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Nice Free Photo Editor photos

Check out these free photo editor images:




ezimba-web- Shapes 3D Book Box Last 2 Images
free photo editor
Image by krossbow
ezimba is a web site that can apply different imaging effects.
www.ezimba.com/index.html

I used one picture for all the effects just for consistency for comparison. The title for each photo consists of the category of the effect and the name of the effect. Some effects would be better used on a different image. There are some effects also that appear to do the same thing in different effect categories.

Ezimba also has a Facebook app, Google Android app, and a free iPhone app. Please note that the free iPhone app puts a small logo on the edited image. You can buy the paid ezimba app and not have the logo.



This photo has been used in the following blog(s):

appsnail.com/iphone/iphone-apps/bluetooth-headphones/

Confederate requisition signed by Turner Ashby (1 of 2)

Check out these photo creator images:


Confederate requisition signed by Turner Ashby (1 of 2)
photo creator
Image by Special Collections at Wofford College
Title: Confederate requisition signed by Turner Ashby
Date Original: 1862-01-23
Description: Requistion receipt signed by Turner
Ashby, by which Mrs. Mary M. Cunningham furnishes a company with 20 bushels
of corn in consideration of 14 dollars. Formerly a United States form, in the
entitling "United" has been crossed out and replaced with "Confederate."

Creator: Ashby, Turner, 1828-1862

Subject(s): Ashby, Turner, 1828-1862
Confederate States of America -- Appropriations and expenditures
Confederate States of America--Armed forces--History--Sources.
Alternative Title: 080324-01
Publisher: Wofford College
Contributor: Captain Walter Bowen
Date Digital: 2008-09-03
Type: Text
Format [medium]: Manuscript
Format [IMT]: image/jpeg
Digitization Specifications: 800ppi 24-bit depth color; Scanned with
an Epson 15000 Photo scanner with Epson Scan software; Archival master is a
TIFF; Original converted to JPEG with Irfan View software.
Resource Identifier: 080324-01
Source: The original, accession number 080324-01, from which
this digital representation is taken is housed in The
Littlejohn Collection at Wofford College,
located in the Sandor Teszler Library.
Language:En-us English
Relation [is part of]:The
Littlejohn Collection
Rights Management: This digital representation has been
licensed under an Attribution
- Noncommercial- No Derivatives Creative Commons license.

Contributing Institution: Wofford College
Web Site: http://www.wofford.edu/library/littlejohn-home.aspx


Steven F. Udvar-Hazy Center: Northrop P-61C Black Widow (wing), with yellow Northrop N-1M Flying Wing and Japanese Nakajima J1N1-S Gekko "IRVING"
photo creator
Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Northrop N1M:

John K. "Jack" Northrop's dream of a flying wing became a reality on July 3, 1940, when his N-1M (Northrop Model 1 Mockup) first flew. One of the world's preeminent aircraft designers and creator of the Lockheed Vega and Northrop Alpha, Northrop had experimented with flying wings for over a decade, believing they would have less drag and greater efficiency than conventional designs. His 1929 flying wing, while successful, had twin tail booms and a conventional tail. In the N-1M he created a true flying wing.

Built of plywood around a tubular steel frame, the N-1M was powered by two 65-horsepower Lycoming engines, later replaced with two 120-horsepower Franklins. While its flying characteristics were marginal, the N-1M led to other designs, including the Northrop XB-35 and YB-49 strategic bombers and ultimately the B-2 stealth bomber.

Transferred from the United States Air Force.

Manufacturer:
Northrop Aircraft Inc.

Date:
1940

Country of Origin:
United States of America

Dimensions:
Wingspan: 11.6 m (38 ft)
Length: 5.2 m (17 ft)
Height: 1.5 m (5 ft)
Weight, gross: 1,814 kg (4,000 lb)
Top speed: 322 km/h (200 mph)
Engine: 2 Franklin 6AC264F2, 120 hp
Overall: 72in. (182.9cm)
Other: 72 x 204 x 456in. (182.9 x 518.2 x 1158.2cm)

Materials:
Overall: Plywood

Physical Description:
Twin engine flying wing: Wood, painted yellow.


Smithsonian National Air & Space Museum: Gift shop: Original model of the NCC-1701 Enterprise from the 1960s's "Star Trek" TV series
photo creator
Image by Chris Devers
See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | U.S.S. Enterprise Model, Star Trek:

This model of the fictional startship Enterprise was used in the weekly hour-long "Star Trek" TV show (NBC-TV), which aired from September 1966 until June 1969. Despite its short initial run (only three seasons), Star Trek became one of the most popular shows in the history of television. The show's depiction of a mixed-sex, racially-integrated, multinational crew and its attention to contemporary social and political issues pushed the boundaries of network television, earning Star Trek a dedicated fan base that lobbied for the franchise's continuation.

The Enterprise was meant to travel many times beyond light speed, powered by a controlled matter/anti-matter system, a propulsion concept "stretched" from a then-accepted theory. The fictional ship grossed 190,000 tons, and measured 947 feet long and 417 feet in diameter. The saucer-shaped hull included 11 decks, and had a crew complement of 430.

The model's principal designer, Walter "Matt" Jefferies, worked with concepts provided by Star Trek's creator Gene Roddenberry. At first, Paramount Studios constructed a rough 4-inch balsa and cardboard prototype. A 3-foot "pilot" model mostly of solid wood was then built by model-maker Richard C. Datin under subcontract to the Howard Anderson Company. Enlarging the plans for the 3-foot model resulted in the final 11-foot model shown here. The Anderson Company again turned to Datin who contracted it out to Production Model Shop of Burbank, California, with Datin supervising the construction while he did the detail work.

Paramount donated the model to the National Collection in 1974.

