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A rose is a woody perennial flowering plant of the genus Rosa, in the family Rosaceae, or the flower it bears. There are over three hundred species and tens of thousands of cultivars. They form a group of plants that can be erect shrubs, climbing, or trailing, with stems that are often armed with sharp prickles.[citation needed] Their flowers vary in size and shape and are usually large and showy, in colours ranging from white through yellows and reds. Most species are native to Asia, with smaller numbers native to Europe, North America, and northwestern Africa.[citation needed] Species, cultivars and hybrids are all widely grown for their beauty and often are fragrant. Roses have acquired cultural significance in many societies. Rose plants range in size from compact, miniature roses, to climbers that can reach seven meters in height.[citation needed] Different species hybridize easily, and this has been used in the development of the wide range of garden roses.
The leaves are borne alternately on the stem. In most species they are 5 to 15 centimetres (2.0 to 5.9 in) long, pinnate, with (3–) 5–9 (–13) leaflets and basal stipules; the leaflets usually have a serrated margin, and often a few small prickles on the underside of the stem. Most roses are deciduous but a few (particularly from Southeast Asia) are evergreen or nearly so.
The flowers of most species have five petals, with the exception of Rosa sericea, which usually has only four. Each petal is divided into two distinct lobes and is usually white or pink, though in a few species yellow or red. Beneath the petals are five sepals (or in the case of some Rosa sericea, four). These may be long enough to be visible when viewed from above and appear as green points alternating with the rounded petals. There are multiple superior ovaries that develop into achenes.[3] Roses are insect-pollinated in nature.
The aggregate fruit of the rose is a berry-like structure called a rose hip. Many of the domestic cultivars do not produce hips, as the flowers are so tightly petalled that they do not provide access for pollination. The hips of most species are red, but a few (e.g. Rosa pimpinellifolia) have dark purple to black hips. Each hip comprises an outer fleshy layer, the hypanthium, which contains 5–160 "seeds" (technically dry single-seeded fruits called achenes) embedded in a matrix of fine, but stiff, hairs. Rose hips of some species, especially the dog rose (Rosa canina) and rugosa rose (Rosa rugosa), are very rich in vitamin C, among the richest sources of any plant. The hips are eaten by fruit-eating birds such as thrushes and waxwings, which then disperse the seeds in their droppings. Some birds, particularly finches, also eat the seeds.
The sharp growths along a rose stem, though commonly called "thorns", are technically prickles, outgrowths of the epidermis (the outer layer of tissue of the stem), unlike true thorns, which are modified stems. Rose prickles are typically sickle-shaped hooks, which aid the rose in hanging onto other vegetation when growing over it. Some species such as Rosa rugosa and Rosa pimpinellifolia have densely packed straight prickles, probably an adaptation to reduce browsing by animals, but also possibly an adaptation to trap wind-blown sand and so reduce erosion and protect their roots (both of these species grow naturally on coastal sand dunes). Despite the presence of prickles, roses are frequently browsed by deer. A few species of roses have only vestigial prickles that have no points.
Evolution
The oldest remains of roses are from the Late Eocene Florissant Formation of Colorado. Roses were present in Europe by the early Oligocene.
Today's garden roses come from 18th-century China. Among the old Chinese garden roses, the Old Blush group is the most primitive, while newer groups are the most diverse.
Species
Hulthemia (formerly Simplicifoliae, meaning "with single leaves") containing two species from southwest Asia, Rosa persica and Rosa berberifolia, which are the only roses without compound leaves or stipules.
Hesperrhodos (from the Greek for "western rose") contains Rosa minutifolia and Rosa stellata, from North America.
Platyrhodon (from the Greek for "flaky rose", referring to flaky bark) with one species from east Asia, Rosa roxburghii (also known as the chestnut rose).
Rosa (the type subgenus, sometimes incorrectly called Eurosa) containing all the other roses. This subgenus is subdivided into 11 sections.
Banksianae – white and yellow flowered roses from China.
Bracteatae – three species, two from China and one from India.
Caninae – pink and white flowered species from Asia, Europe and North Africa.
Carolinae – white, pink, and bright pink flowered species all from North America.
Chinensis – white, pink, yellow, red and mixed-colour roses from China and Burma.
Gallicanae – pink to crimson and striped flowered roses from western Asia and Europe.
Gymnocarpae – one species in western North America (Rosa gymnocarpa), others in east Asia.
