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  <title>Photos, videos and docs of m̌ ḫ</title>
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    <title>Photos, videos and docs of m̌ ḫ</title>
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  <pubDate>Tue, 26 May 2026 20:26:37 +0000</pubDate>
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    <title>Veľký Choč</title>
    <link>https://www.ipernity.com/doc/havran/53333004</link>
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    <pubDate>Mon, 25 May 2026 14:12:15 +0000</pubDate>
    <dc:date.created>2026-05-24T14:49:53+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53333004"&gt;&lt;img src="https://cdn.ipernity.com/200/30/04/53333004.dea41a19.240.jpg?r2" width="240" height="161" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;A short, easy hike with a lively seven‑year‑old along the southern slopes of Kubínska hoľa, one of the most visited ski resorts in the Orava region, leads across open meadows before returning gently through the forest. Even outside the snowy season, these sunny slopes in the Oravská Magura mountains are known for wide panoramas of the surrounding landscape. On a clear day, the horizon opens toward the Western Tatras and the distant Low Tatras, while the dominant landmark of Orava, Veľký Choč (1,611 m), rises proudly above the divide between Orava and Liptov, famous for its almost circular panoramic views of many Slovak mountain ranges.&lt;/div&gt;</description>
    <media:title>Veľký Choč</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53333004"&gt;&lt;img src="https://cdn.ipernity.com/200/30/04/53333004.dea41a19.240.jpg?r2" width="240" height="161" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;A short, easy hike with a lively seven‑year‑old along the southern slopes of Kubínska hoľa, one of the most visited ski resorts in the Orava region, leads across open meadows before returning gently through the forest. Even outside the snowy season, these sunny slopes in the Oravská Magura mountains are known for wide panoramas of the surrounding landscape. On a clear day, the horizon opens toward the Western Tatras and the distant Low Tatras, while the dominant landmark of Orava, Veľký Choč (1,611 m), rises proudly above the divide between Orava and Liptov, famous for its almost circular panoramic views of many Slovak mountain ranges.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/30/04/53333004.53ced014.1024.jpg?r2" type="image/jpeg" width="1024" height="683" duration="0" isDefault="true"  />
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  <item>
    <title>Modern Bratislava</title>
    <link>https://www.ipernity.com/doc/havran/53328468</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-19,doc-53328468</guid>
    <pubDate>Tue, 19 May 2026 15:25:09 +0000</pubDate>
    <dc:date.created>2026-01-28T13:11:55+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53328468"&gt;&lt;img src="https://cdn.ipernity.com/200/84/68/53328468.24969fd6.240.jpg?r2" width="240" height="156" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;This view from Nivy Tower captures Bratislava’s transformation in one frame. The tall glass tower on the right is Eurovea Tower at 168 meters — when it opened in 2023, Bratislava became the 201st city worldwide to have a true skyscraper. What was an industrial wasteland is now a cluster of high-rises that changed the city’s entire profile. The Mlynské nivy port district had been devastated since 1944, when Allied bombers targeted the Apollo refinery supplying Nazi fuel — 370 tons of bombs killed hundreds as burning oil engulfed their shelters. The contaminated ruins sat abandoned for decades until the 2000s redevelopment finally erased that wartime scar.&lt;/div&gt;</description>
    <media:title>Modern Bratislava</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53328468"&gt;&lt;img src="https://cdn.ipernity.com/200/84/68/53328468.24969fd6.240.jpg?r2" width="240" height="156" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;This view from Nivy Tower captures Bratislava’s transformation in one frame. The tall glass tower on the right is Eurovea Tower at 168 meters — when it opened in 2023, Bratislava became the 201st city worldwide to have a true skyscraper. What was an industrial wasteland is now a cluster of high-rises that changed the city’s entire profile. The Mlynské nivy port district had been devastated since 1944, when Allied bombers targeted the Apollo refinery supplying Nazi fuel — 370 tons of bombs killed hundreds as burning oil engulfed their shelters. The contaminated ruins sat abandoned for decades until the 2000s redevelopment finally erased that wartime scar.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/84/68/53328468.cb5fbeeb.1024.jpg?r2" type="image/jpeg" width="1024" height="663" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/84/68/53328468.24969fd6.240.jpg?r2" width="240" height="156"/>
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    <title>Evening Tennis with the India Habitat Centre architecture</title>
    <link>https://www.ipernity.com/doc/havran/53328006</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-18,doc-53328006</guid>
