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Access control security gates provide another layer of protection.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
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Access control security hand scanner provides another layer of protection at a nuclear facility.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
For those who wish to leave a comment or feedback please send via email to opa.resource@nrc.gov.
Photo Usage Guidelines: www.flickr.com/people/nrcgov/
Privacy Policy: www.nrc.gov/site-help/privacy.html
The East Side Access project will connect the Long Island Rail Road with a new concourse underneath Grand Central Terminal. This photo shows construction underway on September 19, 2011. Photo by Metropolitan Transportation Authority / Patrick Cashin.
Birth of the mysterious Alchemical Sentinels
3 months working day and night with an exceptional “dream team"… a big thank you to ACS, Luc, my trusty Giant who could lift a juggernaut onto a balcony (QED Thierry Loir) Thomas Cart'1, Goin, and of course Marc for the paints.
I have managed to set up my installation of 99 raw steel sculptures with an incredibly demanding specification: none of the 3600 work on the DDC site were to be hidden… we had to think about power sources, water crossings, access for construction machinery including the telescopic booms (3m wide)… public safety, ERP museum standards, etc, ... constantly alternating between the visible and the invisible...
Are they inhabited? I don’t know. One thing is certain: each sentinel stands as a unique sculpture in terms of its alchemical elements and paintwork (either with anti-rust paint or voluntarily with paints that do not resist rust). This autumn, each sentinel will reveal – with the acid rain – different interpretations, depending on the paints and solvents used, making each one different, with stratifications that future archaeologists will decipher.
But my most perilous challenge was to create a giant (9000 m²) installation that envelops the Abode of Chaos with dozens of tons of steel, so that my visitors, from any angle, enter a dreamlike fantasy and where the world of the Abode of Chaos on the one hand and that of the 99 monumental sculptures (named "Alchemical Sentinels" during an extremely busy night ) intersect like the Inframince defined by Marcel Duchamp (or, how to build intensities by subtraction).
These 99 Alchemical Sentinels are now the guardians of the Sanctuary that the Abode of Chaos has become. I designed them as veritable quantum energy wells that we placed with patience and wisdom at different spots all over the Abode of Chaos.
There are 99 in total, made of 10mm rough steel (50 tons), welded to form perfect equilateral triangles. Each of the three sides constituting an Alchemical Sentinel is itself cut to reveal a meurtrière, again in the shape of an equilateral triangle, presenting a superb Euclidean geometry to the visitor.
These 99 Alchemical Sentinels are each placed at specific energy points on the 9000 m² of the Abode of Chaos. Some are hidden by vegetation or natural landforms or are placed in relation to existing works. Others are located in our private and professionals spaces.
In my alchemical work that began on 9 December 1999, the three gates arranged in an equilateral triangle with one vertex pointing upwards, form the luminous delta. They represent the three elements that alchemists work with. These three elements are sulphur, mercury and salt.
Note that the three elements found in the Prima Materia (or Alchemical Chaos) are very closely related. The point triangle is also the symbol of the fire philosophers.
The equilateral triangle resting on its base – like the three points – is the symbol of the fire element, one of the four elements that the alchemist works with in the laboratory.
The geometric properties of the equilateral triangle evoke absolute perfection by their spiritual strength and their age-old symbolism going back to ancient Egypt… strength, beauty and harmony.
They will remain for a thousand years as witnesses to a civilization lost through the folly of men.
thierry Ehrmann
-------------------------------------------------
3 mois de travail jour et nuit, une "dream team" hors du commun, un grand merci à ACS, Luc, mon fidèle Géant qui poserait un 38 T. sur un balcon (cqfd Thierry Loir) Thomas, Cart'1, Goin et bien sûr Marc pour les peintures.
