When In Genuine The Date Font Is Misaligned

[MAHLER]

Update with TAG-HEUER LINK CHRONO

Hi members, the date is not correctly aligned in yours reps ?

In the genuine it's not better.... some examples

HAMILTON KHAKI NAVY GMT REF. H77655143 - 645 EURO - ETA 2893-1

ZENO-WATCH BASEL GRANDATA REF. Z6498 - 1.170 EURO - UNITAS 6498

IWC INGENIEUR AUTOMATIC AMG REF. IW322703 - 5.950 EURO - IWC 80010

BELL&ROSS BR 01-96 INSTRUMENT GRANDE DATARIO REF. BR-01-96 - 2700 EURO - ETA 2896

BELL&ROSS SPACE 3 CHRONO - 2.060 EURO

ARMAND NICOLET M02 DAY&DATE REF. 9141A-AG-P914MR2 - 1350 EURO - AN 2834-2 TND/TNK

PATEK PHILIPPE REF. 5960P - 30.000 EURO - CH 28-520 IRM QA 24H

DUBEY & SCHALDENBRAND AEROCHRONO - 4.710 EURO

ANONIMO MILITARE CHRONO - 3.450 EURO

The Rolex hates the number 28.... or it doesn't have well clear as to position it!!!

ROLEX OYSTER PERPETUAL DATE YACHT-MASTER ROLESIUM REF.16622 - 5400 EURO - Rolex Automatic

ROLEX OYSTER PERPETUAL DATEJUST - Rolex Automatic

ROLEX OYSTER PERPETUAL DATEJUST 116200/63200 - Rolex Automatic

ROLEX OYSTER PERPETUAL GMT MASTER II ROLESIOR - Rolex GMT Automatic

ROLEX "50th Anniversary" Ref. 16610T - Rolex Automatic

ROLEX "NEW" SUBMARINER - Rolex Automatic

BREITLING BENTLEY FLYING B - Movement Breitling 28B

BREITLING BENTLEY GT - Reference A13362C649 - Automatic Breitling cal.13B movement

EDOX Les Bémonts Ref. 260001 - 580 Euro - Movement Edox Automatic

EDOX Les Bémonts Ref. 260001/L3 - 530 Euro - Movement Edox Quartz

RADO CERAMICA PLATINUM - 1500 EURO - Quartz

CHOPARD MILLE MIGLIA 2006 GRANTURISMO XL - 6335 EURO - Movement L.U.C.

FRANCESCO BASILE VENEZIA LAGUNA - 25000 EURO - Quartz

HUBLOT SUPER PROFESSIONAL - 3.200 EURO - ETA 2892-A2

PAUL PICOT PLONGEUR C-TYPE - 1800 EURO

AUDERMARS PIGUET EDWARD CHRONO - 12900 EURO

TAG-HEUER LINK CHRONO

Thanks to ImageShack !!!

Regards.

Mahler

Edited August 4, 2006 by MAHLER

[cpaman]

If I paid 6k for a Patek and the date was not aligned, they would have it back in 5 seconds.

[MAHLER]

I hope that this my contribution can serve to understand that not always genuine

and not always quite a lot money say best.

Perhaps it's alone best the service post sale.

[MAHLER]

Mahler, you are speaking words that will only be clear after some time in the rep/gen world.

In the future We Trust !!!

[sssurfer]

Original and enlightening research, Mahler!

Thanks for sharing and for making us rep nuts feeling better.

[Guest TTK]

@Mahler...thanks for sharing with us.....!

A lot of members here expect that their rep should be comparable to the original......not realising that in the world of gens...there are all sorts of problems...from wonky bracelets....clasps that don't close properly or pop open.....bezels that just won't align properly at 12....same with flyback second hands....and as you point out...misalignment of dates....and none of the above takes into account the waiting time for a repair.....I know of guys on various forums ...TZ / Chronocentric etc etc...who have waited 7-8 months and more for their precious to come back to them....and with a hefty bill attached.....sometimes we need to look again at what we have....!

[MAHLER]

@Mahler...thanks for sharing with us.....!

Thanks to you TTK.

I am from the part of whom says the things as they are and doesn't speak the language of the politics.

Then I sincerely appreciate the intervention of one dealer-member.

I confide that the members also grow of culture and start to appreciate the work served as the dealers "honest"

to find the best piece with smaller defects and greater merits.