    <pubDate>Mon, 18 May 2026 17:59:54 +0000</pubDate>
    <dc:date.created>2025-08-15T22:55:31+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53328006"&gt;&lt;img src="https://cdn.ipernity.com/200/80/06/53328006.4d9bc8f2.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Air Force Bal Bharati School is in a small institutional pocket of central Delhi where embassies, colleges and cultural centres sit close together. In the evenings its courts often fill with the sound of tennis balls from outside coaching groups, especially Team Tennis India on Lodhi Road, which runs organised sessions here for different ages and levels.&lt;br /&gt;
&lt;br /&gt;
Right next door is the India Habitat Centre, the main cultural hub of the area, easy to spot with its red‑brick buildings. It was planned in the late 1980s and finished in the early 1990s as a modern complex designed to stay cooler, with shaded walkways, courtyards and terraces that still offer some relief in Delhi’s heat. Some parts now look a bit shabby and worn, but that also shows how much people actually use the place: posters on the boards, busy cafés, and regulars who seem to treat it almost like a second home.&lt;/div&gt;</description>
    <media:title>Evening Tennis with the India Habitat Centre architecture</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53328006"&gt;&lt;img src="https://cdn.ipernity.com/200/80/06/53328006.4d9bc8f2.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Air Force Bal Bharati School is in a small institutional pocket of central Delhi where embassies, colleges and cultural centres sit close together. In the evenings its courts often fill with the sound of tennis balls from outside coaching groups, especially Team Tennis India on Lodhi Road, which runs organised sessions here for different ages and levels.&lt;br /&gt;
&lt;br /&gt;
Right next door is the India Habitat Centre, the main cultural hub of the area, easy to spot with its red‑brick buildings. It was planned in the late 1980s and finished in the early 1990s as a modern complex designed to stay cooler, with shaded walkways, courtyards and terraces that still offer some relief in Delhi’s heat. Some parts now look a bit shabby and worn, but that also shows how much people actually use the place: posters on the boards, busy cafés, and regulars who seem to treat it almost like a second home.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/80/06/53328006.6017ff64.1024.jpg?r2" type="image/jpeg" width="1024" height="696" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/80/06/53328006.4d9bc8f2.240.jpg?r2" width="240" height="164"/>
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    <media:credit role="author">m̌ ḫ</media:credit>
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  <item>
    <title>Candy Bomber (on smartphone)</title>
    <link>https://www.ipernity.com/doc/havran/53322098</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-17,doc-53322098</guid>
    <pubDate>Sun, 17 May 2026 08:18:01 +0000</pubDate>
    <dc:date.created>2025-07-17T13:50:00+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322098"&gt;&lt;img src="https://cdn.ipernity.com/200/20/98/53322098.f60fdb80.240.jpg?r2" width="240" height="180" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The airplane mounted on the roof of the Deutsches Technikmuseum in Berlin is a Douglas C‑47, the military transport version of the Douglas DC‑3. It is dramatically fixed above the entrance on a steel structure, so it appears to be flying over the city. This placement turns the aircraft into a striking landmark and an immediate visual link to Berlin’s aviation past.&lt;br /&gt;
&lt;br /&gt;
The C‑47 recalls the Berlin Airlift of 1948–1949, when such planes — nicknamed “Raisin Bombers” or “Candy Bombers” — flew supplies into blockaded West Berlin and sometimes dropped sweets for children. As an exhibit, it represents both technological progress and the political history of the Cold War, symbolizing international solidarity during the blockade and the vital role of air transport in sustaining the city.&lt;/div&gt;</description>
    <media:title>Candy Bomber (on smartphone)</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322098"&gt;&lt;img src="https://cdn.ipernity.com/200/20/98/53322098.f60fdb80.240.jpg?r2" width="240" height="180" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The airplane mounted on the roof of the Deutsches Technikmuseum in Berlin is a Douglas C‑47, the military transport version of the Douglas DC‑3. It is dramatically fixed above the entrance on a steel structure, so it appears to be flying over the city. This placement turns the aircraft into a striking landmark and an immediate visual link to Berlin’s aviation past.&lt;br /&gt;
&lt;br /&gt;