Laevigatae – a single white flowered species from China.
Pimpinellifoliae – white, pink, bright yellow, mauve and striped roses from Asia and Europe.
Rosa (syn. sect. Cinnamomeae) – white, pink, lilac, mulberry and red roses from everywhere but North Africa.
Synstylae – white, pink, and crimson flowered roses from all areas.
Uses
Roses are best known as ornamental plants grown for their flowers in the garden and sometimes indoors. They have been also used for commercial perfumery and commercial cut flower crops. Some are used as landscape plants, for hedging and for other utilitarian purposes such as game cover and slope stabilization.
Ornamental plants
The majority of ornamental roses are hybrids that were bred for their flowers. A few, mostly species roses are grown for attractive or scented foliage (such as Rosa glauca and Rosa rubiginosa), ornamental thorns (such as Rosa sericea) or for their showy fruit (such as Rosa moyesii).
Ornamental roses have been cultivated for millennia, with the earliest known cultivation known to date from at least 500 BC in Mediterranean countries, Persia, and China. It is estimated that 30 to 35 thousand rose hybrids and cultivars have been bred and selected for garden use as flowering plants. Most are double-flowered with many or all of the stamens having morphed into additional petals.
In the early 19th century the Empress Josephine of France patronized the development of rose breeding at her gardens at Malmaison. As long ago as 1840 a collection numbering over one thousand different cultivars, varieties and species was possible when a rosarium was planted by Loddiges nursery for Abney Park Cemetery, an early Victorian garden cemetery and arboretum in England.
Cut flowers
Roses are a popular crop for both domestic and commercial cut flowers. Generally they are harvested and cut when in bud, and held in refrigerated conditions until ready for display at their point of sale.
In temperate climates, cut roses are often grown in greenhouses, and in warmer countries they may also be grown under cover in order to ensure that the flowers are not damaged by weather and that pest and disease control can be carried out effectively. Significant quantities are grown in some tropical countries, and these are shipped by air to markets across the world.
Some kind of roses are artificially coloured using dyed water, like rainbow roses.
Perfume
Rose perfumes are made from rose oil (also called attar of roses), which is a mixture of volatile essential oils obtained by steam distilling the crushed petals of roses. An associated product is rose water which is used for cooking, cosmetics, medicine and religious practices. The production technique originated in Persia and then spread through Arabia and India, and more recently into eastern Europe. In Bulgaria, Iran and Germany, damask roses (Rosa × damascena 'Trigintipetala') are used. In other parts of the world Rosa × centifolia is commonly used. The oil is transparent pale yellow or yellow-grey in colour. 'Rose Absolute' is solvent-extracted with hexane and produces a darker oil, dark yellow to orange in colour. The weight of oil extracted is about one three-thousandth to one six-thousandth of the weight of the flowers; for example, about two thousand flowers are required to produce one gram of oil.
The main constituents of attar of roses are the fragrant alcohols geraniol and L-citronellol and rose camphor, an odorless solid composed of alkanes, which separates from rose oil. β-Damascenone is also a significant contributor to the scent.
Food and drink
Rose hips are high in vitamin C, are edible raw, and occasionally made into jam, jelly, marmalade, and soup, or are brewed for tea. They are also pressed and filtered to make rose hip syrup. Rose hips are also used to produce rose hip seed oil, which is used in skin products and some makeup products.
Rose water has a very distinctive flavour and is used in Middle Eastern, Persian, and South Asian cuisine—especially in sweets such as Turkish delight, barfi, baklava, halva, gulab jamun, knafeh, and nougat. Rose petals or flower buds are sometimes used to flavour ordinary tea, or combined with other herbs to make herbal teas. A sweet preserve of rose petals called gulkand is common in the Indian subcontinent. The leaves and washed roots are also sometimes used to make tea.
In France, there is much use of rose syrup, most commonly made from an extract of rose petals. In the Indian subcontinent, Rooh Afza, a concentrated squash made with roses, is popular, as are rose-flavoured frozen desserts such as ice cream and kulfi.
The flower stems and young shoots are edible, as are the petals (sans the white or green bases). The latter are usually used as flavouring or to add their scent to food. Other minor uses include candied rose petals.
Rose creams (rose-flavoured fondant covered in chocolate, often topped with a crystallised rose petal) are a traditional English confectionery widely available from numerous producers in the UK.