Manufacturer:
Richard C. Datin

Country of Origin:
United States of America

Dimensions:
Overall: 2ft 8in. x 11ft x 5ft, 200lb. (81.28 x 335.28 x 152.4cm, 90.7kg)
Other (engines): 6ft 1/4in. (183.52cm)
Other (central pod): 4ft 5 5/16in. (135.38cm)

Materials:
Primarily constructed of poplar wood, vacu-formed plastic, rolled sheet metal tubes for both the engine pods from the back of the struts to the start of the nacelle caps, and plastic for the main sensor dish and detailing (light covers, etc.). The front and rear of the engine pods or nacelles are of wood. The nacelle grill plates brass. Rolled steel wires were also inserted through its original pipe support for lights.

Gift of Paramount Pictures Inc.

Cool Photo Share images

Some cool photo share images:


Share Press Conference, Media Centar
photo share
Image by SHAREconference
Rafe Kaplan (Google)

Nice Photo Collage photos

Check out these photo collage images:


Intense Reds [Friday Flickr Photo Collage]
photo collage
Image by LethaColleen
Blogged

Please see blog post for the links to these very talented photographers!

[images by/belong to, top to bottom left to right: 1) cormend, 2) Greatestdancer, 3) Cre8ive-M, 4) judo_dad1953, 5) yein~, 6) Paco Alcantara]

Kremi Mineva (Violin), Clog Dancer); 2 Jan 2008

Some cool photo website images:


Kremi Mineva (Violin), Clog Dancer); 2 Jan 2008
photo website
Image by ~BC~
Per Hauberg, from Denmark, has given me permission to add his photo to this photo website. Here is a link back to his original photo:
www.flickr.com/photos/canonbamse/3982571272/in/set-721576...
You will find many additional photos taken by Per of Andre & the JSO musicans.

To see Kremi in a much larger photo, look above this photo & click on All Sizes; Now click on Original & you will now see Kremi is the largest, highest resolution photo on the internet.

MUSICOGRAPHY Here is a list of all the DVD's Kremi appears in, the most recent is on top....

Maastricht V aka Under the Stars

Home For Christmas

Roses From The South

Maastricht 4 aka A Midsummer night's Dream

My African Dream

Live in Australia

I lost my heart in Heidelberg

Live in Sydney 2009

Live in Maastricht 3
Live in Australia

Live in Maastricht 2

Live in Dresden aka Semperoper aka Dancing Through the Skies aka Ich tanze mit dir in den Himmel hinein aka Wedding at the Opera

Wonderland aka Eftling

Live in Vienna

New York Memories aka Live in New York aka Live At Radio City Music Hall

Schönbrunn
#13 Feast of Fire aka Feuerfest - Admires Rolands muscles

Songs From My Heart

New Years Eve in Vienna aka Silvester in Wien

New Years Eve Punsch aka Silvester Punsch

Flying Dutchman

Live in Dublin

100 Years of Strauss

Dreaming

Gala Concert
#5 Clog Dance - dancer

Royal Albert Hall

Romantic Moments



Cool Picture Framing images

Check out these picture framing images:




Picture Frame
picture framing
Image by enggul
"Mirror Mirror hanging on the wall
 You don't have to tell me whos the biggest fool of all...
"

            - Mirror Mirror, M2M

Cool Upload Image images

Some cool upload image images:


Parliament
upload image
Image by huskyte77
Uploaded with a demo version of FlickrExport.


Ramshakle Buildings
upload image
Image by huskyte77
Uploaded with a demo version of FlickrExport.

Nice Photo Processing photos

Some cool photo processing images:



夏か
photo processing
Image by Konstantin Leonov
Lens: Nikkor 50mm f/1.8D AF
Filter: Hoya polarizer
Aperture: f/8
Cam: Nikon D5100
RAW (NEF): air.oldstable.org/raws/natsu-ka.nef

post-processed:
ufraw: +saturation 1.2
ufraw: +gamma 1.0

This exact frame reminds me of film prints from the past. I loved to shoot sky on fujifilm superia 200. The prints were amazing back then.

07/09/26 15:47:22 SHANGHAI

Check out these photo equipment images:


07/09/26 15:47:22 SHANGHAI
photo equipment
Image by 2 dogs
The camera shop owner, Mr. Wang, is repairing a NIKKOR lense of some sort. He gives good service and he hangs out on 4th floor, booth no. 17. Worth to visit if stuff needs to be repaired/cleaned. (Xing Guang Photographic Equipment City/星光摄影器材城 at Xietue Rd/Luban Rd, Tel. 021-63058025)

Back of the LCD

A few nice digital picture frames images I found:


Back of the LCD
digital picture frames
Image by evansonline
The LCD was taped and secured to the matte border and the foam before being placed inside the frame
For more read, Brent's Geek Tonic Blog.

Day 1, heavy duty saw horses

Check out these photo equipment images:


Day 1, heavy duty saw horses
photo equipment
Image by andyburnfield
These are the best saw horses I ever used period. makes a great shooting table in conjunction with a 4'x4' piece of plywood. I have not been able to find these for sale any where since I bought them in 2004. If anyone knows where to buy these please let me know.


Old technology 4
photo equipment
Image by crabchick
Engineering students used to think this was "state of the art" robot technology


The ФУ
photo equipment
Image by friendly terrorist

Lectura Libro de Isaías 1,10-17. Obra Padre Cotallo

A few nice photo letters images I found:


Lectura Libro de Isaías 1,10-17. Obra Padre Cotallo
photo letters
Image by Jose Antonio Cotallo Lopez
Lunes 16 Julio 2012

Lunes de la decimoquinta semana del tiempo ordinario

Libro de Isaías 1,10-17.