The C‑47 recalls the Berlin Airlift of 1948–1949, when such planes — nicknamed “Raisin Bombers” or “Candy Bombers” — flew supplies into blockaded West Berlin and sometimes dropped sweets for children. As an exhibit, it represents both technological progress and the political history of the Cold War, symbolizing international solidarity during the blockade and the vital role of air transport in sustaining the city.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/20/98/53322098.ad4291bb.1024.jpg?r2" type="image/jpeg" width="1024" height="768" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/20/98/53322098.f60fdb80.240.jpg?r2" width="240" height="180"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/20/98/53322098.f60fdb80.100.jpg?r2" width="100" height="75"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Candy Bomber (on film)</title>
    <link>https://www.ipernity.com/doc/havran/53322092</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-16,doc-53322092</guid>
    <pubDate>Sat, 16 May 2026 16:47:26 +0000</pubDate>
    <dc:date.created>2025-08-15T22:53:56+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322092"&gt;&lt;img src="https://cdn.ipernity.com/200/20/92/53322092.6a6be36f.240.jpg?r2" width="240" height="165" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The airplane mounted on the roof of the Deutsches Technikmuseum in Berlin is a Douglas C‑47, the military transport version of the Douglas DC‑3. It is dramatically fixed above the entrance on a steel structure, so it appears to be flying over the city. This placement turns the aircraft into a striking landmark and an immediate visual link to Berlin’s aviation past. &lt;br /&gt;
&lt;br /&gt;
The C‑47 recalls the Berlin Airlift of 1948–1949, when such planes — nicknamed “Raisin Bombers” or “Candy Bombers” — flew supplies into blockaded West Berlin and sometimes dropped sweets for children. As an exhibit, it represents both technological progress and the political history of the Cold War, symbolizing international solidarity during the blockade and the vital role of air transport in sustaining the city.&lt;/div&gt;</description>
    <media:title>Candy Bomber (on film)</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322092"&gt;&lt;img src="https://cdn.ipernity.com/200/20/92/53322092.6a6be36f.240.jpg?r2" width="240" height="165" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The airplane mounted on the roof of the Deutsches Technikmuseum in Berlin is a Douglas C‑47, the military transport version of the Douglas DC‑3. It is dramatically fixed above the entrance on a steel structure, so it appears to be flying over the city. This placement turns the aircraft into a striking landmark and an immediate visual link to Berlin’s aviation past. &lt;br /&gt;
&lt;br /&gt;
The C‑47 recalls the Berlin Airlift of 1948–1949, when such planes — nicknamed “Raisin Bombers” or “Candy Bombers” — flew supplies into blockaded West Berlin and sometimes dropped sweets for children. As an exhibit, it represents both technological progress and the political history of the Cold War, symbolizing international solidarity during the blockade and the vital role of air transport in sustaining the city.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/20/92/53322092.01d1ae52.1024.jpg?r2" type="image/jpeg" width="1024" height="702" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/20/92/53322092.6a6be36f.240.jpg?r2" width="240" height="165"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/20/92/53322092.6a6be36f.100.jpg?r2" width="100" height="69"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Spicy ministry</title>
    <link>https://www.ipernity.com/doc/havran/53322084</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-15,doc-53322084</guid>
    <pubDate>Fri, 15 May 2026 15:25:07 +0000</pubDate>
    <dc:date.created>2025-08-15T22:53:54+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322084"&gt;&lt;img src="https://cdn.ipernity.com/200/20/84/53322084.8a3fda8f.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;If you've purchased a city card, it buys you a free hour on the canals – and not just for the postcard stuff. As the boat slides past Christianshavn, the guide might not even mention this long, quiet wall of brick, but it is one of the most global pieces of waterfront in Copenhagen. In the 1750s Eigtveds Pakhus was the high‑security warehouse of the Danish Asiatic Company, stacked with tea, pepper, silk and porcelain unloaded from Asia right where your boat now passes. Today the same quay is home to the Ministry of Foreign Affairs, and in those former store rooms and new glass offices above them, Denmark’s ministers and diplomats negotiate climate deals, development aid and EU policy with partners from around the world. One short stretch of harbour, two and a half centuries apart: first spices and silk, now summits and strategy.&lt;/div&gt;</description>
