

 

On March 31st the court case against the 20 people who are charged with an attempt to block the Catalan Paliament on June 15th 2012 will begin. That day in June, the process of implementing the first round of budget cuts in Catalonia began. Cuts that involved closing public companies, the privatization of health care,as well as cuts in the area of culture, education, etc.

 

The mobilization “Aturem el Parlament” (“Paralize the Parliament”), took place two weeks after the brutal eviction of Plaza Catalunya (Barcelona), by the riot police Mossos d´Esquadra under the command of Felip Puig. He was the minister of the Interior at that time and is currently the minister of companies and labour. He was also responsible for the police operation that shot Esther Quintana in the eye.

 

The criminalization by the media (that is funded by the state) and the increase of repression which followed (court cases against people trying to prevent an eviction in the neighbourhood of el Clot, many detentions during the general strikes, absurd fees for people protesting or hanging banners with tape etc), was, and still is, a planned response to try to stop the rise of outrage and the strength of popular demostrations against economic and political power, and other daily injustices (such as patriarchy and racism).

 

During those days, people organized themselves all over to build and create politics from the streets, as many of us continue to do. The politics we want are based in assemblies, horizontal, self-organized, without leaders; they belong to the people and they are for the people, and clash with the institutional politics which govern us. The same institutional politics and their protagonists are creating a corruption spiral and have relationships, mostly family-based, with private companies (that receive contracts for public constructions) and with high-up people with economic power.

 

That day we were thousands of people trying to paralyze the Catalan Parliament in order to fight the drama of so many lives embedded in misery, the layoffs due to the cuts, the suicides due to evictions, etc. Because many of these atrocities are approved behind the walls of that building. This is the reason that we were pointing out the guilty ones that 25 of June 2012, and because of this, we would to it again without fear. Because we legitimize our action, and because if we, the people from the street -whom are the most affected-, don´t fight, nobody will do it for us.

 

We know that this is a political court case, a farce to scare those who decide to stand up and take action against thoseresponsibleforall this precariousness. In fact, we reaffirm our ideals and actions after proving that direct action and the creation of alternatives of life bothers them, a lot. Because of this, and because we are aware of the power we can have when we are organized, we don´t want to bow down to their intimidation. We call for a spread of solidarity for all the ones who suffer daily repression and violence within this economic system, in its infinite shapes.

 

SOLIDARITY WITH ALL THE REPRESSED AND THOSE WHO FIGHT!!

 

The next time that they take an helicopter, it should be to go far away, and not come back to bother us.

 

----------

 

Repression in Spain. A call for international solidarity

 

During the last three years Spanish society has witnessed a period of intense social protests against austerity, corruption, unemployment and so on. As in other times in history, the greater and more radicalised the protest the bigger the repression that the state organises against it. Since the general strike in September 2010, a common trend of this repression strategy is been a kind of ‘laissez faire’ in the streets but followed by ´selective´ detentions months later. Police have been literally knocking doors down of those who continuously take part in different actions and demonstrations, and consequently dozens of people have been arrested.

 

On June the 15th 2011, ten thousand people surrounded the Catalan parliament in Barcelona. That day the government wanted to approve a vast austerity cut in health and education, and the idea was to block politicians from getting into the building. “Inexplicably” the police did not protect some politicians, which caused direct confrontation with protesters, and of course that fact was used by the media as an example of violence against democracy. After that, people were violently dispersed, and the MPs could do their job.

 

On October the 4th 2011, 22 people were arrested in their homes. They have been accused of a crime against the state, using a law designed for coup leaders and that had never been used before in Spain. They now face a penalty of up to 8 years in jail, whereas some of them have been also accused of different crimes related to other demonstrations. The trial will start in March the 31st 2014 and it is expected to last four days.

 

There will be a national day of solidarity in Spain on March the 29th with demonstrations in several cities. So we also call for international solidarity.

 

You can call, email or block different Spanish embassies or institutions. Or you can do whatever you consider appropriate…

 

“That day we tried to block the Catalan parliament to combat the drama of many lives immersed in poverty, layoffs by cuts, suicides by evictions, etc. Because many of these atrocities are approved behind the walls of that building. We were pointing at the guilty, and because of that we would do it again without fear. We know this is a political trial, a farce to scare those who choose to stand up and take action against those responsible for such precarious living conditions. In fact, we reaffirm it to find that both direct action against the powerful and generate alternative lives bothers them a lot. For this reason, and because we understand the power that we can have as we organise ourselves, we do not want to bow to their intimidation and we make a call to extend solidarity to those suffering the daily repression and violence of this economic system, in its myriad forms”.

 

encausadesparlament.wordpress.com/manifest-suport/manifes...