¡Escuchen la palabra del Señor, jefes de Sodoma! ¡Presten atención a la instrucción de nuestro Dios, pueblo de Gomorra!
¿Qué me importa la multitud de sus sacrificios? -dice el Señor-. Estoy harto de holocaustos de carneros y de la grasa de animales cebados; no quiero más sangre de toros, corderos y chivos.
Cuando ustedes vienen a ver mi rostro, ¿quién les ha pedido que pisen mis atrios?
No me sigan trayendo vanas ofrendas; el incienso es para mí una abominación. Luna nueva, sábado, convocación a la asamblea... ¡no puedo aguantar la falsedad y la fiesta!
Sus lunas nuevas y solemnidades las detesto con toda mi alma; se han vuelto para mí una carga que estoy cansado de soportar.
Cuando extienden sus manos, yo cierro los ojos; por más que multipliquen las plegarias, yo no escucho: ¡las manos de ustedes están llenas de sangre!
¡Lávense, purifíquense, aparten de mi vista la maldad de sus acciones! ¡Cesen de hacer el mal,
aprendan a hacer el bien! ¡Busquen el derecho, socorran al oprimido, hagan justicia al huérfano, defiendan a la viuda!

Salmo 50(49),8-9.16bc-17.21.23.

No te acuso por tus sacrificios:
¡tus holocaustos están siempre en mi presencia!
Pero yo no necesito los novillos de tu casa
ni los cabritos de tus corrales.

Dios dice al malvado:
"¿Cómo te atreves a pregonar mis mandamientos
y a mencionar mi alianza con tu boca,


tú, que aborreces toda enseñanza
y te despreocupas de mis palabras?
Haces esto, ¿y yo me voy a callar?
¿Piensas acaso que soy como tú?
Te acusaré y te argüiré cara a cara.

El que ofrece sacrificios de alabanza,
me honra de verdad;
y al que va por el buen camino,
le haré gustar la salvación de Dios".

nonocot.blogspot.com.es/2012/07/lectura-lunes-16-julio-20...


-----------------------------------------------------------------------------------------------------------------------------------
Evangelización:
Badalona (Barcelona) , Baelo Claudia (Cádiz) ,Baena (Córdoba) , Barcelona ,Barciense (Toledo) , (Las) Batuecas (Salamanca) ,Baza (Granada) , Bejar (Salamanca) ,Belagua (Pamplona) ,Belorado (Burgos) , Benalmádena (Málaga) ,Benidorm (Alicante) , Bilbao (Vizcaya) , Bolonia (Cádiz) ,Borja (Zaragoza) , Briviesca (Burgos) ,Bubión (Granada) , Burgos , Burjasot (Valencia),
Cabra (Córdoba) ,Cabrera ,Cáceres ,Cádiz , Calahonda (Granada),(La) Calahorra (Granada) , Calpe (Alicante) , (El) Campello (Alicante) , Candelario (Salamanca) .





Libro di Isaías 10,5-7.13-16. Obra Padre Cotallo
photo letters
Image by Jose Antonio Cotallo Lopez
Mercoledì 18 luglio 2012

Mercoledì di lei quindicesimo settimana del mentre ordinario

Libro di Isaías 10,5-7.13-16.

¡Ay di Asiria! lui è lui bastón di mio ira e lei verga di mio furor il dentro suo mano.
io lo spedizione contro un nación impía, lo mando contro uno popolo che provocó mio furor. a saquear i danneggiare e arrebatar lui botín, e pisotearlo come al fango di lei via.
ma lui no lo entiende di questo tipo, no è questa lo che stesso propone: lui no piensa più...che dentro distruggere e dentro scopare un nación tras altro.
Porque lui ha dicho: "io ho obrado con lei forza di mio mano, e con mio freccia, porque io sono intelligente. ho desplazado lei frontiera di i popolo e ho saqueado suo riservare: come uno eroe, ho derribado a i che stesso sientan dentro trono.
mio mano volume come uno nido lei ricchezza di i popolo; come stesso juntan uovo abandonados, di questo tipo ho depredado tutto lei fondo, e no hubo nadie che batiera lei alas ovvero abriera lui becco a piar".
¿stesso vanto lui ascia contro lui leñador? ¿stesso envanece lei montagne contro lui che lei maneja? ¡come se lui bastón manejara al che lo empuña e lui battitoio alzare al che no è uno leño!
perciò lui signore di i esercito hará che lei malattia consumo suo vigore e di dentro suo carne hará arder un febbre, come lui ardor del fuoco.

Salmo 94(93),5-6.7-8.9-10.14-15.

essi pisotean a tu popolo, signore,
e oprimen a tu eredità;
matan a lei védova e al straniera,
asesinan a i orfano;

e exclaman: "lui signore no lo ve,
no stesso da conto lui Dio di Jacob".
¡Entiendan, i di più sciocco del popolo!
e il, senza senso, ¿quando recapacitarán?

lui che hizo lui ascolto, ¿no egli va a ascoltare?
lui che formó i occhio, ¿será incapaz di guardare?
¿lasciare di castigare lui che educa a lei naciones
e da a i uomo lui conoscenza?

Porque lui signore no rinuncia a suo popolo
ni deja desamparada a suo eredità:
lei justicia volverá a i tribunales
e i rectos di cuore lei seguirán.
-------------------------------------------------------------------------------------------------------------------------------------------------------
Evangelización:
Ancona,Bari,Bergamo,Bolonia,Brecia,Cagliari,Catania,Chieti,Ferrara,Florencia,Génova,L'Aquila,
Lecce,Macerata,Messina,Milán,Módena,Nápoles,Pádua,Palermo,Parma,Pavia,Perugia,Pisa,
Reggio-Calabria,Roma,Siena,Trento,Trieste,Turín,Venecia,Verona.



Lectura Libro de Jeremas 7,1-11. Obra Padre Cotallo
photo letters
Image by Jose Antonio Cotallo Lopez




Sábado 28 Julio 2012

Sábado de la decimosexta semana del tiempo ordinario

Libro de Jeremías 7,1-11.