Under the American Federal Food, Drug, and Cosmetic Act, there are only certain Rosa species, varieties, and parts are listed as generally recognized as safe (GRAS).
Rose absolute: Rosa alba L., Rosa centifolia L., Rosa damascena Mill., Rosa gallica L., and vars. of these spp.
Rose (otto of roses, attar of roses): Ditto
Rose buds
Rose flowers
Rose fruit (hips)
Rose leaves: Rosa spp.
As a food ingredient
The rose hip, usually from R. canina, is used as a minor source of vitamin C. Diarrhodon (Gr διάρροδον, "compound of roses", from ῥόδων, "of roses") is a name given to various compounds in which red roses are an ingredient.
Art and symbolism
The long cultural history of the rose has led to it being used often as a symbol. In ancient Greece, the rose was closely associated with the goddess Aphrodite. In the Iliad, Aphrodite protects the body of Hector using the "immortal oil of the rose" and the archaic Greek lyric poet Ibycus praises a beautiful youth saying that Aphrodite nursed him "among rose blossoms". The second-century AD Greek travel writer Pausanias associates the rose with the story of Adonis and states that the rose is red because Aphrodite wounded herself on one of its thorns and stained the flower red with her blood. Book Eleven of the ancient Roman novel The Golden Ass by Apuleius contains a scene in which the goddess Isis, who is identified with Venus, instructs the main character, Lucius, who has been transformed into a donkey, to eat rose petals from a crown of roses worn by a priest as part of a religious procession in order to regain his humanity. French writer René Rapin invented a myth in which a beautiful Corinthian queen named Rhodanthe ("she with rose flowers") was besieged inside a temple of Artemis by three ardent suitors who wished to worship her as a goddess; the god Apollo then transformed her into a rosebush.
Following the Christianization of the Roman Empire, the rose became identified with the Virgin Mary. The colour of the rose and the number of roses received has symbolic representation. The rose symbol eventually led to the creation of the rosary and other devotional prayers in Christianity.
Ever since the 1400s, the Franciscans have had a Crown Rosary of the Seven Joys of the Blessed Virgin Mary. In the 1400s and 1500s, the Carthusians promoted the idea of sacred mysteries associated with the rose symbol and rose gardens. Albrecht Dürer's painting The Feast of the Rosary (1506) depicts the Virgin Mary distributing garlands of roses to her worshippers.
Roses symbolised the Houses of York and Lancaster in a conflict known as the Wars of the Roses.
Roses are a favored subject in art and appear in portraits, illustrations, on stamps, as ornaments or as architectural elements. The Luxembourg-born Belgian artist and botanist Pierre-Joseph Redouté is known for his detailed watercolours of flowers, particularly roses.
Henri Fantin-Latour was also a prolific painter of still life, particularly flowers including roses. The rose 'Fantin-Latour' was named after the artist.
Other impressionists including Claude Monet, Paul Cézanne and Pierre-Auguste Renoir have paintings of roses among their works. In the 19th century, for example, artists associated the city of Trieste with a certain rare white rose, and this rose developed as the city's symbol. It was not until 2021 that the rose, which was believed to be extinct, was rediscovered there.
In 1986 President Ronald Reagan signed legislation to make the rose the floral emblem of the United States.
Pests and diseases
Main article: List of pests and diseases of roses
Wild roses are host plants for a number of pests and diseases. Many of these affect other plants, including other genera of the Rosaceae.
Cultivated roses are often subject to severe damage from insect, arachnid and fungal pests and diseases. In many cases they cannot be usefully grown without regular treatment to control these problems.
ACCESS February round
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• CAM: maps.secondlife.com/secondlife/ACCESS%202/8/129/2000
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ACCESS March round
️LM: maps.secondlife.com/secondlife/ACCESS/128/129/2002
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☃️ ACCESS Holiday round ☃️
️LM: maps.secondlife.com/secondlife/ACCESS/128/129/2002
CAM: maps.secondlife.com/secondlife/ACCESS%202/8/129/2000
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ACCESS September round round
Sept 12th - Oct 8th
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Well, it stood to reason I wouldn't get photos of the actual restroom renovation. Sadly though, I didn't get photos prior to the renovation starting either (I don't believe it was still the original Seessel's décor though).