 

----------

 

BRATATAT ! Original Source

Original Artist: Ross Andru

 

Ross Andru

Born June 15, 1927

Died November 9, 1993

Nationality American

Area(s) Penciller, Inker

Notable works Spider-Man

 

Ross Andru (June 15, 1927 - November 9, 1993) was an American comic book artist and editor. He is best known for his work on The Amazing Spider-Man and Wonder Woman and for co-creating the Metal Men (with writer Robert Kanigher in Showcase # 37 in 1962) and the Punisher (with writer Gerry Conway in The Amazing Spider-Man #129 in 1974).

The cover of The Amazing Spider-Man #136 was pencilled by Andru.

  

His most frequent collaborator was inker Mike Esposito, as the two worked together on various projects over a span of four decades. Working with Esposito, Andru was the co-founder of his own comic book company, MR Publications in 1951 and dipped his hand into self-publishing two times after that with the companies MikeRoss in 1953 and Klevart Enterprizes in 1970. Another venture into self-publishing, in 1990, failed before funding could be found.

 

Andru's first professional comic book work was for the Tarzan newspaper strip in 1948.

 

In the 1950s and early 1960s Andru worked primarily on DC's war comics, contributing material regularly to titles such as All American Men of War (1953-1964), GI Combat (1957), Our Army At War (1953) (later known as Sgt. Rock), Our Fighting Forces (1955) and Star Spangled War Stories (1954-1966).

 

In the late 1950s he began to be assigned to more super-hero work, as he started runs on The Flash (1959), Rip Hunter, Time Master (1961) and Showcase where he drew the "Sea Devils" feature as well as co-created the Metal Men. During this period Andru also did his nine-year Wonder Woman stint, (starting at #98 in 1958 and running until 1967) where he and writer Kanigher reinvented the character, introducing the Silver Age version and her supporting cast.

 

In the early 1970s, Andru left DC for Marvel Comics. Initially he did short runs on such titles as Marvel Team-Up in 1972. In 1973, he began his long stint as regular penciller on Amazing Spider-Man, which at that point was Marvel's highest-selling monthly comic.

 

It was during that run that Andru and writer Conway introduced the Punisher, who was conceived as an antagonist for Spider-Man. Although Andru is credited with designing the Punisher's distinctive costume, Conway has claimed that Andru worked from design sketches Conway provided. The character has gone on to become a popular star of numerous comic books as well as two movies.

 

In 1976. Andru pencilled the first large-scale comic book intercompany character crossover — Superman vs. The Amazing Spider-Man, in a story written by Conway and co-published by Marvel and DC.

 

In 1978, Andru returned to DC to work as an editor. During this period his art appeared mostly on the covers of such titles as Action Comics and Superman. Working with writer Marv Wolfman and collaborator Mike Esposito, he also co-created the syndicated comic strip The Unexplained in 1979. In the 1980s he returned to interior work, on titles including as Jonah Hex (1982-1984), Vigilante (1984) and Blue Beetle (1987).

 

His last work was for Archie Comics' Zen, Intergalactic Ninja in 1993, on which he was teamed once again with Mike Esposito. In 2006 both Andru and Esposito are the subjects of a major biography titled Partners For Life.

 

In the Ultimate Spider-Man comic, issue #87, a "Ross Andru" has a cameo as the principal of Peter Parker's High School. This is obviously a homage to the late Andru.

  

* Strickler, Dave. Syndicated Comic Strips and Artists, 1924-1995: The Complete Index. Cambria, CA: Comics Access, 1995. ISBN 0-9700077-0-1.

 

Retrieved from "http://en.wikipedia.org/wiki/Ross_Andru"

American comics artists

Wikipedia

 

artmuseumjournal.com/roy_lichtenstein_drawings_morgan.aspx

 

Is it possible Andru may have swiped this panel himself? From Russ Heath, perhaps?

Doug Pratt

 

Groovanauts.com

 

Lichtenstein a fraud ??

Artist David Barsalou has an interesting avocation. He has found and catalog ed almost every comic book panel later blown up and sold for megabucks by 1960s POP Art icon Roy Lichtenstein. So far, Barsalou has about 140. You will see a sample on this page, or go to his website, Deconstructing Roy Lichtenstein.

 

Color me naive, but I never thought Lichtenstein's work was a direct copy of scenes from comic books. I assumed that he stylized certain scenes suggested by the comic vernacular of the 1950s and 1960s. ``He tried to make it seem as though he was making major compositional changes in his work, but he wasn't," says Barsalou, who teaches at the High School of Commerce in Springfield. ``The critics are of one mind that he made major changes, but if you look at the work , he copied them almost verbatim. Only a few were original."

 

"Barsalou is boring to us," comments Jack Cowart, executive director of the Lichtenstein Foundation. He contests the notion that Lichtenstein was a mere copyist: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. Barsalou's thesis notwithstanding, the panels were changed in scale, color, treatment, and in their implications. There is no exact copy."