Palabra que llegó a Jeremías de parte del Señor, en estos términos:
Párate a la puerta de la Casa del Señor, y proclama allí esta palabra. Tu dirás: Escuchen la palabra del Señor, todos ustedes, hombres de Judá que entran por estas puertas para postrarse delante del Señor.
Así habla el Señor de los ejércitos, el Dios de Israel: Enmienden su conducta y sus acciones, y yo haré que ustedes habiten en este lugar.
No se fíen de estas palabras ilusorias: "¡Aquí está el Templo del Señor, el Templo del Señor, el Templo del Señor!".
Pero si ustedes enmiendan realmente su conducta y sus acciones, si de veras se hacen justicia unos a otros,
si no oprimen al extranjero, al huérfano y a la viuda, si no derraman en este lugar sangre inocente, si no van detrás de otros dioses para desgracia de ustedes mismos,
entonces yo haré que ustedes habiten en este lugar, en el país que he dado a sus padres desde siempre y para siempre.
¡Pero ustedes se fían de palabras ilusorias, que no sirven para nada!
¡Robar, matar, cometer adulterio, jurar en falso, quemar incienso a Baal, ir detrás de otros dioses que ustedes no conocían!
Y después vienen a presentarse delante de mí en esta Casa que es llamada con mi Nombre, y dicen: "¡Estamos salvados!", a fin de seguir cometiendo todas estas abominaciones.
¿Piensan acaso que es una cueva de ladrones esta Casa que es llamada con mi Nombre? Pero yo también veo claro -oráculo del Señor-.

Salmo 84(83),3.4.5-6a.8a.11.

Mi alma se consume de deseos
por los atrios del Señor;
mi corazón y mi carne claman ansiosos
por el Dios viviente.
Hasta el gorrión encontró una casa,
y la golondrina tiene un nido
donde poner sus pichones,
junto a tus altares, Señor del universo,
mi Rey y mi Dios.

¡Felices los que habitan en tu Casa
y te alaban sin cesar!
¡Felices los que encuentran su fuerza en ti,
al emprender la peregrinación!
ellos avanzan con vigor siempre creciente
hasta contemplar a Dios en Sión.

Vale más un día en tus atrios
que mil en otra parte;
yo prefiero el umbral de la Casa de mi Dios
antes que vivir entre malvados.



nonocot.blogspot.com.es/2012/07/lectura-libro-de-jeremias...




----------------------------------------------------------------------------------------------------------------------------------
Evangelización:
Badalona (Barcelona) , Baelo Claudia (Cádiz) ,Baena (Córdoba) , Barcelona ,Barciense (Toledo) , (Las) Batuecas (Salamanca) ,Baza (Granada) , Bejar (Salamanca) ,Belagua (Pamplona) ,Belorado (Burgos) , Benalmádena (Málaga) ,Benidorm (Alicante) , Bilbao (Vizcaya) , Bolonia (Cádiz) ,Borja (Zaragoza) , Briviesca (Burgos) ,Bubión (Granada) , Burgos , Burjasot (Valencia),
Cabra (Córdoba) ,Cabrera ,Cáceres ,Cádiz , Calahonda (Granada),(La) Calahorra (Granada) , Calpe (Alicante) , (El) Campello (Alicante) , Candelario (Salamanca) , Capileira (Granada) , Carihuela (Málaga) , Cariñena (Zaragoza) ,Carmona (Sevilla)

THE 32ND ANNUAL CAN-AM INTERNATIONAL CHAMPIONSHIPS-NEW LOCATION RICHMOND OLYMPIC OVAL-Photos by Ron Sombilon Gallery-380

Check out these photo galleries images:


THE 32ND ANNUAL CAN-AM INTERNATIONAL CHAMPIONSHIPS-NEW LOCATION RICHMOND OLYMPIC OVAL-Photos by Ron Sombilon Gallery-380
photo galleries
Image by SOMBILON ART, MEDIA and PHOTOGRAPHY
The 32nd Annual Can-Am International Championships

Photos by Ron Sombilon Gallery
www.KenLowKungFu.ca

Follow RSG for more event coverage around the city
twitter.com/RON_SOMBILON

.

Nice Upload Photo photos

Check out these upload photo images:


Edge
upload photo
Image by Luke Stearns
Finally uploading photos from a short side trip: Ronchamp, France. This is the church Notre Dame de Haute at Ronchamp, by Swiss architect Le Corbusier. Here is the set, though I'd encourage a brief tour of the slideshow. Enjoy this famous and notable work of architecture!


P365x52-200: Dot’s goodbye party
upload photo
Image by kurafire
Dot! is moving to San Francisco tomorrow, so she’s having a big goodbye party tonight with a bunch of friends. And good friends are the foundation of a happy, healthy social life.


2013 Chevrolet Detroit Belle Isle Grand Prix
upload photo
Image by memories_by_mike
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. If you wish to license them for commercial purposes, want to purchase prints or are interested in commissioning me to take photos, please send me a Flickr mail or visit my website, www.memoriesbymike.zenfolio.com/, for contact information. Thanks.]

Nice Photo Editing photos

Check out these photo editing images:


iPhone photo / image editing test
photo editing
Image by Dean Terry
This is a composite iPhone photo and editing test.

The TOP image is the original iPhone image, and it is typically noisy (view full size to see noise level).

The MIDDLE was edited (levels, color balance) on the iPhone using Photogene iPhone app and still presents the same amount of noise.

The THIRD photo took the previous, Photogene altered image and, using Photoshop, ran a Reduce Noise filter with heavy settings, then doubled the image, blurred the top layer and set it to 'overlay mode' at 66% opacity. This is a pretty common method for making better, softer, smoky images. A much more rich, deep result.

iPhone image editing apps should consider adding noise reduction and automating some of the more common image enhancement tricks beyond just levels, even if they disguise it and call it something else.

See full rez : flickr.com/photos/therefore/3172156062/sizes/o/

Finally, one of the best ways to improve photos on the iPhone is to use an app that looks at the accelerometer to determine when you are moving the least. Try Steadycam. I use it instead of the built-in photo app.



Fantasmi e venti
photo editing
Image by bia.hvid
Edited in Photoshop

Nice Photo Funia photos

A few nice photo funia images I found:


Book with my picture
photo funia
Image by RichDelux


Eye
photo funia
Image by RichDelux
Can you see me in the reflection?


cnn
photo funia
Image by RichDelux
This one makes no sence at all

Cool Photo Development images

Some cool photo development images:


Human Development Report launch in Astana, Kazkhstan
photo development
Image by UNDP in Europe and Central Asia
Between 1980 and 2011, Kazakhstan’s life expectancy at birth increased by 2.1 years, mean years of schooling increased by 4.3 years and expected years of schooling increased by 3.5 years. Kazakhstan’s GNI per capita increased by about 137.0 per cent between 1995 and 2011.