I'll try to keep an eye on things here though, to see if anything else of interest happens. In the meantime, have another music list, but first (while I'm browsing the photoset I linked to in the previous photo), check out this exterior overview of Southaven Superlo. Sadly though, the You fit Health Club (seen on the right in that linked photo) was yet another victim of the pandemic.
Oh yeah, here's the music:
Red (End of Silence) - Lost (Acoustic)
Cavo (Bright Nights Dark Days) - Blame
Thin Lizzy (Heart Attack) - Cold Sweat
AC-DC (Flick of the Switch) - Bedlam in Belgium
Van Halen (Van Halen) - Feel Your Love Tonight
Volbeat (Outlaw Gentelmen & Shady Ladies) - Black Bart
James Taylor (Hourglass) - Jump Up Behind Me
Steven Wilson (Grace for Drowning) - Index
Default (The Fallout (Limited Edition)) - By Your Side
Foo Fighters (Foo Fighters) - This Is a Call
Journey (Escape) - Don’t Stop Believin’
The Beatles (The Beatles (White Album, CD1)) - While My Guitar Gently Weeps
Thin Lizzy (Jailbreak) - Cowboy Song
Trapt (Trapt) - New Beginning
Kate Bush (The Whole Story) - Wow
Avenged Sevenfold (City of Evil) - Blinded in Chains
Mike Shinoda (Post Traumatic) - Running from My Shadow
Tool (Undertow) - Flood
available @ ACCESS September round ( Sept 12th - Oct 8th )
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➵ Teleport to Camshopping sim
Passing through Knottingley one Wednesday enabled me to catch up with an obscure service I had been meaning to photograph since it started. B L Travel based in Kinsley operate services to Wakefield and Pontefract using a selection of Optares and the venerable Volvo B6s but less well known is the Wednesday & Saturday only 420 from Cridling Stubbs to Knottingley & Pontefract with only one journey in each direction. A WYCA owned access bus optare solo seems to be regular vehicle, interesting as Cridling Stubbs is in North Yorkshire...the famous A4 paper is just about visible in the nearside window reading "Pontefract 420" as the vehicle passes over the old A1 at Knottingley.
» LM: maps.secondlife.com/secondlife/ACCESS/70/130/22
» Cam1: maps.secondlife.com/secondlife/ACCESS%202/24/128/22
» Cam2: maps.secondlife.com/secondlife/ACCESS%203/74/219/23
Gallery: www.access-sl.com/shopping-guide
IG: @access_event
Flickr: www.flickr.com/photos/weloveslfashion/
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» more info: www.access-sl.com
See you there! ♥
#secondlife #secondlifestyle #secondlifeavi #secondlifedecor #sl #slfashion #secondlifefashion
The south end of Bora Bora is easily accessed via many modes of water transport, such as jet ski.
For more come to www.facebook.com/timjordanphotography.com
Santo Stefano di Sessanio è un comune italiano di 114 abitanti della provincia dell'Aquila in Abruzzo. È tra i comuni meno popolati della provincia e della regione, e faceva parte della Comunità montana Campo Imperatore-Piana di Navelli. Compreso all'interno del Parco nazionale del Gran Sasso e Monti della Laga, ne costituisce una delle porte di accesso nella sua parte meridionale. Le prime notizie di contrade comprese nel territorio comunale di Santo Stefano di Sessanio di proprietà del monastero di San Vincenzo al Volturno le dobbiamo al Chronicon Vulturnense e risalgono all'inizio del IX secolo. La prima notizia certa dell'esistenza dell'insediamento detto Santo Stefano è dell'anno 1239. L'opera capillare degli ordini monastici determina un aumento delle terre coltivabili, il ripopolamento delle campagne anche ad alte quote, nonché la nascita e il consolidamento di borghi fortificati, tanto più sicuri quanto più in posizione elevata.