Edited July 4, 2006 by MAHLER

[XRT]

Just once more shows that our reps are sooo good.

I think this just shows how nuts some of us really are (yes, I am included in the nuts)

[retep]

Thanks to you TTK.

I am from the part of whom says the things as they are and doesn't speak the language of the politics.

Then I sincerely appreciate the intervention of one dealer-member.

I confide that the members also grow of culture and start to appreciate the work served as the dealers "honest"

to find the best piece with smaller defects and greater merits.

Are you in anyway related to Klink perhaps?

Edited July 4, 2006 by retep

[MAHLER]

Are you in anyway related to Klink perhaps?

I don't know who is this member.

I am Mahler in the good and in the evil... with all of my merits and with all of my defects I am simply Mahler.

In faith.

Mahler

Edited July 4, 2006 by MAHLER

[retep]

I don't know who is this member.

I am Mahler in the good and in the evil... with all of my merits and with all of my defects I am simply Mahler.

In faith.

Joseph

Joseph, you just confirmed you are a close relative of klink.

[MAHLER]

I want to tell you a thing of me.

I was six years old. I accompanied my mother to the supermarket.

We bought the cleanser for the washer.

In gift with the cleanser there was a mechanical watch.

The movement is surely Chinese. It now has many years.

It belongs to my memoirs.

Yesterday I have taken the watch.... I have wind the movement.

It keeps once on beating the time with perfection.

It doesn't have jewels. The movement is made of few pieces.

But it beats better the time of other that I have.

It has a mechanical heart that costs few but without to ever have been oiled continuous to live perfect.

[MAHLER]

Joseph, you just confirmed you are a close relative of klink.

Does someone have the patience to explain me because you always speak of Klink?

I am still "new" to understand all.

Edited July 4, 2006 by MAHLER

[MAHLER]

Hi Joseph...

I am very busy at the moment, but I will explain the Klink phenomen in short words.

Klink is a long time member and a very nice and intelligent person. I never met him in person but I'd love to. He has a very strange way to speak, but in all his words is a lot of meaning and wisdom. You sound exactly the same.

Thanks of the small explanation.

I concern to Klink I believe must have done justice.

Even though to be compared to a member very esteemed both a great compliment (thanks you, retep and ryyannon)... I don't believe is correct towards Klink.

Then you keep on speaking of Klink because he has been and it will continue to be important for all of you.

But you leave to me the possibility to be Mahler and to be beloved (or if you want hated) for what I am and I represent.

I see you are Italian. Would you mind sharing where you are from? I am from Austria as you can see, so we are close relatives - country related. I love Italy a lot and it's great to see Italian people like you who speak the english language very well and are able to pack their wise thoughts in their sentences.

So - maybe we could have a pint of beer during the next few weeks - I am on a holiday in Italy then. You can PM me of course.

I believe that all the people have something to say... perhaps they have never found someone interested to listen.

I believe that every country is beautiful if someone wants to know how to read the history of the places that looks.

Thanks for the invitation I don't set limits to the future but now I am absorbed inside great problems.

Good trip and good stay in Italy.

speak the english language

I hope not to be hated by the native English... but personally accustomed to use numerous words to underline different meanings I am me quite a lot to uneasiness with a narrow dictionary as that English.

I have gotten used to give a tone to every words and I don't believe to have the same ability with the English.

This doesn't mean that I have some problems with the English and the English People.

I want only to say that I don't suit me for the English and continuous to not to feel it my.

While I am loving a lot the way of thinking of the Portuguese (my preferred poet is PESSOA) very similar to Italians.

Edited July 5, 2006 by MAHLER

[ryaku]

So - maybe we could have a pint of beer during the next few weeks - I am on a holiday in Italy then. You can PM me of course.

Off topic: Where are you going to spend your holiday in Italy?

[Richard Tracy]

Thanks MAHLER,...

I have seen this myself in many gens.... but not until I became a regular

on the board, did I ever notice off-center date fonts..

[MAHLER]

I hope your problems will solve soon. I hope it's nothing too difficult to handle. Best of luck to you!

