#Helidon

[whats-in-a-sentence]

But while Moppè was away, Somerville and his fellow run-hunters were doing their work in the once-forbidden valleys. Soon after Somerville set down at Tent Hill, James "Cocky" Rogers seized 30,000 acres over Lockyer Creek on behalf of his employer, George Mocatta. He called the run Grantham.

"Killing for Country: A Family History" - David Marr

[tenth-sentence]

The boundaries of the two were vague.

"Killing for Country: A Family History" - David Marr

[momamama]

[parasiml]

Top Microservices Frameworks to Build Scalable Applications - Read this blog about Top 6 Micro services Frameworks to Create Scalable and powerful Application tailored to your business needs. Contact expert at Ingenious Minds Lab today for a consultation.

[fashionbooksmilano]

Arte jeans

Il filo blu dell'arte contemporanea

a cura di Ursula Casamonti, Francesca Centurione-Scotto Boschieri

testi critici di Ilaria Bignotti

SAGEP Editori, Genova 2023, 88 pag., 23X28cm, ISBN 97912555900177

euro 22,00

email if you want to buy booksinprogressmilano@yahoo.it

In occasione di GenovaJeans 2023, con la mostra “ArteJeans 2023. Il filo blu dell’arte contemporanea”, giunge alla terza edizione, il progetto unico e innovativo di ArteJeans volto a presentare al pubblico le opere donate alla città di Genova da artisti italiani e internazionali, eseguite con l’utilizzo di tessuto jeans.

L’iniziativa è promossa dall’Associazione ArteJeans e seguita da un comitato critico composto da Ilaria Bignotti e Luciano Caprile, ed è stata fortemente voluta e facilitata da Ursula Casamonti e Francesca Centurione Scotto-Boschieri.

Sono 14 le nuove opere, donate da altrettanti artisti selezionati dal comitato scientifico: Akelo (Andrea Cagnetti), Marco Casentini, Sonia Costantini, Marcello De Angelis, Luca Giacobbe, Paolo Iacchetti, Franco Ionda, Rae Martini, Albano Morandi, Paolo Radi, Alfredo Rapetti Mogol, Carlo Rea, Gioacchino Pontrelli, Helidon Xhixha. Esse saranno al centro della nuova esposizione, con un allestimento curato da Ursula Casamonti con Ilaria Bignotto, dove le new entries saranno affiancate alle altre opere già presentate nelle due edizioni precedenti, per un totale di 49 lavori oggi parte delle Collezioni Civiche.

02/03/24

[delectablywaywardbeard-blog]

Scultura Consciousness in nuova 'rotatoria d'arte' Pietrasanta

Con la posa della scultura in marmo ‘Consciousness’ di Helidon Xhixha, la realizzazione della rotatoria che dallo scorso maggio regola l’incrocio fra la Statale Aurelia, via Pontenuovo e via della Gora a Pietrasanta (Lucca) può dirsi davvero terminata.     “Un’opera che dona identità e bellezza a questa una nuova ‘rotatoria dell’arte’ – ha sottolineato il sindaco e assessore alla Cultura Alberto…

[testormblog]

The Outback

I thought Dad’s annual family rail pass to be a tremendous privilege.  So did he.  If only, he and Mother would visit interesting places.  I no longer wished to wade in Southport’s still water to Mother’s allowed depth of twenty centimetres.  Regrettably, Dad didn’t like leaving the local area except to go to his beloved races or Southport.  Perhaps, he believed he needed government permission.  Mother though wished to see outside our small corner of Queensland.  She had visited relatives scattered further afield.

Once, Dad did relent to Mother’s wishes.  He agreed we could take the train from Brisbane to Dirranbandi, though without my five year old brother.  I found this funny named place on the map in my purloined Queensland Rail Country Timetable Book, my Railway Bible.  We were going to the Outback!

The two days, we’d be away, didn’t seem a long time.  How wrong I’d be!  I was excited to be travelling a great distance, further than Toowoomba to where Mother and I had previously travelled.  I didn’t worry about where I’d sleep.  Afterall, one didn’t sleep on an adventure.