Dal XII secolo Santo Stefano fu compreso nel distretto feudale della baronia di Carapelle che includeva anche Carapelle Calvisio, Castelvecchio Calvisio, Calascio e Rocca Calascio. Santo Stefano seguì le vicende storiche della baronia fino al 1806, anno di abolizione della feudalità. Il borgo divenne dominio nell'ordine delle famiglie Pagliara, Plessis, Colonna, Celano, Caldora, Accrocciamuro, Piccolomini Todeschini, Del Pezzo, Cattaneo, Medici e Borbone. Nel 1474, sotto gli Aragonesi, l'abolizione della tassa sugli animali e il riordino dei pascoli di Puglia consentono un forte sviluppo della pastorizia e della transumanza al punto che in quell' anno Santo Stefano, Calascio, Rocca Calascio e Carapelle hanno nella dogana di Puglia ben 94.070 pecore. Costanza, figlia unica di Innico Piccolomini, cedette la Baronia di Carapelle a Francesco I de' Medici, granduca di Toscana, nel 1579. Queste terre apparterranno ai Medici fino al 1743. In questo periodo Santo Stefano raggiunge il massimo splendore come base operativa della Signoria di Firenze per il fiorente commercio della lana "carfagna", qui prodotta e poi lavorata in Toscana e venduta in tutta Europa. Nel XIX secolo con l'Unità d'Italia e la privatizzazione delle terre del Tavoliere delle Puglie ha termine l'attività millenaria della transumanza e inizia un processo di decadenza del borgo che vede fortemente ridotta la popolazione a causa del fenomeno dell'emigrazione. Nel XXI secolo l'antico borgo sta avendo una rinascita grazie al turismo. Infatti nel 1994 è arrivato in paese un giovane imprenditore, Daniele Kihlgren, milanese di origini svedesi, che ha acquistato gran parte del borgo per realizzarci un albergo diffuso ed ha attirato, grazie al progetto di recupero conservativo del paesaggio, delle tradizioni e degli immobili, l'interesse della stampa nazionale ed internazionale. Ciò ha richiamato nuovi investitori, facendo sviluppare in modo considerevole tutte le attività economiche della zona. Il 6 aprile 2009 il paese è stato colpito dal terremoto che ha abbattuto la Torre Medicea, simbolo del borgo, e alcune abitazioni, danneggiandone molte altre. Il restauro della torre è stato ultimato a ottobre 2021 a seguito di un intervento durato tre anni e costato circa un milione di euro. Il borgo medioevale ha visto nel tempo molti lavori di restauro che hanno riportato il paese in una condizione pre terremoto.
Santo Stefano di Sessanio is an Italian municipality of 114 inhabitants in the province of L'Aquila in Abruzzo. It is among the least populated municipalities in the province and the region, and was part of the Campo Imperatore-Piana di Navelli mountain community. Included within the Gran Sasso and Monti della Laga National Park, it is one of the access gates in its southern part. The first news of districts included in the municipal territory of Santo Stefano di Sessanio owned by the monastery of San Vincenzo al Volturno are due to the Chronicon Vulturnense and date back to the beginning of the 9th century. The first certain news of the existence of the settlement called Santo Stefano is from the year 1239. The widespread work of the monastic orders determined an increase in cultivable land, the repopulation of the countryside even at high altitudes, as well as the birth and consolidation of fortified villages, all the safer the higher they were in a position.
From the 12th century Santo Stefano was included in the feudal district of the barony of Carapelle which also included Carapelle Calvisio, Castelvecchio Calvisio, Calascio and Rocca Calascio. Santo Stefano followed the historical events of the barony until 1806, the year of the abolition of feudalism. The village became a dominion in the order of the Pagliara, Plessis, Colonna, Celano, Caldora, Accrocciamuro, Piccolomini Todeschini, Del Pezzo, Cattaneo, Medici and Borbone families. In 1474, under the Aragonese, the abolition of the tax on animals and the reorganization of the pastures of Puglia allowed a strong development of sheep farming and transhumance to the point that in that year Santo Stefano, Calascio, Rocca Calascio and Carapelle had 94,070 sheep in the customs of Puglia. Costanza, the only daughter of Innico Piccolomini, ceded the Barony of Carapelle to Francesco I de' Medici, Grand Duke of Tuscany, in 1579. These lands belonged to the Medici until 1743. In this period Santo Stefano reached its maximum splendor as an operational base of the Signoria of Florence for the flourishing trade of "carfagna" wool, produced here and then processed in Tuscany and sold throughout Europe. In the 19th century, with the Unification of Italy and the privatization of the lands of the Tavoliere delle Puglie, the thousand-year-old activity of transhumance ended and a process of decline of the village began, which saw a strong reduction in the population due to the phenomenon of emigration. In the 21st century, the ancient village is experiencing a rebirth thanks to tourism. In fact, in 1994 a young entrepreneur, Daniele Kihlgren, a Milanese of Swedish origin, arrived in the village and bought a large part of the village to build a widespread hotel. Thanks to the conservative recovery project of the landscape, traditions and buildings, he attracted the interest of the national and international press. This attracted new investors, causing all the economic activities in the area to develop considerably. On 6 April 2009 the village was hit by the earthquake that knocked down the Torre Medicea, the symbol of the village, and some houses, damaging many others. The restoration of the tower was completed in October 2021 following an intervention that lasted three years and cost around one million euros. The medieval village has seen many restoration works over time that have brought the village back to a pre-earthquake condition.