Je suis arrivé à poser mon installation de 99 sculptures d'acier brut avec un cahier des charges de ouf, aucune des 3600 œuvres de la DDC ne devaient être occultées, penser aux sources électriques, les passages d'eau, les voies de transport pour engin de chantier, les nacelles télescopiques (3m de large), protéger le grand public, respecter les normes ERP muséales, etc… Alterner en permanence monstration et effacement…
Sont-elles habitées ? Je l'ignore. Une chose certaine est que chacune, par les éléments alchimiques et les codes peints soit à l'antirouille soit volontairement avec des peintures dégradables par la rouille avec le temps, rend chaque sentinelle comme une sculpture unique. Cet automne chaque sentinelle va laisser apparaître, avec les pluies acides, différents niveaux de lecture, selon les peintures et solvants utilisés, les rendant singulières avec des stratifications que les archéologues des temps futurs décrypteront...
Mais mon défi le plus périlleux, était de créer une installation géante de 9000 m2 qui enveloppe, par des dizaines de tonnes d'acier, la Demeure du Chaos pour que mes visiteurs sur 360 degrés, plongent dans un univers onirique et fantasmagorique où les deux univers que sont la Demeure du Chaos d'une part et d'autre part l'installation des 99 sculptures monumentales (baptisées par une nuit très agitée "Sentinelles Alchimiques") s'entrecroisent selon l'Inframince définit par Marcel Duchamp (ou comment construire des intensités par soustraction).
Ces 99 Sentinelles Alchimiques sont désormais les gardiennes du Sanctuaire que représente la Demeure du Chaos. Je les ai conçus comme de véritable puits d’énergie quantique que je pose avec patience et sagesse sur l’ensemble de la Demeure du Chaos.
Elles sont au nombre de 99, faites d’acier brut de 10 mm (50 tonnes) soudées pour former un triangle équilatéral parfait. Chacun des 3 pans constituant une Sentinelle Alchimique, est lui même découpé pour laisser entrevoir une mystérieuse meurtrière, elle même en forme de triangle équilatéral, donnant ainsi une géométrie Euclidienne au regard du visiteur.
Ces 99 Sentinelles Alchimiques sont chacune à des points d’énergie particuliers de la Demeure du Chaos sur 9000 m2. Certaines se dissimulent par la végétation ou les reliefs naturels ou bien en écho aux autres œuvres, d’autres sont dans les espaces privatifs ou professionnels.
Dans mon travail alchimique démarré le 9 décembre 1999, les trois portes disposées en triangle équilatéral, dont un sommet est dirigé vers le haut, forment le delta lumineux. Elle sont les trois corps sur lesquels l’alchimiste va œuvrer. Ces trois corps sont le soufre, le mercure et le sel.
Soulignons que les trois corps présents dans la Materia Prima ou Chaos alchimique sont étroitement mélangés. Le triangle de point est aussi la marque des philosophes par le feu.
Le triangle équilatéral reposant sur sa base, à la manière des trois points, est le symbole de l’élément feu, l’un des quatre éléments avec lequel l’alchimiste travaille au laboratoire.
Les propriétés géométriques du triangle équilatéral relèvent de la perfection absolue par sa force spirituelle, son symbolisme de la nuit des temps notamment dans l’ancienne Egypte, il est force, beauté et harmonie.
Elles resteront durant mille ans comme les témoins d’une civilisation disparue par la folie des hommes
thierry Ehrmann
Stone Circle Access visits take place outside the normal opening times at Stonehenge, and are very early in the morning or late in the evening, and are not offered during the normal opening times.
For those of you who have not visited this sacred site, we should mention that the complex is roped off. Visitors observe the stones from a distance and are not permitted within the temple complex. Our special access tours allow you to be amongst the stones. Your guide will bring to life its many myths, legends and rich and fascinating history.
We have arranged with English Heritage for you to experience a unique guided visit to this ancient sacred site - beyond the fences and after the crowds have gone home. Walk amongst the stones and experience the magical atmosphere within the inner circle.