At 6 am, we caught the first City train, took a tram across the bridge from South Brisbane to Roma Street and connected with the mixed goods and passenger train to Dirranbandi.  The long train had goods wagons and first and second class carriages.  The carriages were identical except first class cost more.  Posh people didn’t want to sit with the riff raff, which was nearly everybody.  Dad’s pass entitled us to first class tickets and a whole compartment to ourselves.

The train’s C-16 steam engine made good time until it reached the base of the Great Dividing Range.  I loved the train’s rhythmic motion, its constant chugging noise and the whistles its engine driver blew.  I didn’t mind the coal soot that was sucked into our carriage.  I glued myself to the window.  I didn’t want the train to reach our destination.  That meant the wonderful sights flying past my window would end.

The Lockyer Valley’s market garden farms passed by.  Draught horses with ploughs toiled in paddocks.  Potatoes, cabbages and cauliflowers grew in orderly rows.  The pumpkin vines were disorderly, occupying whole paddocks.  The train crossed flowing creeks.  Everywhere was picturesque and green.  At Helidon, men coupled a second steam engine behind the guard’s van.  The front engine pulled and the rear engine pushed the train slowly around the mountain range’s bends.  I saw rainforest and waterfalls.  At Spring Bluff Train Station, close to the range’s top, I had a vast view of the valley below.

Then the train picked up speed until it arrived in Toowoomba.  At the city’s station, the second engine and some carriages were uncoupled.  Goods wagons were exchanged too.  A new crew started.  My family sat on a bench eating our packed lunch for the couple hours.

The train pulled out at dusk.  Darkness surrounded it; yet inside, it was dimly lit.  It crossed the Darling Downs wheatlands.  I had the strange sensation of moving through the blackness without having any sense of direction as to where I was going.  The train’s motion rocked me into a fitful sleep.  Each time it stopped at a station or a siding, I awoke with a start.  I peered through the window at wooden place name signs.  By the middle of the night, it chugged into the city of Warwick where more wagons were exchanged.

On and on the train travelled further west.  Just when I thought the night would never end, the sun peeped on the horizon at Inglewood.  I watched its fiery ball rise to heaven and paint the sky in brilliant orange.  The sky seemed wider here than at home and the sunrise more magnificent.

I was in the Outback!  The countryside was foreign to me.  Parched yellow grass and spangly grey bushes of lignum dotted the flat plains of black soil.  These stretched far and wide.  The creeks were dry beds of sand and the rivers mere streams.  The rivers’ names, the Macintyre, the Weir, the Moonie and the Balonne, meant nothing to me but later in life they’d indelibly inscribe themselves in my memory.

I thought the environment was inhospitable.  Yet, it was crowded with animals.  The land appeared to be rolling with mobs of hundreds of kangaroos hopping across it.  Before, I had only seen a kangaroo on the Australian penny.  Crows picked at the unlucky dead ones that had been caught in the railway fences.  Thousands of sheep grazed on the plains too, right up to the tracks.  Flocks of birds flew overhead.  To my delight, I saw a whole flock take off from the ground at once.  I identified galahs, budgerigars, cockatoos and quarrians.  If only I could trap some of these birds to take home.  So much money flew above me!

The train took on water and exchanged mail bags with stockmen on horseback at sidings and tinpot stations.  At Noondoo, it pulled up beside a huge homestead to offload supplies.  Amidst nowhere, a stockman waved the train down and boarded it carrying a saddle over his shoulder and meagre belongings in his hands.  His craggy face resembled the cracked earth of the plains.

The new day brought heat I hadn’t experienced before, and by midmorning, was burning hot.  When I jumped from the train in Dirranbandi at eleven o’clock, my eyeballs fried from the heat and glare.  On the platform, wool bales were stacked ready for loading.  The large station was a major hub in Australia’s wool empire during the 1950’s wool boom.  We were at the end of the line.  Dad felt homesick.  He had been away from home just over a day.  Fortunately for him, the train would depart for Brisbane in three hours’ time.