Find out more about human development in Kazakhstan


Human Development Report launch in Astana, Kazkhstan
photo development
Image by UNDP in Europe and Central Asia
According to the HDR the status of Kazakhstan’s during the last 5 years is stable. Between 1980 and 2011 the life expectancy at birth has increased by 2.1 years, mean years of schooling increased by 4.3 years and country’s GNI per capita increased by about 137% between 1995 and 2011.

Find out more about human development in Kazakhstan

Cool Online Photo Edit images

Check out these online photo edit images:


Concentración por Tindaya. mayo 2013.
online photo edit
Image by Mataparda
El Monumento ya existe


El caso Tindaya. Algunas notas. febrero 2013 :: Tindaya case. Some notes. february 2013

ESPAÑOL
La Montaña de Tindaya es uno de los espacios con mayores niveles de protección legal del Archipiélago, por sus valores naturales y culturales. Es Monumento Natural (F- 6) por la Ley 12/94 de 19 de diciembre, de Espacios Naturales de Canarias. Es Bien de Interés Cultural según el art. 62.2. (a) de la Ley 4/99 de 15 de marzo, del Patrimonio Histórico de Canarias, al existir una de las estaciones de grabados rupestres más importantes de las antiguas culturas del Archipiélago. Es Área de Sensibilidad Ecológica por la Ley 11/90 de 13 de julio, de Prevención de Impacto Ecológico. En dicha montaña se encuentra la cuernúa (Caralluma burchardii), una planta protegida por normativa regional (y en amenaza de extinción), y los llanos que la rodean son Zona de Especial Protección para las Aves.

Proyecto de la familia Chillida

Pero Tindaya, desgraciadamente, se ha hecho famosa a nivel nacional por motivos totalmente ajeno a sus valores naturales y patrimoniales; otros intereses y otras situaciones han convertido la montaña mágica en un símbolo de la discordia, de la corrupción económica y, también, del “arte”. La propuesta del artista vasco Eduardo Chillida de horadar la montaña para hacer un cubo en su interior de 50 metros de lado, y dos grandes orificios que permitan ver al sol y la luna desde su interior, ha sido el motivo que ha hecho saltar la polémica. Dejando al margen los problemas de corrupción política y económica que han acompañado desde sus inicios a este proyecto, el debate sigue estando (aunque se hayan gastado unos 25.000.000€ "sin mover una piedra") en qué debe prevalecer, si el respeto a la integridad de la montaña o por el contrario la idea concebida en una noche de insomnio del genial artista. Son muchos los que consideran que la obra de Chillida aportará a Fuerteventura un lugar de honor en el mundo del arte y que ello justifica la realización del proyecto monumental de Montaña Tindaya. Por el contrario, un amplio sector de la sociedad canaria opina que el valor de su patrimonio es lo que convierte a esta montaña en un auténtico monumento natural digno de ser conservado para las generaciones futuras.

“Que Eduardo Chillida realice una gran obra escultórica en Fuerteventura me parece una cosa excelente, pero me resulta difícil aceptar que para ello haya que sacrificar un conjunto arqueológico singular, obviando además toda la protección jurídica al respecto”. Escribía estas palabras en 1996 el catedrático de la universidad de La Laguna Antonio Tejera Gaspar, pero los partidarios del proyecto artístico han rehuido el fondo del debate y dan por supuesto que una obra de arte del escultor más famoso de España justifica, sin más explicaciones o debates, el vaciado de la montaña. A los opositores se les descalifica por su incapacidad para apreciar la trascendencia de la obra artística. Tampoco han respondido a otros argumentos pues, según sus partidarios, a los grandes artistas no se les puede limitar con normas legales o consideraciones “ecologistas”. Chillida quiere ser el genio de la montaña, el hombre que transforma en patrimonio artístico lo que hasta ahora era una montaña que “sólo” destacaba por sus valores naturalísticos, etnográficos y arqueológicos.

Eduardo Chillida murió en 2002, tras unos últimos años en que sufrió Alzheimer. Ahora su familia continúa impulsando el proyecto, tras el cierre (por motivos económicos) de la casa-museo de Chillida (Chillida-Leku) en 2010.

Numerosos especialistas en derecho, urbanismo, arqueología, geografía, geología e, incluso, del mundo del arte, consideran que el proyecto de Chillida no es compatible con los niveles de protección que posee la Montaña y con sus auténticos valores, los cuales podrían quedar seriamente afectados o desvirtuados. Prueba de ello es que los promotores del proyecto (Gobierno de Canarias y Cabildo de Fuerteventura) ya han dejado de proteger y documentar dichos valores, en los cuales no se ha invertido un solo euro, ni se han favorecido los estudios científicos que profundicen en el conocimiento y la difusión de los valores patrimoniales de la montaña. Por el contrario, son muy evidentes el abandono y expolio de los restos arqueológicos, la negativa a delimitar el BIC, la indefensión de algunas especies como la propia Caralluma, como reconoce el propio proyecto monumental. En estos últimos años sólo se ha promocionado la obra escultórica de Chillida, con un escandaloso gasto o desaparición de 25 millones de euros. (El Gobierno admite un gasto de 25,7 millones en Tindaya)

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En julio de 2011, miembros de la comunidad científica presentaron a los medios un Manifiesto, firmado por artistas, historiadores, arqueólogos, geógrafos, biólogos, ingenieros, historiadores, antropólogos, directores de museos y bibliotecas, etc. 173 firmas en total.

Entre otras consideraciones, decían:

Porque consideramos que el proyecto actual ya no tiene que ver con la idea original de Chillida, pues el propio escultor ideó un proyecto limpio y respetuoso con el medio, y libre de sospechas de corrupción o negocios ilícitos, algo que, desgraciadamente, la realidad se ha encargado de contradecir.