 

Lichtenstein's fans, and the collectors who now pay millions of dollars for individual canvases, will continue to revere his work. But what are the implications for copyright law? Barsalou correctly points that musicians who ``sample" other artists' music have to pay them royalties. Does the Lichtenstein estate owe compensation to the creators of the original work?

 

After visiting a Lichtenstein exhibition in Chicago, attorney Mark Weissburg wrote an article titled ``Roy Lichtenstein, Copyright Thief?" ``I was struck by the fact that Lichtenstein was never sued for copyright infringement," Weissburg wrote. ``Under copyright law if you copy a protected work without permission you are breaking the law . . . . The Copyright Act also prohibits what are called `derivative works.' These are works that play off of or incorporate or embellish another work. Virtually every one of Lichtenstein's paintings was either an out and out copy or at least a derivative work."

 

YOUR VIEW?: Is Lichtenstein's work "copying? Does that affect your view of his work?

 

Intellectual property attorney Stacy Friends agrees. ``It is just like sampling, and this is considered `stealing , ' " she says. ``The question to be asked is why people who clearly had a right to sue chose not to. In the time period that we are talking about, there might have been some historic leeway for fine art." It is possible that a copyright holder did threaten to sue, and instead reached a private settlement, she speculates. It is now a moot point. The statute of limitations for copyright infringement is three years.

 

Comic book companies owned the original copyrights. DC Comics declined to comment for this article. Russ Heath, a DC artist whose work Lichtenstein used, says the publisher was never interested in suing Lichtenstein, probably because there wasn't much money to be made. ``He never even had me over for a cocktail, and then he died. So I guess I'm out of luck."

 

Ninety-year-old artist George Tuska couldn't come to the phone, but his wife, Dorothy, says they had no idea that a 1961 Buck Rogers panel drawn by her husband became ``Emeralds," a valuable Lichtenstein canvas. ``Oh my God," she says. ``That is unbelievable." Sotheby's sold ``Emeralds" to an anonymous buyer for $1.6 million in 1999.

 

One artist whose work Lichtenstein appropriated, Joe Kubert , says he doesn't care. ``My focus is on what is happening today." As it happens, the Lichtenstein Foundation uses an exact copy of a Kubert picture of a fierce dog, titled ``Grrrrrrrrrrr!!" to illustrate a warning to copyright violators on its website. Grrrrr indeed.

 

``Nobody seemed to raise this issue way back when," says the Foundation's Cowart. ``This wasn't supposed to be about exploiting the exploited. We are all in favor of having the drawers and writers receive as much credit as humanly possible. We owe them esteem but can't pay them back for the royalties they might have received."

 

www.boston.com/news/globe/living/articles/2006/10/18/lich...

 

Imagine after all these years.... he even got his art on Burger King promos

  

DECONSTRUCTING ROY LICHTENSTEIN

 

The idea and concept for "DECONSTRUCTING ROY LICHTENSTEIN" began in the Fall of 1979. It started as a research project I presented on Roy Lichtenstein, Mel Ramos, and Andy Warhol. Each artist in the early 1960's was using comic book imagery in their work. I began searching for the individual comics which contained the original images. Since then I have located over 90% of the originals. In 1979 their were only three published Lichtenstein sources "GIRL WITH BALL", "THE WHOLE ROOM", and "IMAGE DUPLICATOR". With none for Ramos, and Warhol. The very first image I found was "GOOD MORNING DARLING" in 1978.Since then I have examined over 25,000 comic books...and the search goes on! Many thanks to Professor Sherry Buckberrough for her support and inspiration in Contemporary Art."THIS PROJECT ORIGINATED IN YOUR CLASS!".

  

DAVID BARSALOU

Phone: 413-787-7220

Fax: 413-787-7041

deconstructingroylichtenstein@hotmail.com

  

"DECONSTRUCTING ROY LICHTENSTEIN" IS A REGISTERED TRADEMARK OF ARTIST

DAVID BARSALOU

ALL RIGHTS RESERVED 2000

 

*

Akkam’s Razor

Providing Contrarian Nonsense since 1974

*

DECONSTRUCTING ROY LICHTENSTEIN

Looks like he was a panel swiper, too.

(tags: art comics lichtenstein design illustration comic artists)

* www.akkamsrazor.com/

  

adistantsoil.com adistantsoil.com/blog/?m=200610

Comics, Graphic Novels, Pop Culture discussion. Meeting place for fans of Colleen Doran’s A Distant Soil series published semi-annually by Image Comics. Also check out Colleen’s work at Marvel Comics on The Book of Lost Souls, written by J Michael Straczynski. For more information about Colleen’s hundreds of credits, including Neil Gaiman’s Sandman, visit her official website at www.colleendoran.com. Direct email colleen@adistantsoil.com

18 October 2006

Deconstructing Lichtenstein

 

An art teacher has catalogued almost every comic art swipe in the work of pop artist Roy Lichtenstein who made his name copying comic book panels and selling them as fine art. Lichtenstein paintings sell for millions, yet the original artists have received no compensation or recognition, including Russ Heath, George Tuska, and Joe Kubert.