Thanks friend... your words have inspired me this poetry

(I put also Italian version because I feel me more to my ease with the colors)

succede come accadono le cose

e facciamo finta che non giungerà mai il momento

come se tutto fosse uguale

eppure tutto cambia

cosa ci resta ?

contare il tempo che passa...

in compagnia del nostro cuore...

ed aspettare che qualcosa fiorisca dentro di noi

per allentare la stretta del dolore almeno fino a domani.

happens as the things they happen

and we pretend that the moment won't come never

as if everything were equal

yet everything changes

does thing stay us?

to count the time that passes...

together with our heart...

and to wait that something blooms inside of us

to loosen the hold of the pain at least up to tomorrow.

[Chronus]

Are you in anyway related to Klink perhaps?

From what I understand, Italian is Mahler's first language.

I commend him for his written English, even if it is sometimes harder to read.

Not like Klink at all, as he seemed to intentionally write the way he did.

[MAHLER]

Not like Klink at all, as he seemed to intentionally write the way he did.

Not entirely exact.

Also me hook to play with the words and to give greater prominence with particular approaches of sounds and sense.

Succeeds me easier with Italian that with the English but hook to try the same, an example is here

the first grade of a teaching program is the first step on staircase....over the top what remain

my love is a detumescence of my head .....a blessure of my heart..... much i spent in it

and more i go off the rails.

the dark is my dithyramb and the end made my god.....you don't abuse of my unusually skin.....down there were i stand i'm my exile

thanks to all friends.

the word "tumescence" rise from Latin " tumescens" connected to verb " tumere". this word means, as said jjajh , " swelling - tough" and "overcharge".

I use this word to meanig referable to the mind as to the body.

The word " blessure" rise to the french and means "wound". I use this in the same meaning of the first word.

Edited July 7, 2006 by MAHLER

[MAHLER]

UPDATE WITH BREITLING BENTLEY GT - Reference A13362C649 - Automatic Breitling cal.13B movement

[ryyannon]

The magical world of Fernando Pessoa

by Gary Lachman

[ strangeness - january 04 ]

Until relatively recently, the work of the Portuguese poet Fernando Pessoa was little known, but in the last few years he's been rediscovered by several critics, mostly on the strength of various translations of his Livro do Desassossego or Book of Disquiet, a collection of unfinished angst-ridden texts found in a trunk after Pessoa's death. The fragmentary nature of these writings - jotted on scraps of paper, the backs of envelopes, the reverse side of other manuscripts and other odd places - makes Pessoa a prime postmodern figure, and the trunk, whose contents are still being catalogued (it contained some 25,000 items) has taken on the same mythical character as the valise Walter Benjamin carried on his fateful escape from Vichy France. [1] Pessoa's posthumous celebrity, like Benjamin's, is founded in many ways as much upon his life as upon his work. In Benjamin's case, his life embodies the myth of the Jewish intellectual on the run from the Nazis. In Pessoa's the story is less political; he embodies the disjointed, fractured postmodern ethos not only in his work, but in his very psyche.

Fernando Pessoa was born in Lisbon in 1888 and aside from his childhood and adolescence spent in Durban, South Africa, upon his return to Lisbon in 1905, he never left the city again. After his father died from tuberculosis when Fernando was five his mother soon remarried, and her husband received a post at Durban as the Portuguese consul. Educated at an English high school, Pessoa proved a precocious child and brilliant student, and his early schooling instilled a lifelong love for England and English literature. In later years he took to behaving and dressing with "British restraint", and The Pickwick Papers was, he said, his constant companion. His command of English (also French) was impeccable, if eccentric, and his first published books were collections of his English poems. As his translator John Griffin remarks, these are of little interest poetically and they received courteous but unenthusiastic reviews from The Times and Glasgow Herald. Although he published articles and poems in several literary magazines, aside from his English efforts, the only other book of Pessoa's to be published in his lifetime would appear in 1934, the year before he died. Mensagem (Message) is an extended esoteric poem arguing for the return of Dom Sebastião, Portugal's King Arthur, and for Portugal's pre-eminence in a coming Fifth Empire of the spirit. Espousing Pessoa's peculiarly mystical patriotism, the book received a consolation prize in a national competition. This was a late and slightly backhanded recognition of Pessoa's genius, something that, as often happens, would only become common knowledge after the poet's death. Supporting himself as a freelance translator of English and French correspondence for several commercial firms, after a lonely, solitary life, spent in relatives' houses or in rented rooms, Pessoa, who more than likely remained a virgin, died in 1935 from acute hepatitis brought on by heavy drinking.