Porque se sigue engañando a la sociedad con la viabilidad del Proyecto Monumental, mientras se sigue derrochando dinero público en un momento de grave crisis para el conjunto de la sociedad canaria. La realidad es que su viabilidad está cuestionada por graves dificultades de tipo legal, administrativo, económico y técnico, muchas no resueltas y otras imposibles de superar. Entre otras, cabe destacar:

a. El propio estudio de viabilidad reconoce textualmente que aún existen ciertas incertidumbres geotécnicas propias de la complejidad de todo proyecto de obra subterránea. Muchas de estas incertidumbres no podrán ser resueltas de manera satisfactoria hasta que se realice una galería piloto (Fase IV), o incluso hasta la construcción de la escultura.

b. El primer estudio de Impacto, dice explícitamente, que sin una actuación global de recuperación del entorno de la montaña, la obra de Chillida en sí, sería ambientalmente insostenible. Hay que recordar que dicho proyecto global ha sido eliminado en el segundo proyecto.

c. Desde el punto de vista económico, el proyecto señala que se deberá valorar la introducción de una componente variable respecto al presupuesto final de realización de la escultura, debido al carácter artístico y a la incertidumbre asociada a toda obra subterránea, para que el posible acuerdo con un futuro concesionario-gestor permita asumir un aumento del presupuesto por estos motivos artísticos. A esa incertidumbre, expresada por el propio proyecto hay que unirle la derivada de la aguda crisis actual. Es difícil pensar que alguien invierta 76 millones de euros a cambio del compromiso de la gestión del monumento, con el fin de amortizar el gasto y obtener beneficios en unos 15 años. Poco después del acuerdo con la familia Chillida, el consejero Domingo Berriel, ya apunta otras posibles fórmulas de financiación, en caso de inviabilidad económica y habla de un estudio económico financiero que nadie conoce. La situación de estos megaproyectos culturales es tan delicada, que la familia del escultor acaba de cerrar el emblemático museo Chillida Leku, por quiebra económica. Así y todo, el gobierno de Canarias les otorga el 50% de la representación de la futura fundación de gestión de la obra.

d. Existen muchas incertidumbres legales, aún no resueltas y pendiente de sentencia, como la que recurre los primeros actos administrativos que inician el expediente de Tindaya, en uno de los cuales participó el propio Domingo Berriel, actual consejero de Medio Ambiente del Gobierno y promotor de la obra de Chillida. Otras de las incertidumbres legales, son el recurso de FCC contra ciertos actos del gobierno y, más recientemente, el recurso contra las Normas de Conservación, por ser perversamente contrarias al fundamento de protección de la montaña.

e. Por último, hay que recordar que la aprobación del Proyecto Monumental y la Evaluación de Impacto Ambiental que aprueba la COTMAC, establece más de 25 condicionantes, muchos de ellos complejos estudios técnicos, que se tendrán que llevar a cabo antes del inicio de las obras y que, en algunos casos, podrán condicionar el propio proyecto. Debería informar el gobierno si el dinero para pagar esos estudios técnicos, algunos muy costosos, también será sufragado por la empresa privada que financie la ejecución de la obra. Frente a la decisión del Gobierno de Canarias de crear una fundación para explotar el monumento en la montaña de Tindaya, un proyecto que ya ha provocado un grave daño económico a la sociedad canaria, que se ha convertido en uno de los mayores escándalos políticos de las islas y ha recibido un rechazo social mayoritario, instamos al Gobierno de Canarias, al Parlamento autonómico, al Cabildo de Fuerteventura y a las fuerzas políticas a que lo retiren y trabajen en un Nuevo Proyecto de Recuperación y Potenciación de los verdaderos valores de ese emblema de nuestro patrimonio natural y cultural, que genere de una vez por todas beneficios culturales y económicos a los habitantes de la isla y no falsas promesas. Llamamos a la ciudadanía a movilizarse, a extender la información sobre el proyecto y a impulsar un debate público sobre el futuro de Tindaya.

YouTube (14:54) : Rueda de prensa de miembros de la comunidad científica presentando un Manifiesto contra la destrucción de Tindaya. 1 de julio 2011

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Tindaya: la montaña de los Chillida. Jesús Giráldez Macía. 30 enero 2012

… tras este proyecto se oculta el mayor caso de corrupción de la época democrática del Archipiélago y que, aunque los cálculos son complejos, se estiman en más de 30 millones de euros los gastados en un proyecto en el que no se ha movido una piedra. El agujero de Chillida es un disparate artístico y un atentado contra la cultura y la naturaleza y, además, es imposible. Y ellos lo saben. Cualquier especialista en geología o cualquier persona con un mínimo de sentido común sabe que es imposible realizar un cubo de cincuenta metros de lado en el interior de una montaña cuyo techo (obviamente plano) deberá sostener cientos de toneladas de peso de piedra deleznable y fracturada. El estudio geotécnico que encargó el Gobierno de Canarias para confirmar -no para investigar- su viabilidad estuvo amañado. Se otorgó sin concurso público a Estudios Guadiana al frente del cual está Lorenzo Fernández Ordóñez, amigo íntimo de los Chillida e hijo del ingeniero que trabajaba con el escultor. Aun así las propias conclusiones del estudio geotécnico sentencian que se levantan numerosas incertidumbres que no podrán ser resueltas hasta que se empiece a taladrar la Montaña. Por cierto que Estudios Guadiana cobró un millón y medio de euros por realizar un informe con estas surrealistas e inconsistentes conclusiones. Desconocemos, sin embargo, el dinero que cobró el catedrático de ecología y presidente honorífico de ADENA, Francisco Díaz Pineda, para firmar la declaración de impacto ambiental que sostiene que agujerear la Montaña es medioambientalmente favorable pero, gracias a esa herejía científica al servicio del poder, se le designó como coordinador de los equipos que llevan dos años trabajando para el futuro Parque Natural de Fuerteventura y en el que, misteriosamente, Tindaya queda fuera de sus límites.