The town, if it could be called that, had two pubs, a few essential type businesses but nothing for us to see.  Dad went to Mc Gregor’s Hotel to quench his thirst and ease his homesickness whilst Mother and I found a cafe.  Good fortune shone on Dad there.  He stumbled upon the local police sergeant, whom he had gone to school with.

We departed on time at two.  Sunset happened at the same spot as sunrise.  Thus, I didn’t see the wheatfields on my return either.  After sixty hours travel, we arrived home in the clothes we started in.  Mother was keen to tell her clients she had travelled to places they hadn’t.  Dad swore he’d not leave home again.  I thought I’d never be lucky enough to go back.

Alas, those black soil plains wove a spell on me.  The saying, ‘Go west young man.’, wedged itself in the back of my mind.  When the chance to return came, I did.  Next time, I’d drive and would travel the route many times.  Thankfully, the round trip by road would be a shorter fourteen hours.

The Outback was a hot blooded temptress with a coin.  One side was marked fortune and the other, hardship.  I didn’t fear it.  The four years, I’d later spend in it, would determine how lucky I’d be in life.

[ericvanderburg]

Unveiling the Power of Helidon 4: A Dive Into New Features

http://securitytc.com/T0jDVn

[thesandstone23]

Navigating Choices: A Comprehensive Buyer's Guide to Choosing the Right Sandstone Blocks on the Sunshine Coast

Selecting the perfect sandstone blocks for your project is a crucial step in ensuring its success and longevity. The Sunshine Coast, with its diverse landscapes and architectural styles, offers a plethora of options when it comes to sandstone blocks. This buyer's guide aims to assist readers in making well-informed decisions, considering factors that go beyond aesthetics and delve into the specific needs and preferences of individual projects.

Understanding Variations in Sandstone:

The first step in choosing the right sandstone blocks is understanding the variations in this natural material. Sandstone comes in an array of colors, textures, and patterns, each reflecting the unique geological conditions in which it was formed. From the warm tones of Golden Beach Sandstone to the earthy hues of Helidon Sandstone, recognizing these variations allows buyers to align their choice with the desired aesthetic for their project.

Consideration of Project Requirements:

Different projects demand different qualities from sandstone blocks. For a retaining wall, structural integrity and load-bearing capabilities are paramount. In contrast, a decorative garden pathway might prioritize aesthetic features. By clearly defining the requirements of the project, buyers can narrow down their options and focus on sandstone blocks that align with the specific needs of their construction or landscaping endeavor.

Quality and Grade Assessment:

Not all sandstone blocks share the same level of quality. Buyers should pay attention to factors such as density, porosity, and overall durability. Higher density often indicates better durability and resistance to weathering. Additionally, understanding the grading system for sandstone blocks aids buyers in selecting materials that meet industry standards and project specifications.

Sourcing Locally for Sustainability:

Opting for locally sourced sandstone blocks not only supports the regional economy but also aligns with sustainable practices. Local sourcing reduces the environmental impact associated with transportation and ensures that the chosen sandstone is well-suited to the climatic conditions of the Sunshine Coast. Sustainability-conscious buyers can inquire about the origin of the sandstone and its extraction practices.

Budgetary Considerations:

While quality is paramount, it's also essential to consider budget constraints. The price of sandstone blocks can vary based on factors such as color, grade, and sourcing. Establishing a budget beforehand allows buyers to explore options that not only meet their project requirements but also align with their financial considerations.

Conclusion:

In conclusion, choosing the right sandstone blocks involves a comprehensive consideration of factors ranging from aesthetic preferences and project requirements to quality assessment, sustainability, and budgetary constraints. This buyer's guide serves as a roadmap for individuals navigating the diverse choices available on the Sunshine Coast. By making informed decisions, buyers can ensure that the selected sandstone blocks not only enhance the visual appeal of their projects but also stand the test of time in terms of durability and functionality.