 

While most artists would be sued for plagiariasm, Lichtenstein skated away scott free. Not one of the cartoonists, nor comc book publishers, ever sought compensation from Lichtenstein. Some did not even know that their work had been used in his paintings.

 

From : bethany freeman

Sent : Sunday, January 1, 2006 3:47 PM

To : deconstructingroylichtenstein@hotmail.com

Subject : Information

Hello my name is Bethany Freeman and I came across your site and I was wondering if you could tell more about Roy Lichtenstein and yourself. Because I am a bit confused. Are you saying that Roy had taken his earlier work from comic books and created them into his masterpieces ?

Kind regards and thank you for your time.

Bethany Freeman

  

Big blog is watching you

  

12 Dezembro 2005

Deconstructing Roy Lichtenstein

Um projecto de David Barsalou que recolhe vinhetas das BD's originais de autores como Mike Sekowsky, George Tuska, ou Jack Kirby de que Roy Lichtenstein se apropriou, usando-as na sua obra. Barsalou, por sua vez, "apropria-se" de um conceito de Jacques Derrida.

 

blinkingline.typepad.com/blinkinglineblog/2006/10/deconst...

 

blinkinglinejournal

blinkingline is about the most random collection of utterly useless crap on the web

 

« thugz n' harmony | Main | coffee in portland »

12 October 2006 | Permalink

 

THE IDEA AND CONCEPT FOR

"DECONSTRUCTING ROY

LICHTENSTEIN" BEGAN IN

THE FALL OF 1979. IT

STARTED AS A RESEARCH

PROJECT I PRESENTED ON ROY

LICHTENSTEIN, MEL RAMOS,

AND ANDY WARHOL WHILE

A STUDENT AT HARTFORD

ART SCHOOL. EACH ARTIST

IN THE EARLY 1960'S

WAS USING COMIC BOOK

IMAGERY IN THEIR WORK.

I BEGAN SEARCHING FOR

THE INDIVIDUAL COMICS

WHICH CONTAINED THE

ORIGINAL IMAGES.

SINCE THEN, I HAVE

LOCATED OVER 90%

OF THE ORIGINALS.

IN 1979 THERE WERE

ONLY THREE PUBLISHED

LICHTENSTEIN SOURCES

" GIRL WITH BALL",

" THE WHOLE ROOM ",

AND "IMAGE DUPLICATOR ".

WITH NONE FOR RAMOS,

AND WARHOL.

THE VERY FIRST IMAGE

I FOUND WAS "GOOD

MORNING DARLING"

IN 1978.

SINCE THEN I HAVE

EXAMINED OVER 25,000

COMIC BOOKS...

AND THE SEARCH GOES ON.

 

MANY THANKS TO

PROFESSOR

SHERRY

BUCKBERROUGH

FOR HER SUPPORT

AND INSPIRATION

IN CONTEMPORARY

ART. "THIS

PROJECT

ORIGINATED IN

YOUR CLASS!!"

 

DAVID BARSALOU

VISUAL ARTS DEPT. CHAIR

HIGH SCHOOL OF COMMERCE

415 STATE STREET

SPRINGFIELD, MASS. 01105

(413) 787-7220 ext. 4301

barsaloud@sps.springfield.ma.us

  

blinkinglinejournal

www.blinkingline.org/

 

blinkingline is about the most random

collection of utterly useless crap on the web

deconstructing roy lichtenstein

 

for anyone that's a fan of pop artist roy lichtenstein, you might be interested to see

this look at side by sides of the original source material of several of his works:

12 October 2006

  

www.boingboing.net/2006/10/11/roy_lichtenstein_swi.html

Wednesday, October 11, 2006 Roy Lichtenstein swipes

David Barsalou collected the source images for dozens of Lichtenstein

paintings and presented them side-by-side. Link

posted by Mark Frauenfelder at 09:28:52 AM permalink | Other blogs' comments

 

Deconstructing Roy Lichtenstein

October 11th, 2006 christianpatterson.com/blog/archives/173#comments

 

Continuing with the pop-art posts…

 

David Barsalou has located many of the original comic book source images used by pop artist

Roy Lichtenstein and produced a web page featuring side-by-side comparisons.

 

One Response to "Deconstructing Roy Lichtenstein"

 

1. greg Says:

October 11th, 2006 at 7:35 pm

 

hey, this is really interesting. thanks

 

From : Chloe Kruppa

Sent : Monday, February 6, 2006 7:48 PM

To : deconstructingroylichtenstein@hotmail.com

Subject : Hello there

 

Hello, could you please e-mail me the picture of Mickey Mouse and Donald Duck as I need them for my studies on Roy Lichtenstein!