    <media:title>Spicy ministry</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322084"&gt;&lt;img src="https://cdn.ipernity.com/200/20/84/53322084.8a3fda8f.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;If you've purchased a city card, it buys you a free hour on the canals – and not just for the postcard stuff. As the boat slides past Christianshavn, the guide might not even mention this long, quiet wall of brick, but it is one of the most global pieces of waterfront in Copenhagen. In the 1750s Eigtveds Pakhus was the high‑security warehouse of the Danish Asiatic Company, stacked with tea, pepper, silk and porcelain unloaded from Asia right where your boat now passes. Today the same quay is home to the Ministry of Foreign Affairs, and in those former store rooms and new glass offices above them, Denmark’s ministers and diplomats negotiate climate deals, development aid and EU policy with partners from around the world. One short stretch of harbour, two and a half centuries apart: first spices and silk, now summits and strategy.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/20/84/53322084.7f6aded1.1024.jpg?r2" type="image/jpeg" width="1024" height="696" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/20/84/53322084.8a3fda8f.240.jpg?r2" width="240" height="164"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/20/84/53322084.8a3fda8f.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Calm</title>
    <link>https://www.ipernity.com/doc/havran/53157420</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-14,doc-53157420</guid>
    <pubDate>Thu, 14 May 2026 17:46:27 +0000</pubDate>
    <dc:date.created>2025-01-09T19:41:33+01:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157420"&gt;&lt;img src="https://cdn.ipernity.com/200/74/20/53157420.c3a8a8a9.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157422" target="_blank" rel="nofollow"&gt;&lt;img alt="FujiFrontierSP3000 006" src="https://cdn.ipernity.com/200/74/22/53157422.385bcc22.1024.jpg?r2" height="698" width="1024" /&gt;&lt;/a&gt;&lt;/div&gt;</description>
    <media:title>Calm</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157420"&gt;&lt;img src="https://cdn.ipernity.com/200/74/20/53157420.c3a8a8a9.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157422" target="_blank" rel="nofollow"&gt;&lt;img alt="FujiFrontierSP3000 006" src="https://cdn.ipernity.com/200/74/22/53157422.385bcc22.1024.jpg?r2" height="698" width="1024" /&gt;&lt;/a&gt;&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/74/20/53157420.0ec60acf.1024.jpg?r2" type="image/jpeg" width="1024" height="698" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/74/20/53157420.c3a8a8a9.240.jpg?r2" width="240" height="164"/>
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    <media:credit role="author">m̌ ḫ</media:credit>
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  <item>
    <title>Face to Face with the Silent Engine</title>
    <link>https://www.ipernity.com/doc/havran/53322096</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-13,doc-53322096</guid>
    <pubDate>Wed, 13 May 2026 18:06:44 +0000</pubDate>
    <dc:date.created>2025-08-15T22:53:57+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322096"&gt;&lt;img src="https://cdn.ipernity.com/200/20/96/53322096.3b72f873.240.jpg?r2" width="163" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The Deutsches Technikmuseum’s railway halls feel like stepping into a living locomotive depot: restored 19th‑century roundhouses, wooden beams and turntables set the scene for over 40 full‑size locomotives and carriages you can view closely — a dream for photographers and history lovers. The displays mix engineering marvels (steam, diesel, electric and urban stock) with everyday objects — tickets, dining‑car crockery and uniforms — so you understand how railways changed cities, work and daily life. &lt;br /&gt;
&lt;br /&gt;
Importantly, the museum does something few institutions do so plainly: it faces the darkest chapter of railway history by presenting a freight wagon and contextual exhibits about the Deutsche Reichsbahn’s role in Nazi deportations, placing victims’ stories, timetables and maps alongside the machines. That choice is a bold, responsible stance — it refuses to glamorize technology and instead shows how ordinary systems were used for extraordinary crimes, which educates visitors and strengthens public memory.&lt;/div&gt;</description>
    <media:title>Face to Face with the Silent Engine</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322096"&gt;&lt;img src="https://cdn.ipernity.com/200/20/96/53322096.3b72f873.240.jpg?r2" width="163" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;The Deutsches Technikmuseum’s railway halls feel like stepping into a living locomotive depot: restored 19th‑century roundhouses, wooden beams and turntables set the scene for over 40 full‑size locomotives and carriages you can view closely — a dream for photographers and history lovers. The displays mix engineering marvels (steam, diesel, electric and urban stock) with everyday objects — tickets, dining‑car crockery and uniforms — so you understand how railways changed cities, work and daily life. &lt;br /&gt;
&lt;br /&gt;
Importantly, the museum does something few institutions do so plainly: it faces the darkest chapter of railway history by presenting a freight wagon and contextual exhibits about the Deutsche Reichsbahn’s role in Nazi deportations, placing victims’ stories, timetables and maps alongside the machines. That choice is a bold, responsible stance — it refuses to glamorize technology and instead shows how ordinary systems were used for extraordinary crimes, which educates visitors and strengthens public memory.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/20/96/53322096.e55d9d05.1024.jpg?r2" type="image/jpeg" width="694" height="1024" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/20/96/53322096.3b72f873.240.jpg?r2" width="163" height="240"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/20/96/53322096.3b72f873.100.jpg?r2" width="68" height="100"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>ARC - I/S Amager Ressourcecenter</title>