Santo Stefano di Sessanio est une commune italienne de 114 habitants dans la province de L'Aquila dans les Abruzzes. C'est l'une des communes les moins peuplées de la province et de la région et faisait partie de la communauté de montagne Campo Imperatore-Piana di Navelli. Inclus dans le Parc National du Gran Sasso et des Monti della Laga, il constitue l'une des portes d'accès à sa partie sud. Les premières nouvelles des quartiers inclus dans le territoire municipal de Santo Stefano di Sessanio appartenant au monastère de San Vincenzo al Volturno proviennent du Chronicon Vulturnense et remontent au début du IXe siècle. La première nouvelle certaine de l'existence de la colonie appelée Santo Stefano remonte à l'année 1239. Le travail étendu des ordres monastiques a déterminé une augmentation des terres cultivables, le repeuplement des campagnes même à haute altitude, ainsi que la naissance et consolidation des villages. fortifiés, d'autant plus sûrs que leur position est plus élevée.
À partir du XIIe siècle, Santo Stefano était inclus dans le district féodal de la baronnie de Carapelle qui comprenait également Carapelle Calvisio, Castelvecchio Calvisio, Calascio et Rocca Calascio. Santo Stefano a suivi les événements historiques de la baronnie jusqu'en 1806, année de l'abolition du féodalisme. Le village devint une domination de l'ordre des familles Pagliara, Plessis, Colonna, Celano, Caldora, Accrocciamuro, Piccolomini Todeschini, Del Pezzo, Cattaneo, Medici et Borbone. En 1474, sous les Aragonais, l'abolition de l'impôt sur les animaux et la réorganisation des pâturages des Pouilles permirent un fort développement du pastoralisme et de la transhumance au point que cette année-là, Santo Stefano, Calascio, Rocca Calascio et Carapelle eurent dans les douanes des Pouilles, pas moins de 94 070 moutons. Costanza, fille unique d'Innico Piccolomini, céda la baronnie de Carapelle à François Ier de Médicis, grand-duc de Toscane, en 1579. Ces terres appartenaient aux Médicis jusqu'en 1743. À cette époque, Santo Stefano atteignit sa splendeur maximale en tant que centre opérationnel base de la Seigneurie de Florence pour le commerce florissant de la laine "carfagna", produite ici puis travaillée en Toscane et vendue dans toute l'Europe. Au XIXe siècle, avec l'unification de l'Italie et la privatisation des terres de Tavoliere delle Puglie, l'activité millénaire de transhumance a pris fin et un processus de déclin du village a commencé, qui a vu la population fortement réduite en raison de la phénomène d'émigration. Au 21ème siècle, l'ancien village connaît une renaissance grâce au tourisme. En effet, en 1994, un jeune entrepreneur, Daniele Kihlgren, milanais d'origine suédoise, arrive dans la ville et achète une grande partie du village pour y construire un vaste hôtel. Grâce au projet conservateur de récupération du paysage, des traditions et des bâtiments, il a suscité l'intérêt de la presse nationale et internationale. Cela a attiré de nouveaux investisseurs, ce qui a permis à toutes les activités économiques de la région de se développer considérablement. Le 6 avril 2009, la ville a été frappée par un tremblement de terre qui a détruit la tour Médicis, symbole du village, et quelques maisons, endommageant de nombreuses autres. La restauration de la tour a été achevée en octobre 2021 après une intervention de trois ans qui a coûté environ un million d'euros. Le village médiéval a connu au fil du temps de nombreux travaux de restauration qui ont ramené la ville à l'état d'avant le tremblement de terre.