If you could that , it would be very helpful.

Thank you very much

 

Chloe

 

Classic Comics Pet Project

www.penciljack.com/forum/archive/index.php/t-65791.html

 

e_t_i

02-21-2006, 08:27 PM

This site has some source images, and artworks made from them :)

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

 

Inkthinker

02-21-2006, 10:12 PM

tboardman, are you sure you didn't see a Lichtenstein (http://en.wikipedia.org/wiki/Roy_Lichtenstein) print?

Vicky! (http://www.image-duplicator.com/main.php?work_id=0248&year=1964&decade=60)

As I Opened Fire... (http://www.image-duplicator.com/main.php?work_id=0074&year=1964&decade=60)

Sweet Dreams (http://www.image-duplicator.com/main.php?work_id=3539&year=1965&decade=60)

It's not a hard style to replicate...

tboardman

   

02-22-2006, 01:28 PM

Great sources guys, thank you so much. It's funny though... what I have in mind is all the stuff on the left, not Lichtensteins versions on the right. Anyone know the artists he's using for sources?

Thank you again for taking the time to help me :)

 

Pep

02-23-2006, 04:32 AM

Lichtenstein did his own work as far as I know and he painted every single dot too. Guy was completely bonkers.

 

e_t_i

02-23-2006, 07:55 AM

I've seen films of Lichtenstein at work. He used stencils for the dots.

Seurat, not Monet, painted with dots of paint. Yeah, THAT is nuts.

 

Inkthinker

02-23-2006, 09:26 AM

Lichtenstein did indeed paint his own works, but he used existing comics panels as guidelines for the art (as seen in one of the links there).

vBulletin v3.5.3, Copyright ©2000-2006, Jelsoft Enterprises Ltd.

 

comic-forum.com

Promoting comic chat for comic fans.

www.comic-forum.com/marvel/NYC_Gallery_show_honors_female...

 

That's so missing the point of post-modern art it's ridiculous. It's all about

blurring the boundaries of high and low art. Warhol chose a Campbell's soupcan, not as a "source", but as a deliberate tactic of taking the ordinary and putting it into a different context. That is one of the main elements of modern art - the ordinary IS art if you look at it differently.

Lichtenstein is slightly different - he took "disposable" art and created

something unique. That's no particular statement on comic art one way or the other.

I think that those of us who don't care for Lichtenstein's

"art joke" recreations of panels of comics stories have some good

reasons. A political cartooninst who wants to make a point by using

someone else's work [example: drawing G W Bush as Charlie Brown and

Osama bin Laden as Lucy van Pelt pulling the football away from

the placekicking Chuck/George, complete with "Aaaaarrrrrgggghhhh!]

will, if he possesses any grace, credit his source. ["Apologies

to Schulz."] Lichtenstein never even bothered to find out who he was swiping from, and by the device of ironic copying of comic strip

or comic book panels at several times their printed dimensions,

received many multiples of the meager page-rates the original

artists were paid. Mark Evanier put it well:

"... When Lichtenstein replicated a Russ Heath comic book panel, he

was selling a visual that Heath conceived and transferred to paper,

but doing so with neither credit nor payment to Heath.

That Lichtenstein's work has a standalone merit is not, I think, in

dispute. Though I suspect his popularity was based more on transitory

fad than on substance, people did buy his work and cram into galleries

to view it. Apparently, they still do, so I wouldn't question that he

did make people look at something from a new perspective. I just feel

that he crossed the line between taking inspiration from an existing

source and passing someone else's work off as his own." From:

www.newsfromme.com/archives/2004_05_17.html#004139

 

A fellow named David Barsalou even put out an exhibit of the original

panels Roy nicked, albeit digitally converted to mimic the sizes

R.L reproduced his canvases at!

www.homestead.com/davidbarsalou/roylichtenstein.html

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

Warhol's "borrowing" was in someways less egregious. When he

put Superman in a painting, you knew who he was swiping from.

Comics fans like us could even say "hey, that's a Curt Swan/

George Klein pose from Action #$$$!" Was it Swan's/Klein's

fault that they had no enforceable rights to stop the use of

their work without their permission, and that their employer,

National, figured that the cachet that might come from being

associated with a hip art trend outweighed the negligible payment

they might extract from the Factory?

I was amused when, a few years after Warhol's death, one of the

comics `zines (I'm thinking "The Comics Journal") busted the

producers of a catalog of items to be sold from the Warhol estate.

All other things being equal, an earlier work will fetch a higher

price. TCJ, if it was them, caught the salesfolk attributing

a work as, let us say, from 1964, that could not possibly have been

that early, as the Superman original Warhol mimicked had not as yet

been drawn, let alone published.

Warhol was always nine parts grifter, so it fit.

 

www.worldfamouscomics.com/news/

   

Lichtenstein: creator or copycat?