    <link>https://www.ipernity.com/doc/havran/53322100</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-12,doc-53322100</guid>
    <pubDate>Tue, 12 May 2026 19:07:28 +0000</pubDate>
    <dc:date.created>2025-08-15T22:45:21+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322100"&gt;&lt;img src="https://cdn.ipernity.com/200/21/00/53322100.2bc0f002.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Amager Bakke (Copenhill) is a striking, angular building whose entire mass is wrapped in a shimmering “brick” façade of stacked aluminum panels, giving it an almost pixelated, industrial sculpture look. Its most famous feature is the sloping roof that becomes a full‑length artificial ski slope with green surface in summer and snow in winter, flanked by walking paths and a dramatic outdoor climbing wall on one side. Large, square openings and a clean, minimalistic profile make the plant read more like a contemporary cultural venue or art museum than a conventional incinerator, especially when illuminated at night. Behind this expressive architecture, the facility works as a combined heat‑and‑power plant, turning the city’s non‑recyclable waste into both district heating and electricity for surrounding households.&lt;/div&gt;</description>
    <media:title>ARC - I/S Amager Ressourcecenter</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322100"&gt;&lt;img src="https://cdn.ipernity.com/200/21/00/53322100.2bc0f002.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Amager Bakke (Copenhill) is a striking, angular building whose entire mass is wrapped in a shimmering “brick” façade of stacked aluminum panels, giving it an almost pixelated, industrial sculpture look. Its most famous feature is the sloping roof that becomes a full‑length artificial ski slope with green surface in summer and snow in winter, flanked by walking paths and a dramatic outdoor climbing wall on one side. Large, square openings and a clean, minimalistic profile make the plant read more like a contemporary cultural venue or art museum than a conventional incinerator, especially when illuminated at night. Behind this expressive architecture, the facility works as a combined heat‑and‑power plant, turning the city’s non‑recyclable waste into both district heating and electricity for surrounding households.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/21/00/53322100.e18fbf83.1024.jpg?r2" type="image/jpeg" width="1024" height="697" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/21/00/53322100.2bc0f002.240.jpg?r2" width="240" height="164"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/21/00/53322100.2bc0f002.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Against the Sun: A Portrait That Wasn’t Meant to Be</title>
    <link>https://www.ipernity.com/doc/havran/53322082</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-12,doc-53322082</guid>
    <pubDate>Tue, 12 May 2026 19:06:50 +0000</pubDate>
    <dc:date.created>2025-08-15T22:53:54+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322082"&gt;&lt;img src="https://cdn.ipernity.com/200/20/82/53322082.64eee677.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
    <media:title>Against the Sun: A Portrait That Wasn’t Meant to Be</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53322082"&gt;&lt;img src="https://cdn.ipernity.com/200/20/82/53322082.64eee677.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/20/82/53322082.5db1a2a6.1024.jpg?r2" type="image/jpeg" width="1024" height="696" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/20/82/53322082.64eee677.240.jpg?r2" width="240" height="164"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/20/82/53322082.64eee677.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Clouds behind the trees</title>
    <link>https://www.ipernity.com/doc/havran/53316722</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-11,doc-53316722</guid>
    <pubDate>Mon, 11 May 2026 17:46:50 +0000</pubDate>
    <dc:date.created>2025-08-15T22:54:34+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316722"&gt;&lt;img src="https://cdn.ipernity.com/200/67/22/53316722.78dd2bf2.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
    <media:title>Clouds behind the trees</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316722"&gt;&lt;img src="https://cdn.ipernity.com/200/67/22/53316722.78dd2bf2.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/67/22/53316722.465399bb.1024.jpg?r2" type="image/jpeg" width="1024" height="696" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/67/22/53316722.78dd2bf2.240.jpg?r2" width="240" height="164"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/67/22/53316722.78dd2bf2.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Ir de paseo</title>