🎈 ACCESS Anniversary round 🎈 round
June 12th - July 8th
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A child in Kuma Garadayat, Sudan, is examined by a UN peacekeeper as the African Union-United Nations Hybrid Operation in Darfur (UNAMID) and officers from UN agencies, including the Food and Agriculture Organization (FAO), UN Refugee Agency (UNHCR) and Office for the Coordination for Humanitarian Affairs (OCHA), visit the village as part of “Operation Spring Basket”, an effort to secure access to remote, conflict-affected areas in Darfur.
Photo ID 473391. 19/05/2011. Kuma Garadayat, Sudan. UN Photo/Albert Gonzalez Farran. www.unmultimedia.org/photo/
ACCESS April round
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ACCESS July round
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Sadly, this location has closed as of last Sunday (Nov 19)
Vails Gate, NY. October 2016.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
ACCESS April round
April 12th - May 8th
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12th - ACCESS Event opens ( 12:00 PM SLT- Noon )
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☄️ ACCESS May round round ☄️
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November 23rd, 2012
West Penobscot Bay, entrance to Rockland Harbor
Closest town is Owl's Head
Another from last year's project that will be released and hitting the stores at the end of this year. This view is from the stairs down from the Light. Amazing view.
History: "Nobody is quite sure how Owl's Head got its name. Some say the picturesque promontory resembles an owl from the water, but it takes great imagination to see anything of the sort. Some say Owl's Head is the English translation of the Indian name for the spot, Medadacut.
When Owl's Head was visited by Samuel de Champlain in 1605, it was known as Bedabedec Point, an Indian word meaning "Cape of the Winds." The village called Owl's Head became a town in 1921; it had previously been part of South Thomaston.
The growing lime trade in nearby Rockland and Thomaston led to the establishment of a light station at Owl's Head, at the entrance to Rockland Harbor. President John Quincy Adams authorized the building of Owl's Head Light in 1825.
A tall lighthouse was not necessary because of the height of the promontory. The light is exactly 100 feet above sea level. Although many sources claim that the 1825 tower still stands, the present lighthouse replaced the original one in 1852. Restoration work by the American Lighthouse Foundation and the J.B. Leslie Masonry Company in 2010, along with research by J. Candace Clifford, confirmed this fact."
SOURCE: www.lighthouse.cc/
now @ ACCESS July round ( July 12th - Aug 8th )
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☃️ ACCESS Holiday round ☃️
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ACCESS April round
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🎃 ACCESS Halloween 🎃 Oct 12th
come check it out and shop form over 100 Top Designers ♥
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This round of ACCESS, I’m excited to present a simple yet charming Candle Holder with a candle in 7 beautiful colors. It’s the perfect addition to any occasion, bringing a subtle touch of warmth and elegance. With a gentle tap, you can easily turn the candle’s soft light on and off. Available now at this round of ACCESS don’t miss out!
Teleport : maps.secondlife.com/secondlife/ACCESS/65/128/22
Thank you!♥
One of my favourite models from the Midland Counties fleets, CBZ 4656 (formerly EWE 656X) is the oldest vehicle operated by 3 Counties. A Leopard with a Supreme IV body, it is a disabled-accessible private hire coach from the days when such things were not common, with a centre lift, wheelchair tracking and 35 removable seats, and is a modification of an early resin bodyshell sold by the Allsorts model shop in Rickmansworth.
S, Mansur by Mansoor Saleem
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations not in math but in language that nature uses. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist. For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension which is one of the aspect, useful for scientific community to explore.
For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Sciences, Meta-science or Spirituality, I do not know yet, so I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. In dada and sur-realism we do read about dreams and drug infused random thoughts, but not flashes, so far no word about flashes I find even in Freud or Jungian psychology, they talk about dream importance. And in Christian art history so far I have only observed mixing of dream and inspiration from Bible. No body so far I have read in Dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. After seeing the difference between two (1) Pure Flashes and (2) some of my work based on mixing of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian art also so far, no artist has ever claimed flashes mixed or un-mixed. For future science world, un-mixed flashes will be more important. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
Physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore.
Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. (From Rudolf Arnheim's essay: “Complementarity from the outside” in book: Rescue of art).
May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my Flash-works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984).
Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan.
"Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avant Garde" also shows his wit." (—page 123, Ejazul Husan)
"The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan)
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque, also absorbed elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc) which not much is my concerned.
During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, Berlin, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma and VASL works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me.
I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc.
All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the Flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market forces but I have to make (for science) what I receive in form of Flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
ACCESS, March 12th - April 8th
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