Oct 18 1:46 AM -- Boston Globe

Art teacher David Barsalou has an interesting avocation. He has found and catalog ed almost every comic book panel later blown up and sold for megabucks by 1960s Op Art icon Roy Lichtenstein. So far, Barsalou has about 140. You will see a sample on this page, or go to his website, Deconstructing Roy Lichtenstein...

 

blog.360.yahoo.com/blog-D7cEsqYia6eDbm4fxf3vLiTbPBFK?p=336

  

Deconstructing Roy Lichtenstein

  

jemand hat comicbilder gesammelt, die werken von roy lichtenstein zugrundeliegen. interessant!

[klicken du getz hier.]

 

Thursday October 12, 2006 - 01:43pm (CEST)

 

DECONSTRUCTING ROY LICHTENSTEIN TAGS

analysis and art comicbooks comics comparison copy deconstructing humour kunst lichtenstein picture pop popart sites sourcematerial sources

 

From : Eric

Sent : Wednesday, October 11, 2006 10:42 PM

To :

Subject : WOW! I never knew.

  

David,

For years I have been a fan of Lichtenstein’s work and today a little bit of that fandom has died.

This afternoon I happened across a BOINGBOING article on your Deconstructing Lichtenstein webpage!

www.boingboing.net/2006/10/11/roy_lichtenstein_swi.html

I had no idea Lichtenstein did not create these famous images on his own!

Thank you for making these ‘swipes’ available and for all your research!

Sincerely,

 

Eric

           

esquina *

ezquina.blogspot.com/2004/10/deconstructing-lichtenstein-...

 

13.10.04

 

Deconstructing Lichtenstein es un proyecto de David Barsalou que recopila los comics originales en los que se basó Lichtenstein para la creación de sus conocidos cuadros pop.Barsalou revisó durante los últimos 25 años, cerca de 30.000 comics buscando estas imágenes.

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

posted by esquina @ 10:17 AM

 

vroom-tchac-zowie.blogspirit.com/archive/2005/06/03/decon...

 

> Et pour continuer Deconstructing Lichtenstein, le projet de David Barsalou qui a passé ses vingt-cinq dernières années à étudier l'art de Roy Lichtenstein. Ce professeur a dépouillé plus de 30 000 comics pour retrouver les vignettes dont l'artiste pop s'est inspiré pour ses peintures. En décembre 2002, il a exposé à la Gallerie Arno Maris (Massachusetts) des agrandissements de ces cases pour donner l'impression qu'il s'agissait des toiles de Lichtenstein. Aujourd'hui, son site offre une confrontation directe entre les cases de comics originale, publiés entre 1961 et 1965, et les peintures de Lichtenstein. Pour de plus amples informations sur ces emprunts aux comics, on pourra allez faire une petite visite du site Image Duplicator, mis en place par la Fondation Roy Lichtenstein, sur lequel sont recencées toutes les oeuvres du peintre américain (et pour certaines inspirées par la bande dessinées, les références et images détaillées des sources).

[par Le Télégraphiste]

   

Acuarela

Roy Lichtenstein, Deconstructed

aquarel.blogspot.com/2006/01/roy-lichtenstein-deconstruct...

 

Have you ever wondered where did all the images used by Roy Lichtenstein in his works come from? Now there is an easy way: just browse the Flickr collection called Deconstructing Lichtenstein. At the moment there are over 100 images, where you will find all the familiar comic strips, ads and other popular culture paraphernalia that ended up, enlarged and altered, in Lichtenstein canvases, drawings and printed work.

posted by Joan at 29.1.06

 

www.thenoiseisthemassage.org/2006/02/22/rumori-interni-2-...

Rumori interni 2: Pop Art

Roy Lichtentsein

 

Il confronto tra un dipinto di Roy Lichtenstein (sulla destra) e l’immagine originale da cui Lichtenstein ha preso spunto. [ via Deconstructing Lichtenstein ]Lichtenstein utilizza la retinatura tipica della stampa degli albi a fumetti esasperandola e crando un gigante effetto cartoon.

In generale il lavoro degli artisti della Pop Art consiste nell’esasperare i rumori della comunicazione publicitaria facendoli diventare forma d’arte indipendentemente dal messaggio trasmesso. Nel suo complesso la Pop Art costituisce una sorta di fotografia dei rumori che identificano la comunicazione del periodo che va dagli anni sessanta agli anni ottanta

Ultima cena

 

David Barsalou

barsaloud@hotmail.com

davidbarsalou.homestead.com/lichtensteinproject.html

davidbarsalou.homestead.com/jerrykearns.html

 

David Barsalou

www.umassmag.com/nypop/barsalou.htm

David studied independently with Jerry Kearns in the NYPOP program from 1995-97. He is now visual arts department chairman at the High School of Commerce in Springfield, Mass. He has been working on the "Deconstructing Roy Lichtenstein" site since 1997.