    <link>https://www.ipernity.com/doc/havran/53316726</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-08,doc-53316726</guid>
    <pubDate>Fri, 08 May 2026 16:26:57 +0000</pubDate>
    <dc:date.created>2026-05-07T19:46:58+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316726"&gt;&lt;img src="https://cdn.ipernity.com/200/67/26/53316726.6e5146f1.240.jpg?r2" width="240" height="161" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;When I leave my front door and start uphill, the city falls away surprisingly fast. After fifteen minutes the concrete and parked cars are behind me and I’m already on the edge of real Little Carpathian woodland, a tangle of oaks, beeches, hornbeam and maples that feels different in every season – bright in spring, deep green in summer, copper and gold in autumn, bare and echoing in winter. &lt;br /&gt;
&lt;br /&gt;
Somewhere in that mosaic of trunks and undergrowth live fallow deer, roe deer, wild boar and foxes; I only seldom see them, but I know they are here. What I enjoy is this strange overlap: the path is clearly made for people, you are still in the capital, yet the forest follows its own rules, continuing day and night whether anyone is watching or not. A simple any time walk becomes a quiet crossing between two worlds – the familiar one of stairwells, tram lines and streetlights, and the older one of hoofprints, feathers and leaves, only a few minutes apart on foot.&lt;/div&gt;</description>
    <media:title>Ir de paseo</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316726"&gt;&lt;img src="https://cdn.ipernity.com/200/67/26/53316726.6e5146f1.240.jpg?r2" width="240" height="161" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;When I leave my front door and start uphill, the city falls away surprisingly fast. After fifteen minutes the concrete and parked cars are behind me and I’m already on the edge of real Little Carpathian woodland, a tangle of oaks, beeches, hornbeam and maples that feels different in every season – bright in spring, deep green in summer, copper and gold in autumn, bare and echoing in winter. &lt;br /&gt;
&lt;br /&gt;
Somewhere in that mosaic of trunks and undergrowth live fallow deer, roe deer, wild boar and foxes; I only seldom see them, but I know they are here. What I enjoy is this strange overlap: the path is clearly made for people, you are still in the capital, yet the forest follows its own rules, continuing day and night whether anyone is watching or not. A simple any time walk becomes a quiet crossing between two worlds – the familiar one of stairwells, tram lines and streetlights, and the older one of hoofprints, feathers and leaves, only a few minutes apart on foot.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/67/26/53316726.1ff000bb.1024.jpg?r2" type="image/jpeg" width="1024" height="683" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/67/26/53316726.6e5146f1.240.jpg?r2" width="240" height="161"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/67/26/53316726.6e5146f1.100.jpg?r2" width="100" height="67"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Look/out</title>
    <link>https://www.ipernity.com/doc/havran/53316724</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-08,doc-53316724</guid>
    <pubDate>Fri, 08 May 2026 06:33:28 +0000</pubDate>
    <dc:date.created>2025-08-15T22:54:34+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316724"&gt;&lt;img src="https://cdn.ipernity.com/200/67/24/53316724.daa81282.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Above the tiny village of Veľké Borové, right on the border of Northern Slovak regions of Liptov and Orava, you will find one of the most unusual lookout towers in Slovakia. It is not a castle tower or an old fort – it used to be a simple transformer station! In 2002 it was cleverly rebuilt, adding a wooden upper part inspired by traditional folk houses, and today it works both as a lookout and as the village belfry.&lt;br /&gt;
&lt;br /&gt;
Climb the wooden stairs to the covered viewing platform, about 11 metres above the ground. Inside, you will find wooden benches and a cosy, rustic atmosphere, more like a traditional wooden cottage than a technical building. The tower is easily accessible in every season, so you can come in hiking boots in summer or in warm clothes and winter shoes when there is snow.&lt;/div&gt;</description>
    <media:title>Look/out</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316724"&gt;&lt;img src="https://cdn.ipernity.com/200/67/24/53316724.daa81282.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Above the tiny village of Veľké Borové, right on the border of Northern Slovak regions of Liptov and Orava, you will find one of the most unusual lookout towers in Slovakia. It is not a castle tower or an old fort – it used to be a simple transformer station! In 2002 it was cleverly rebuilt, adding a wooden upper part inspired by traditional folk houses, and today it works both as a lookout and as the village belfry.&lt;br /&gt;
&lt;br /&gt;