Pero volvamos a los Chillida. Esta familia anda lanzando a los cuatro vientos que su decisión de permitir -como herederos de la obra de su padre- el vaciado de la Montaña no está movida por intereses económicos. Hace ahora dos años acudimos a Euskalherría a presentar en varias ciudades nuestro libro Tindaya: el poder contra el mito. Ingenuos, explicábamos en las presentaciones que una de las razones de nuestra presencia en el País Vasco y Navarra era la de despertar la sensibilidad de la familia del escultor y lograr que se desmarcara, definitivamente, del proyecto. En los debates que se suscitaron en aquella gira se repitieron intervenciones del público siempre en el mismo sentido: si había dinero y negocio allí estarían los Chillida. Ahora, que su museo ha cerrado, Tindaya se les vuelve a aparecer como tabla salvavidas. Si no, ¿cómo explicar que continúen apoyando un proyecto irrealizable, con una gran oposición ciudadana y de la comunidad científica, con el artista muerto y con la corrupción salpicando todo lo que toca? Es probable que la fe no mueva montañas pero el dinero sí permite agujerearlas.

¿Dónde está?
Mapa de la Montaña de Tindaya con fotos

Un libro Tindaya, el poder contra el mito. Jesús Giráldez Macía
online - pdf - epub - mobi

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ENGLISH
The Tindaya Mountain is one of the areas with higher levels of legal protection of the archipelago, because of its natural and cultural values. Is Natural Monument (F-6) by Law 12/94 of Natural Places of Canary Islands. Is a ien de Interés Cultural (Cultural Value Estate) according to art. 62.2. (A) of Law 4/99 of March 15, about Heritage of the Canary Islands, to be one of the most important rock carvings sites of the ancient cultures of the archipelago. It is an environmentally sensitive area by Law 11/90 of 13 July, Ecological Impact Prevention. In this mountain lives the cuernúa (Caralluma burchardii), a plant protected by regional standards (and extinction endangered), and the surrounding plains are Special Protection Area for Birds.

Chillida Family Project

But Tindaya Mountain, unfortunately, has become nationally famous for reasons totally unrelated to their natural and heritage values, other interests and other situations have become the magic mountain a symbol of discord, of economic corruption and also about "art". The proposal by the Basque artist Eduardo Chillida to pierce the mountain to make a hollow cube inside of 50 feet square, and two large holes that let you see the sun and the moon from within, is the reason that the controversy has blown. Leaving aside the problems of political and economic corruption that have accompanied this project from the beginning, the debate continues (but about 25.000.000€ have been spent, "no stone turned") in what must prevail, if respect for the integrity of the mountain or on the contrary the idea conceived in a sleepless night of brilliant artist. Many people believe that the work of Chillida will bring Fuerteventura to a place of honor in the world of art and that this justifies the monumental project Tindaya Mountain. By contrast, a large part of Canarian society believes that the value of its assets is what makes this mountain a natural monument worthy of preservation for future generations.

"Eduardo Chillida creation of a great sculpture piece in Fuerteventura is an excellent thing, I think, but I find it hard to accept that this means sacrificing a unique archaeological site, also ignoring all legal protection in this regard". Professor of archeology of University of La Laguna Antonio Tejera Gaspar wrote these words in 1996 , but supporters of the project have avoided the artistic merits of the debate and assume that a work of art of Spain's most famous sculptor justified, without further explanation or debates, the emptying of the mountain. Opponents are disqualified for failing to appreciate the significance of the artwork. Nor have they responded to other arguments, according to its supporters, the great artists can not be limited by laws or "environmentalists" considerations. Chillida wants to be the genius of the mountain, the man who will become artistic heritage what until now was a mountain "only" noted for its natural, ethnographic and archaeological values.

Eduardo Chillida died in 2002, after a years he suffered Alzheimer. Now his family continues to drive the project, on shutdown (for economic reasons) of the house-museum of Chillida (Chillida-Leku) in 2010

Many specialists in law, urban planning, archeology, geography, geology and even the art world, consider that the Chillida project not support security levels and true values of the Mountain, which could be seriously affected or misleading. Proof of this is that the promoters of the project, (Canary Islands Government and Fuerteventura Cabildo) have failed to protect these values ​​and document, in which no one has invested euro, nor scientific studies have helped to deepen the knowledge and dissemination of the heritage values ​​of the Mountain. On the contrary, they are very obvious neglect and looting of archaeological remains, the refusal to define the BIC, the helplessness of some species such as Caralluma itself, as acknowledged by the monumental project. In recent years only Chillida sculpture project has been promoted, with an outrageous expense or loss of 25 million euros (The Government supports a cost of 25.7 million in Tindaya).
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In July 2011, members of the scientific community, presented the media a manifesto, signed by artists, historians, archaeologists, geographers, biologists, engineers, historians, anthropologists, museum and libraries directors and, etc. 173 signatures in total.


Among other considerations, they said:

Because we believe that the current draft does not have to do with the original idea of ​​Chillida, as the sculptor himself devised a project clean and environmentally aware, and free of corruption or suspicion of illegal business, something that, unfortunately, the reality reality has contradicted.