  

heartstarters for the hungry mind

« Grokster crockster nowster

A pause to hammer the sump »

RATATATATAT take that arts superhero!

 

THE-WHOLE-ROOM.gif

 

I’ve always liked those large colourful Roy Lichtenstein prints, almost as big as a small country. The one above is nicely witty above the fireplace. Ha Ha, we are not really here!

 

But I had never stopped to work out where he got them from. I just assumed he drew them, and they are so transparent we don’t turn to critics to Find The Meaning.

 

It turns out they are almost exact copies of existing commercial images in ordinary comics, and someone called David Barsalou has hunted the originals down, and put both up for us to compare.

 

It took him 25 years and 30,000 comic books.

 

You know what? The originals are better - as Linkmachinego explains.

 

Do you think Roy shared the profits?

 

Here’s what one US academic has to say about Roy:

 

“Roy Lichtenstein’s distinctive paintings of the early 1960s are synonymous with the Pop art movement. These bold, oversized images inspired by newspaper advertisements and comic book scenes have been taken as reflecting the artist’s fascination with the links between art and popular culture.

 

In this book, Michael Lobel challenges this circumscribed view of Lichtenstein’s work, offering a set of compelling new interpretations that reveal the artist’s confrontation with a far wider range of issues.” This illustrated book makes available for the first time an array of archival materials about Lichtenstein and his work, including photographs of the artist and many newly discovered sources for his imagery in the comics and advertisements of the early 1960s. It also provides new information on the context of the artist’s Pop paintings in relation to contemporary developments in advertising culture, mechanical reproduction, and visual technologies.”

 

I think that is a misuse of the phrase “inspired by”.

 

Also at Metafilter.

 

This entry was posted on Wednesday, June 29th, 2005 at 12:17 am and is filed under visual media. Y4 Responses to “RATATATATAT take that arts superhero!”

1. ej Says:

July 1st, 2005 at 6:41 am

welcome back. Brilliant! and what sleuthing. Did Barsalou have an army of kids working for him on subsistence wages? Or has some nerd captured the entire comic book genre digitally, now deposited in the basement of the Smithsonian as raw material for future inter-galactic visitors to Planet Earth?

 

From : Frankie

Sent : Friday, February 17, 2006 12:58 AM

To :

Subject : NEED PICTURE!

 

Hello,

 

I was wondering if you could provide pictures of the man in the suit kissing the blonde woman with red & black rays in the background. I'm getting this piece tattooed and I need a full size and full color picture of it. Please help if you can...thanks!

 

-Frankie

  

Hobbyette

tovalidateme.blogspot.com/2006/01/lichtensteins-nightmare...

 

the blog: words of a creature of hobby

Thursday, January 05, 2006

lichtenstein's nightmare

one night, he dreamt a terrible dream: computers now made art, and little children everywhere were turning his tricks against him

 

DECONSTRUCTING ROY LICHTENSTEIN

 

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

 

www.flickr.com/photos/deconstructing-roy-lichtenstein/

 

www.valleyadvocate.com/gbase/Arts/content?oid=oid:688

 

davidbarsalou.homestead.com/roylichtenstein.html

 

davidbarsalou.homestead.com/roylichtensteinsee.html

posted by Karen at 2:28 AM

  

Pop Snark Hooligan! Comics, Movies, Music, Books, Politics, General Snarkiness... and we're cute too! dan-traeger.blogspot.com/

Wednesday, October 18, 2006

Deconstructing Deconstructing LichtensteinI'll admit this right up front. Roy Lichtenstein was not my favorite artist. It never set right with me that he didn't credit the original artists whose work he was using, and I always found his line work far inferior to the original comics panels he was using. Still and all, his artwork was unique and over the years, I have found several of his pieces that I quite like. I do know that I appreciate the statement he was making with his reproductions, and I really enjoy the controversy over his work that goes on even today, seven years after his death.So, it strikes me as kind of funny that David Barsalou should obsess about Lichtenstein's paintings to the point that he would put up a web site devoted to pairing blow ups of the original comics panels with poorly reproduced, micronized pictures of the original Lichtenstein paintings. The site is badly put together, but as the main point of this article, you can take a look at it at Deconstructing Lichtenstein. See, here's the thing... if you're going to deconstruct the work of an artist, any artist, you make a much better argument if you're fair about your criticism. The very act of blowing up these comics panels, and drastically reducing the size of the Lichtenstein paintings has the effect of completely screwing up the artwork for comparison contrast.

 

In the case of the comics panels, the size change muddies the line work by taking it from its original published size to something approximating the size at which it was originally drawn. Normally this wouldn't be a problem, but here's the thing. Comic Books are a completely collaborative medium. When you show a comics panel, you are showing work by not only the artist that pencilled the panel, but also from the artist that inked it, the colorist, the letterer, and dare I say it, the writer who came up with the scene in the first place. If you're going to do a true comparison, perhaps a reproduction of the original art would be a bit closer to fair.