[mrboulders]

https://boulderstone.com.au/helidon-sandstone-landscaping/

[craigbrownphd]

Java News Roundup: Helidon 4.0, Eclipse Serializer 1.0, JEPs for JDK 22

https://www.infoq.com/news/2023/10/java-news-roundup-oct23-2023/?utm_campaign=infoq_content&utm_source=dlvr.it&utm_medium=tumblr&utm_term=AI%2C%20ML%20%26%20Data%20Engineering-news

[pikasus-artenews]

XHIXHA. La reggia allo specchio L’artista albanese Helidon Xhixha si è fatto conoscere a livello internazionale per le sue grandi sculture in acciaio inox specchianti, dove i riflessi dei luoghi e delle persone attorno diventano parte integrante dell’opera stessa

[personal-reporter]

Per Aria Festival 2023 a Maranello

Dal 15 al 17 luglio a Maranello torna il Per Aria Festival, con spettacoli, performance, parate, piccolo circo per un festival con il naso all’insù. Sabato 15 luglio si comincia con Elisa Alcalde alle  21.30 al Parco Ferrari e il suo Dans mes cordes, cui seguirà domenica 16 luglio Fausto Giori sempre alle 21.30 con Psycho Chicken e il 17 luglio il Mago Mancini sul Sagrato della Chiesa Parrocchiale con il Mago Mancini Show. A circa 16 km a sud di Modena, tra la pianura e le colline dell’Appennino, si trova Maranello, conosciuta in tutto il mondo perché sede della prestigiosa casa automobilistica Ferrari ma anche per la sua appartenenza al comprensorio ceramico, con i comuni di Sassuolo e Fiorano Modenese. Ritrovamenti archeologici collocano l’esistenza della cittadina già nell'età del bronzo, ma numerosi reperti testimoniano che questa zona è stata abitata anche in epoche precedenti. Situato in una posizione ai piedi dell'Appennino tosco-emiliano e attraversato dalla settecentesca via Giardini, Maranello è stato nei secoli luogo di villeggiatura per la nobiltà e la borghesia modenese che qui scelsero di stabilire le proprie dimore in ville signorili. Da quando, nel secondo dopoguerra, Enzo Ferrari ha deciso di trasferire la sede della sua azienda fuori Modena, la storia di Maranello è legata ad una realtà destinata negli anni a diventare un’eccellenza a livello mondiale. Nel Museo Ferrari di Maranello si raccontano la Ferrari di oggi e di domani, tra le Formula 1 più celebri e vittoriose, i modelli delle categorie Sport Prototipi e Gran Turismo e i più significativi tra quelli da strada. Non manca la possibilità di provare i simulatori di guida o un pit stop con cambio gomme, per due esperienze che lasciano il segno. Contemporaneamente è possibile avere accesso agli stabilimenti Ferraro grazie ad un tour panoramico in navetta lungo il viale Enzo Ferrari all’interno della fabbrica da abbinare alla Pista di Fiorano. Di particolare interesse sono le strutture realizzate da celebri architetti del calibro di Renzo Piano, Massimiliano Fuksas, Jean Nouvelle, Marco Visconti e Luigi Sturchio  come  l’avveniristica Galleria del Vento, progettata appunto da Piano, dove i tecnici collaudano l’aerodinamica delle vetture da corsa. Situata nel cuore del paese, la chiesa di Maranello è aperta al culto nel 1899, qui le campane suonano ogni volta che la Ferrari porta a casa una vittoria. La Maranello Biblioteca Culturale, ideata dall’architetto giapponese Arata Isozaki e da Andrea Maffei, è sede della biblioteca comunale di Maranello e ospita incontri, mostre e attività culturali Molto suggestivo è il Cavallino rampante gigante, realizzato in acciaio inox, alto 5 metri per 800 kg. di peso. L'imponente scultura è stata collocata il 14 ottobre 2003, dopo la vittoria della Ferrari del mondiale di F1 2003, nel centro della rotonda di Via Circonvallazione Est, ed è stata donata al Comune di Maranello dallo scultore di origine albanese Helidon Xhixha. Read the full article