Pessoa's poetry is aptly described as the central work of Portuguese modernism, and for this alone he deserves his belated recognition. But Pessoa wrote more than poems. His legendary trunk contained a wealth of miscellaneous writings on philosophy, sociology, history, literary criticism, as well as short stories, plays, treatises on astrology and a variety of autobiographical reflections. But in addition to the usual material produced by a writer, Pessoa is unique in that he also wrote other writers and poets. These he called heteronyms, coining the term to distinguish it from the common pseudonym. Pessoa was not simply writing poems and prose under a different name: the various heteronyms he created were individuals with their own history, biography, personal characteristics and unmistakable literary style.

For a solitary individual, living alone in small rooms, to occasionally talk to himself seems not unusual. In Pessoa's case, what began as a childhood game of having conversations with imaginary characters [2] - "nonexistent acquaintances," he called them - became in later years an obsession with depersonalization and the fracturing of the self. Indeed, Pessoa's grip on his own self was so tenuous that at one point he took to writing to his old teachers and schoolmates in Durban, posing as the psychiatrist Faustino Antunes, asking for their opinion on the mental state of his patient, Fernando Pessoa who, depending on the letter, had either committed suicide or was under restraint at an asylum. Having no idea who he was, Pessoa hoped to gain some insight from those who knew him.

Pessoa lived with a constant fear of madness. At the age of 20 he wrote that "One of my mental complications - horrible beyond words - is a fear of insanity, which itself is insanity." [3] This fear was complicated by an equally distressing inability to act. "I suffer - on the very limit of madness, I swear it - as if I could do all and was unable to do it, by deficiency of will." [4] Pessoa was one of the most costive of writers: his inexhaustible trunk, filled with the plans of hundreds of uncompleted projects, is testament to this. This "purely negative" characteristic, as he called it, was complemented by an interior world seemingly without ballast. In a "Personal Note" for 1910, Pessoa announced that "I am now in possession of the fundamental laws of literary art." Neither Shakespeare nor Milton had anything left to teach him. In consequence of this "My intellect has attained a pliancy and a reach that enable me to assume any emotion I desire and enter at will into any state of mind." Yet this easy command of interior states came at a price. "For that which it is ever an anguish and an effort to strive for, completeness, no book at all can be an aid." [5]

Given this imbalance between an inability to do and a fluctuating sense of self, it's small wonder that Pessoa would compensate for this by inventing - if that's the correct word - an altogether straightforward, absolutely uncomplicated and unselfconscious alter ego. In a letter to the editor A. Casais Monteiro, Pessoa explained how his heteronyms came about. In 1912, after an unsuccessful attempt at writing "pagan poems" Pessoa was nevertheless left with a vague idea of their author. This was not himself, but Ricardo Reis, a epicurean classicist who was the urbane, sophisticated disciple of yet another invented poet, Alberto Caeiro. [6] Caeiro arrived after Pessoa tried, again unsuccessfully, to invent a kind of nature poet. As Pessoa writes:

"On the day when I finally desisted - it was the 8th of March, 1914 - I went over to a high desk and, taking a sheet of paper, began to write, standing, as I always write when I can.And I wrote thirty-odd poems straight off, in a kind of ecstasy whose nature I cannot define. It was the triumphal day of my life, and I shall never have another like it. I started with a title - 'The Keeper of Sheep'. And what followed was the apparition of somebody in me, to whom I at once gave the name Alberto Caeiro. Forgive me the absurdity of the phrase: my master had appeared in me. This was the immediate sensation I had." [7]

Other heteronyms and poems followed soon after: the aforementioned Ricardo Reis; the futurist Álvaro de Campos (both, like Pessoa himself, disciples of Caeiro); Alexander Search, Admin Crosse and Charles Robert Anon, all Englishmen; Jean Seul, a Frenchman; the astrologer Rapahael Baldaya; the Baron of Teive (like Pessoa, unable to finish anything, except his own life when he committed suicide); the pagan António Mora; Bernardo Soares, ostensible author of the interminable Book of Disquiet, and many more. Although new heteronyms continue to emerge, the central cast is made up of Caeiro, Reis, de Campos and Soares, with occasional appearances by Pessoa himself. Caeiro, who as a bucolic poet of sheer immediacy was the polar opposite of Pessoa, espoused a philosophy of complete unreflectiveness, a Portuguese variant of Zen satori. [8] "My mysticism is not to try to know/It is to live and not think about it" Pessoa's master wrote, something Pessoa himself found impossible to do. This Zen quality led the Catholic monk Admin Merton to translate some of Caeiro/Pessoa's verse and show them to the Buddhist scholar DT Suzuki.