Climb the wooden stairs to the covered viewing platform, about 11 metres above the ground. Inside, you will find wooden benches and a cosy, rustic atmosphere, more like a traditional wooden cottage than a technical building. The tower is easily accessible in every season, so you can come in hiking boots in summer or in warm clothes and winter shoes when there is snow.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/67/24/53316724.96385f73.1024.jpg?r2" type="image/jpeg" width="1024" height="697" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/67/24/53316724.daa81282.240.jpg?r2" width="240" height="164"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/67/24/53316724.daa81282.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Mysterious unknown</title>
    <link>https://www.ipernity.com/doc/havran/53316710</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-07,doc-53316710</guid>
    <pubDate>Thu, 07 May 2026 17:46:34 +0000</pubDate>
    <dc:date.created>2026-04-17T16:35:41+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316710"&gt;&lt;img src="https://cdn.ipernity.com/200/67/10/53316710.e75b661e.240.jpg?r2" width="240" height="162" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Has this ever happened to you too? You get a photo back and realize it is an unfamiliar scene, taken by your own camera, yet your memory refuses to attach it to any real place. It is one of those side effects of shooting film while juggling several cameras at once… but the result is strangely fascinating.&lt;/div&gt;</description>
    <media:title>Mysterious unknown</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53316710"&gt;&lt;img src="https://cdn.ipernity.com/200/67/10/53316710.e75b661e.240.jpg?r2" width="240" height="162" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Has this ever happened to you too? You get a photo back and realize it is an unfamiliar scene, taken by your own camera, yet your memory refuses to attach it to any real place. It is one of those side effects of shooting film while juggling several cameras at once… but the result is strangely fascinating.&lt;/div&gt;</media:text>
    <media:content url="https://cdn.ipernity.com/200/67/10/53316710.ee01acdc.1024.jpg?r2" type="image/jpeg" width="1024" height="690" duration="0" isDefault="true"  />
    <media:thumbnail url="https://cdn.ipernity.com/200/67/10/53316710.e75b661e.240.jpg?r2" width="240" height="162"/>
    <media:thumbnail url="https://cdn.ipernity.com/200/67/10/53316710.e75b661e.100.jpg?r2" width="100" height="68"/>
    <media:credit role="author">m̌ ḫ</media:credit>
  </item>
  <item>
    <title>Solitude Under Jomolhari</title>
    <link>https://www.ipernity.com/doc/havran/45178832</link>
    <guid isPermaLink="false">tag:ipernity.com,2026-05-07,doc-45178832</guid>
    <pubDate>Thu, 07 May 2026 10:44:29 +0000</pubDate>
    <dc:date.created>2017-07-02T23:38:59+05:30</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/45178832"&gt;&lt;img src="https://cdn.ipernity.com/200/88/32/45178832.46550b67.240.jpg?r2" width="240" height="160" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Bhutan is often overlooked — its carefully managed tourism and mandatory daily fees push many travelers toward the “free” alternatives across the Himalayas. But those who skip it miss something rare. This journey was one of those quiet rewards.&lt;br /&gt;
&lt;br /&gt;
We spent six days trekking across high terrain, crossing three passes above 4,000 meters, moving through landscapes that feel both vast and deeply personal. Nights were spent under the shadow of Jomolhari (7,326 m), Bhutan’s second-highest peak, rising with a presence that is both imposing and serene.&lt;br /&gt;
&lt;br /&gt;
What stayed with us just as much as the mountains was the absence of crowds. Over those days, we encountered almost no tourists—just a few solitary trekkers here and there—leaving long stretches of silence and a rare sense of solitude.&lt;br /&gt;
&lt;br /&gt;
There is a certain stillness in Bhutan—not just in its mountains, but in its approach to the world. This trek was not only about altitude or distance, but about stepping, briefly, into that different rhythm.&lt;/div&gt;</description>
    <media:title>Solitude Under Jomolhari</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/45178832"&gt;&lt;img src="https://cdn.ipernity.com/200/88/32/45178832.46550b67.240.jpg?r2" width="240" height="160" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;Bhutan is often overlooked — its carefully managed tourism and mandatory daily fees push many travelers toward the “free” alternatives across the Himalayas. But those who skip it miss something rare. This journey was one of those quiet rewards.&lt;br /&gt;
&lt;br /&gt;
We spent six days trekking across high terrain, crossing three passes above 4,000 meters, moving through landscapes that feel both vast and deeply personal. Nights were spent under the shadow of Jomolhari (7,326 m), Bhutan’s second-highest peak, rising with a presence that is both imposing and serene.&lt;br /&gt;
&lt;br /&gt;
What stayed with us just as much as the mountains was the absence of crowds. Over those days, we encountered almost no tourists—just a few solitary trekkers here and there—leaving long stretches of silence and a rare sense of solitude.&lt;br /&gt;
&lt;br /&gt;