In the case of the Lichtenstein paintings, you run into some different problems. I've seen Roy Lichtenstein's comics reproduction work in person, and the first thing that hits you about them is their sheer size. By altering that size, you completely change the meaning of the work. What was once a celebration of the comics medium, and a scathing social commentary, is reduced to nothing more than a swipe. I submit that it's completely disingenuous to compare and contrast altered artwork. A person coming to Roy Lichtenstein's art for the first time via Barsalou's website could easily mistake Lichtenstein for a comics artist. He isn't, and never in his life did he claim to be.

Another thing that's really annoying about the Deconstructing Lichtenstein site is the watermarks that Barsalou plasters all over his scans of the comics panels. It's distracting, it's annoying, and it makes you wonder why he was so quick to deface those comics panels, but not the Lichtenstein scans. This shouldn't surprise me really, but it does. Does Barsalou have so little respect for the comics artwork he's showing? If that's the case, then the logical conclusion would be that this is merely an attack on Roy Lichtenstein's legacy, and not in fact a deconstruction. Of course since Barsalou credits none of the original artists on his site, I'm thinking either this is an attack, or he's just not finished building the site.

 

From : Inbar *

Sent : Monday, December 12, 2005 7:31 PM

To : deconstructingroylichtenstein@hotmail.com

Subject : RE: Use Permit for Pictures

  

Hello David,

 

Me again. First I wanted to thank you for allowing me to use the pictures for my paper, it’s been great help. But after speaking with my tutor who contacted the supervisor, a problem has occured.

The images are covered by copy-writing, in large letters. Its impossible to place the images within the paper that way even though you have given your permission.

I was wondering if its possible for you to remove it or size it down in a way that i’ts still there but less visible so it doesn't cover a magnificent part of the picture, and send it to me.

The only images that I'm particularly interested in are Lichtenstein's 'Takka Takka' and ' Look Mickey'.

 

Thanks again,

Inbar

 

Jacques de Beaufort

Deconstructing Roy Lichtenstein

I'm not really sure what this whole thing proves...but it's still interesting:

 

# Deconstructing Roy Lichtenstein

 

posted by Jacques de Beaufort at 10:43 AM 0 comments

Tuesday, October 10, 2006

10:43 AM 0 comments

 

www.jockohomo.com/2006_10_01_archiuum.html# 116126604023412560

Deconstructing Roy Lichtenstein

Art teacher David Barsalou has an interesting avocation. He has found and catalog ed almost every comic book panel later blown up and sold for megabucks by 1960s Op Art icon Roy Lichtenstein. So far, Barsalou has about 140. You will see a sample on this page, or go to his website, Deconstructing Roy Lichtenstein. Read deeper via Lichtenstein: creator or copycat? Copy, that's like saying Warhol copied the Campbells Soup Can. Jack Cowart, executive director of the Lichtenstein Foundation. He contests the notion that Lichtenstein was a mere copyist: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. Barsalou's thesis notwithstanding, the panels were changed in scale, color, treatment, and in their implications. There is no exact copy."

9:53 AM : Comments (6) | Trackback

 

"i don't care if i have a cramp... "

We finally know the truth!

A.J. | Homepage | 10.19.06 - 11:06 am | #

 

Roy Boy splits me down the middle - on one hand, I can appreciate what he did to raise the level of appreciation for comic art, but on the other, I can't help but think about all the original source artists who toiled under deadline-intensive work-for-hire conditions for $10 a page while Roy swam in his gold coin-filled safe a la Uncle Scrooge.

johnny | Homepage | 10.19.06 - 12:47 pm | #

 

The pop artists tried to show that art was around us everywhere... but really, in the case of Roy, it's actually rather condescending. Andy's Campbell soup cans commented on a design by an anonymous designer (also, Andy MOVED ON) who most likely didn't necessarily view their creation as "art" - whereas Roy is quoting the work of artists who are known and trying to make a living, and who do view their own work as art. Had he made two or three, or at the most one whole exhibit of his blown up panels, Roy would be making an interesting comment - but carried on through the years it's just a gimmick. The end result of 60's pop art should be that comic artists are uplifted in art history, which is not the case. The end result should be that he (Roy) is subtracted from text books, and the artists he bit from are put in his place. His work continues to be rather insulting to comic book artist, especially the ones who died in obscurity, despite their contribution to American culture and one of the few truly American art-forms - the comics.

 

Read my essay here:

www.postroadmag.com/11/cr.../ McGinnis.phtml

Ralph | Homepage | 10.19.06 - 2:39 pm | #

  

Okay, but no one mentioned that the image you chose was one of a good-looking man opening a glory hole. Now thats art!

Red