Because society is still been fooled with Monumental project viability, while still wasting public money at a time of deep economic crisis for the whole Canarian society. The reality is that this viability is questioned by serious difficulties: legal, administrative, economic and technical, some unresolved and other unresolvable. Among others, include:

a. The feasibility study itself acknowledges that there are still literally geotechnical uncertainties inherent in the complexity of any proposed underground works. Many of these uncertainties can not be satisfactorily resolved until the excavation of a pilot gallery (Phase IV), or even the construction of the sculpture.

b. The first impact study, explicitly says that without global action to restore the environment of the mountain, Chillida's work itself would be environmentally unsustainable. Remember that this overall project has been eliminated in the second project.

c. From the economic standpoint, the project points out the need of the introduction of a variable component on the budget end of completion of the sculpture, due to its artistic feature and to the uncertainty associated with any underground works, so the possible agreement with a dealer-manager will allow future assumption of a budget increase for these artistic motifs. To this uncertainty, expressed by the project itself we must unite the derivative of the acute crisis. It's hard to think that someone will invest 76 million euros in exchange for monument management commitment to amortize the cost and obtain benefits in about 15 years. Shortly after the agreement with the Chillida family, politician Domingo Berriel, talks about alternative potential funding formulas in case of economic infeasibility and speaks of a financial economic study that nobody knows. The situation of these cultural megaprojects is so delicate, that the family of the sculptor has just closed the iconic Museum Chillida-Leku because of economic bankruptcy. Still, the Canary government granted them 50% of the representation of the future Foundation that will manage the works.

d. There are many legal uncertainties still unresolved and awaiting sentence, as the one that appeal against the first initiating administrative actions of Tindaya record, in one of which was involved himself Domingo Berriel, current Councillor of the Environment of the Government and promoter of Chillida's work. Other legal uncertainties, are the FCC (construction and projects company) appeal against certain acts of government and, more recently, the appeal against conservation standards, being perversely contrary to the basis of protecting the Mountain.

e. Finally, remember that monumental project and environmental impact assessment approved by the COTMAC (Planning Commission of Territory and Environment of Canary Islands) provides over 25 conditions, many complex technical studies, which will be carried out before the start of work and in some cases, may condition the project itself. Government should inform if the money to pay these technical studies, some very expensive, will also be borne by the private sector that will finance the execution of the work. Faced with the decision of the Canary Islands to create a foundation to exploit the Tindaya Mountain monument, a project that has already caused serious economic damage to the islands' society, which has become one of the biggest political scandals of the islands and has received a major social rejection, we urge the Government of the Canary Islands, the regional Parliament, the Cabildo of Fuerteventura and political forces to withdraw it and work on a new project of restoring and enhancing the true values ​​of that emblem of our natural and cultural heritage, to generate once and for all cultural and economic benefits to the inhabitants of the island and no false promises. We call on citizens to mobilize, to spread information about the project and to encourage public debate on the future of Tindaya.

YouTube (14:54): Press conference of members of the scientific community by presenting a manifesto against the destruction of Tindaya. July 1st, 2011
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Tindaya mountain of Chillida. Jesus Giráldez Macía. January 30, 2012
Hidden behind this project is the biggest corruption case in the democratic era of the archipelago and that although the calculations are complex, are estimated at over 30 million Euros spent on a project that has not moved a stone. Chillida hole is artistic nonsense and an attack on culture and nature and furthermore is impossible. And they know it. Any specialist in geology or anyone with an ounce of common sense knows that it is impossible to make a cube of fifty yards side inside a mountain whose roof (flat, of course) will hold hundreds of tons of stone brittle and fractured. The geotechnical study commissioned by the Canary Islands Government to confirm -not to investigate- its feasibility was rigged. Was awarded without tender to the Estudios Guadiana, led by Lorenzo Fernández Ordóñez, a close friend of the Chillida family and son of the engineer that working with the sculptor for years. Yet the study's own findings showed many geotechnical uncertainties that can not be settled until they start drilling the Mountain. Certainly Estudios Guadiana claimed a million and a half euros for making a report with these surreal and inconsistent conclusions. Unknown, however, the money gained by professor of ecology and honorary president of ADENA, Francisco Diaz Pineda, to sign the environmental impact statement which holds that pierce the mountain is environmentally friendly but, thanks to this scientific heresy in the service of power, was appointed as the coordinator of the teams that has been working on the future Fuerteventura Natural Park, where mysteriously Tindaya is off limits.

But back to the Chillida. This family goes shooting from the rooftops that its decision to allow -as heirs of their father's work- emptying the Mountain is not driven by economic interests. Two years ago we went to Euskalherría to present our book "Tindaya, el poder contra el mito" (Tindaya: myth against power)in several cities. Naive, at presentations we explained that one of the reasons for our presence in the Basque Country and Navarre was to raise awareness for the family of the sculptor and get them to definitely disengage from the project. In the discussions that arose in that tour were repeated public interventions always in the same direction: there will be money and business, there will be the Chillida. Now that their museum has closed, Tindaya reappears as safety net. If not, explain how to continue to support an unfeasible project, with strong opposition from the public and scientific community, with the artist died and corruption splashing everything it touches? It is likely that faith moves no mountains but money does allow to hollow them.
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Where is it?
Map of Tindaya Mountain with photos

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A book: Tindaya, el poder contra el mito. Jesús Giráldez Macía
online - pdf - epub - mobi

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(animated stereo) March of the Boys' Brigade, 1899
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Image by Thiophene_Guy
To animate the image scroll down to the first comment below or view original size.

Details and History
The Wikimedia Commons website offers a multitude of historical images with no restrictions on use. This circa 1899 R. Y. Young image, published by the American Stereoscopic Company, is titled Boys' brigade, Philadelphia. Peace Jubilee. With the motto "Sure and Stedfast" (sic), the Boys Brigade is an organization striving to combine drill and other fun activities with Christian values. As noted by Robert Peterson in the Scouting Magazine article Marching to a Different Drummer the organization's US affiliates largely defected to the nascent Boy Scouts of America at its inception. Steadfast was apparently no match for "Be Prepared", the scout motto.

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Technical trivia
Image manipulations and animated gif generation done with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.


(animated stereo) proofreader Sophie Baldwin, 1901
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Image by Thiophene_Guy
To animate the image scroll down to the first comment below or view original size (1098 x 1200).

Details and History
The Wikimedia Commons website offers a multitude of historical images with no restrictions on use. This 1901 Thomas R. Lewis stereograph, from Cambridgeport Mass., shows proofreader Sophie Baldwin and an assistant at work in her office.

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This image is also available with bibliographic notes from the New York Public Library's Digital Library under the digital ID digitalgallery.nypl.org/nypldigital/id?G90F228_046F .

Technical trivia
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