There is a certain stillness in Bhutan—not just in its mountains, but in its approach to the world. This trek was not only about altitude or distance, but about stepping, briefly, into that different rhythm.&lt;/div&gt;</media:text>
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    <media:thumbnail url="https://cdn.ipernity.com/200/88/32/45178832.46550b67.240.jpg?r2" width="240" height="160"/>
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    <title>Ivy closeup</title>
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    <pubDate>Mon, 04 May 2026 17:04:55 +0000</pubDate>
    <dc:date.created>2024-09-01T19:41:22+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53313282"&gt;&lt;img src="https://cdn.ipernity.com/200/32/82/53313282.8efbe2d0.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
    <media:title>Ivy closeup</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53313282"&gt;&lt;img src="https://cdn.ipernity.com/200/32/82/53313282.8efbe2d0.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
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    <title>Twilight</title>
    <link>https://www.ipernity.com/doc/havran/53157412</link>
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    <pubDate>Sun, 03 May 2026 17:46:27 +0000</pubDate>
    <dc:date.created>2024-09-01T19:41:22+01:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157412"&gt;&lt;img src="https://cdn.ipernity.com/200/74/12/53157412.390f0746.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
    <media:title>Twilight</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53157412"&gt;&lt;img src="https://cdn.ipernity.com/200/74/12/53157412.390f0746.240.jpg?r2" width="240" height="164" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
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    <title>Hanoi, a city on lakes</title>
    <link>https://www.ipernity.com/doc/havran/53310962</link>
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    <pubDate>Fri, 01 May 2026 14:06:47 +0000</pubDate>
    <dc:date.created>2026-04-17T16:35:30+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53310962"&gt;&lt;img src="https://cdn.ipernity.com/200/09/62/53310962.b28b6d09.240.jpg?r2" width="159" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
    <media:title>Hanoi, a city on lakes</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53310962"&gt;&lt;img src="https://cdn.ipernity.com/200/09/62/53310962.b28b6d09.240.jpg?r2" width="159" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
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    <title>Wandering around the streets reveals nice views</title>
    <link>https://www.ipernity.com/doc/havran/53310960</link>
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    <pubDate>Fri, 01 May 2026 14:06:42 +0000</pubDate>
    <dc:date.created>2026-04-17T16:35:26+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53310960"&gt;&lt;img src="https://cdn.ipernity.com/200/09/60/53310960.baea91f7.240.jpg?r2" width="160" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</description>
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    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53310960"&gt;&lt;img src="https://cdn.ipernity.com/200/09/60/53310960.baea91f7.240.jpg?r2" width="160" height="240" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;&lt;/div&gt;</media:text>
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    <media:credit role="author">m̌ ḫ</media:credit>
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    <title>Life on the water</title>
    <link>https://www.ipernity.com/doc/havran/53308446</link>
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    <pubDate>Tue, 28 Apr 2026 17:17:15 +0000</pubDate>
    <dc:date.created>2026-04-17T16:37:02+02:00</dc:date.created>
    <author>nobody@ipernity.com (m̌ ḫ)</author>
    <description>&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53308446"&gt;&lt;img src="https://cdn.ipernity.com/200/84/46/53308446.93310e46.240.jpg?r2" width="240" height="159" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;How lovely how this feels like a memory from Vietnam itself: the nón lá silhouettes, the river and the soft haze are kept intact, while the gentle scars of expired film and age give the scene an almost dreamlike authenticity rather than a ‘perfect’ digital look.&lt;/div&gt;</description>
    <media:title>Life on the water</media:title>
    <media:text type="html">&lt;p class="who"&gt;&lt;a href="https://www.ipernity.com/home/havran"&gt;m̌ ḫ&lt;/a&gt; has posted:&lt;/p&gt;&lt;p class="preview"&gt;&lt;a href="https://www.ipernity.com/doc/havran/53308446"&gt;&lt;img src="https://cdn.ipernity.com/200/84/46/53308446.93310e46.240.jpg?r2" width="240" height="159" alt=""/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="description"&gt;How lovely how this feels like a memory from Vietnam itself: the nón lá silhouettes, the river and the soft haze are kept intact, while the gentle scars of expired film and age give the scene an almost dreamlike authenticity rather than a ‘perfect’ digital look.&lt;/div&gt;</media:text>
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