Even without Pessoa's occult interests, which we will examine shortly, his account of the appearance of Alberto Caeiro is enough to suggest something paranormal. 'Ecstasy', 'apparition', 'master': all three suggest something along the lines of possession, mediumship and Madame Blavatsky's spiritual guides, although Pessoa himself was critical of theosophy and was even advised during a session of automatic writing to "Read no more theosophical books." (His heteronym Raphael Baldaya attacked Blavatsky savagely in a predictably unfinished essay.) Although in the next decade surrealists like André Breton, Philippe Soupault, and Robert Desnos all practised automatic writing - and Breton himself was a reader of Eliphas Levi and other occult writers - their interest in it was in a sense more political than occult, or even poetic, seeking, as it were, an open avenue to the 'repressed' unconscious. Pessoa, however, for a time at least took the practice seriously, influenced in this by his Aunt Anica, a devoted student of the occult, with whom he lived between 1912 and 1914. Between 1916 and 1917, Pessoa engaged in a series of automatic writing sessions, making contact with several intelligences: Henry More, the Cambridge Platonist, a character named Wardour and a dark figure called the Voodooist. While interesting biographically, Pessoa's automatic writings - accomplished sometimes with a planchette - lack the inspiration of his heteronymic efforts; most of them are encouragements to lose his virginity (sadly ineffective) and admonitions about his habit of masturbation. "Very soon you will know what you have courage for - namely, for mating with a girl," Henry More informed him. "You masturbator! You masochist! You man without manhood!... You man without a man's [censored]!" another astral interlocutor opined. [9] On other occasions these sessions produced a variety of occult signs and symbols, Masonic and kabbalistic insignia whose meaning troubled Pessoa.

Along with automatic writing, Pessoa developed other occult skills. Writing to his Aunt Anica in June 1916, Pessoa informed her that, along with becoming a medium, he had developed other paranormal powers. One of these was a kind of telepathy. When his great friend Mário De Sá-Carneiro was in Paris, going through the emotional crisis that led to his suicide at 26 - downing several vials of strychnine - Pessoa, he told his aunt, felt Sá-Carneiro's anguish there, in Lisbon, being overwhelmed by a sudden depression. But his great achievement was the development of 'etheric vision.' "There are moments," he told his aunt:

"when I have sudden flashes of 'etheric vision' and can see certain people's 'magnetic auras' and especially my own, reflected in the mirror, and radiating from my hands in the dark. In one of my best moments of etheric vision... I saw someone's ribs through his coat and skin... My 'astral vision' is still very basic, but sometimes, at night, I close my eyes and see a swift succession of small and sharply defined pictures... I see strange shapes, designs, symbolic signs, numbers... " [10]

Like Gérard de Nerval, Pessoa had an interest in occult history and was fascinated by secret societies and organizations. One form this took was an attack on the Salazar government's proposed ban on freemasonry; in the Diário de Lisboa for 4 February 1935, Pessoa published an article on "Secret Associations," defending freemasonry and, by association, other occult societies. In Pessoa's occult history of the world, freemasonry was the contemporary embodiment of a mystical dissension that began in ancient times with the Gnostics. A lifelong opponent of Christianity, Pessoa saw the "Gnostic heresy" surface at different periods in history, appearing as the kabbalists of 12th century Spain, the Knights of Malta, the Knights Templar, the Rosicrucians, the alchemists, and, in most recent times, freemasonry. Rosicrucianism, however, was perhaps his favourite branch of this esoteric tree. In "At the Tomb of Christian Rosencreuz" Pessoa wrote that:

"God is the Man of another God, greater:

Supreme Adam, He also had His Fall;

He also, just as He was our Creator,

Was created, and to Him the Truth died...

The Abyss, His Spirit, bans it Him from the far side;

Here, in the World His Body, there's none at all." [11]

Although there is no traceable connection between the Gnostics and the Rosicrucians - several centuries separate them in time - Pessoa associated the Gnostic idea of the fallen world and the demi-urge responsible for it, with the 17th century followers of Christian Rosencreuz.

Although Pessoa did know a few people who shared his occult interests, most of his contact with other occultists was via correspondence. Of these, the most celebrated was Aleister Crowley. In recent times, the extent to which Pessoa read Crowley and actually modelled his own ideas about secret societies on accounts of Crowley's own groups, has become the subject of historical research. [12] Pessoa first made contact with Crowley when he wrote to the Great Beast, pointing out an error in the natal horoscope published in Crowley's notorious Confessions (Pessoa was a keen astrologer and at one point considered pursuing the craft professionally). Crowley replied and the two poets exchanged letters and writings; Pessoa even translated Crowley's "Hymn to Pan" into Portuguese. In September 1930, Crowley arrived in Lisbon, with his current Scarlet Woman. The couple quarrelled and Crowley's girlfriend left the country, leaving a deflated Great Beast behind. Crowley then enlisted Pessoa's aid in faking a suicide. Leaving a forlorn lover's note at the Boca do Inferno (Mouth of Hell) - a treacherous rock formation on the coast west of Lisbon - Crowley implied that he had taken his own life by leaping into the sea. Pessoa explained to the Lisbon papers the meaning of the various magical signs and symbols that adorned Crowley's suicide note, and added the fact that he had actually seen Crowley's ghost the following day. Crowley had in fact left Portugal via Spain, and enjoyed the reports of his death in the newspapers; he finally appeared weeks later at an exhibition of his paintings in Berlin. Given Pessoa's frail ego, it was more than likely a blessing that his association with the Beast was brief.

What Pessoa actually believed is a difficult question. In the letter describing the birth of his heteronyms, he also enlarged on his occult ideas. " I believe in the existence of worlds higher than our own and in the existence of beings that inhabit these worlds," he wrote, and went on to say that he believed that "we can, according to the degree of our spiritual attunement, communicate with ever high beings." [13] But for Bernardo Soares, things are not so clear. "I spent frightful nights hunched over tomes by mystics and kabbalists which I never had the patience to read except intermittently... The rites and mysteries of the Rosicrucians, the symbolism of the Kabbalah and the Templars... all of this oppressed me for a long time." This led to an "almost physical loathing for secret things... secret societies, occult sciences... the pretension certain men have that, through their understandings with Gods or Masters or Demiurges, they and they alone know the great secrets on which the world is founded." But what really troubled the author of The Book of Disquiet is that all these mystic masters were such atrocious stylists. "When they write to communicate... their mysteries," he said, "[they] all write abominably. It offends my intelligence that a man can master the Devil without being able to master the Portuguese language." Yet Satanists alone are not at fault. "To have touched the feet of Christ," Soares tells us, "is no excuse for mistakes in punctuation." [14]

[MAHLER]

Thanks of your precise statement ryyannon, unfortunately your source is not exact... suggestion to read the books of Pessoa without preconceived.

Satanism means adoration of the angel called Satan in the Bible, Pessoa has not even done never this in his masterpiece "FAUST."

But was interested above all to the occultism because loved Greece and ancient Italy where esoteric rites were practiced without prejudices.

Loved a lot the history and respect the religion reading well Pessoa was tied up deep to the sacred things.

So much legacy to the sacred to often converse with it and to reach to deny only to confirm later it importance some page... as can make a person in love that quarrels with the woman that loves.

Pessoa is a difficult poet because unlike the poets greengrocers communicated all the colors of his soul.

Sinned that who writes wise, comments or prefaces doesn't read more attentively that of which he speaks.

Many detaining on the poetry "the opium" have deduced that it was a hymn to the drug.

But few have thought to the historical period in which Pessoa lived.

If they had done they would have understood that "the opium" a medicine was considered to take care of the depression.

What anybody law of the epoch forbade the commerce and the assumption of the opium.

What a the artists' majority, misunderstood from own parents, were taken care of by the doctors for depression with "the opium".... and a lot of time later with the lobotomy.

Edited July 9, 2006 by MAHLER

[ryyannon]

In all writing, as in genuine watches, perfection or imperfection is often in the eye of the beholder....

[MAHLER]

In all writing, as in genuine watches, perfection or imperfection is often in the eye of the beholder....

is corrected... but often not always !!

[fitmic]

Very interresting.

Thanks for sharing.