Stonehenge Sunset and Sunrise Trips from London and Salisbury
Stonehenge Guided Tours: www.StonehengeTours.com
Work continues, including electrical and waterproofing, for the East Side Access Project in Grand Central Terminal caverns. The site will be the future home of the Long Island Rail Road passenger concourse. Photo: Metropolitan Transportation Authority / Patrick Cashin
The cabin is wide enough to allow for play and the best access is through the removable roof (which also contains the 9V lighting)
© 2014 Eric Adeleye Photography. All rights reserved.
This is a HDR photograph of Public Access 44 at Wrightsville Beach, North Carolina. 5 bracket exposure shot processed in Photomatix, Adobe Photoshop CC, Adobe Camera Raw, and Silver Efex Pro.
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East Side Access tunnel boring machine launch March 18, 2011. Photo by Metropolitan Transportation Authority / Patrick Cashin.
GOVERNOR TOMBLIN ANNOUNCES RECORDS MANAGEMENT AND PRESERVATION GRANTS
Recipients in 41 counties receive a total of $708,875 in grant funding
CHARLESTON, W.Va. (March 18, 2014) – Gov. Earl Ray Tomblin today announced the awarding of $708,875 in grant funds to recipients in 41 West Virginia counties. Funding was allocated in the form of State Development Grants, Survey and Planning Grants, and Records Management and Preservation Grants.
“The Mountain State is full of records, archives, and landmark structures that play an important role in defining our state’s history,” Gov. Tomblin said. “Together, this grant funding, will help enhance access to public records and maintain historic infrastructure around the state - ensuring stories of West Virginia’s past are preserved and able to be passed down for generations to come.”
The total grant funding was allocated as follows:
The State Development Grant Program is for rehabilitation of properties that are either listed on the National Register of Historic Places or are contributing properties in a historic district or/and archaeological development of a site listed on the National Register of Historic Places. The funding source for this grant program is appropriated by the West Virginia Legislature, through Lottery Funds. Recipients of State Development Grants include:
Alpine Heritage Preservation
$12,600
To assist with truss repair on the Cottrill’s Opera House in Thomas, Tucker County.
Bluefield Preservation Society, Inc.
$25,000
To assist with the repair/replacement of the roof on the Granada Theater in Bluefield, Mercer County.
Corporation of Shepherdstown
$19,153
To assist with repair to the roof, gutters and brick corbelling on the Mecklenburg Tobacco Warehouse in Shepherdstown, Jefferson County.
Fort Henry LLC
$25,000
To assist with window repair on the Fort Henry Club Building in Wheeling, Ohio County.
Friends of Wheeling, Inc.
$14,431
To assist with roof replacement on the Robert W. Hazlett House in Wheeling, Ohio County.
Fuzzy Mammoth Development, LLC
$16,533
To assist with the repair of the accent band, coping and masonry on the Spadafore Building in Fairmont, Marion County.
Greenbrier Historical Society
$25,000
To stabilize the foundation of the Blue Sulphur Springs Pavilion in Blue Sulphur, Greenbrier County.
Harrison County Historical Society
$12,600
To assist with repair of the sill and foundation on the Stealey-Goff Vance House in Clarksburg, Harrison County.
Joshua Vance
$25,000
To assist with the repair of the roof, gutters and structural framing of the Beverly Flats Building in Shepherdstown, Jefferson County.
Keith-Albee Performing Arts Center, Inc.
$25,000
To assist with the repair of the marquee on the Keith-Albee Theater in Huntington, Cabell County.
W. Blaine McVicker
$9,000
To assist with the roof on the Duncan Funeral Home in Davis, Tucker County.
The Survey and Planning Grant Program is for conducting architectural/archaeological surveys, National Register nominations, predevelopment plans, heritage education projects, etc. The funding source for this grant program is the Historic Preservation Fund, National Park Service. Recipients of Survey and Planning Grants include:
Berkeley County Historic Landmark Commission
$15,837
To assist with creation of a digital replication of the existing Historic Driving Tour of Berkeley County.
Beverly Historic Landmark Commission
$3,500
To assist with an educational training workshop to share the basics about historic preservation theory and information about the duties for local landmark commissions.
Charleston Historic Landmark Commission
$3,750
To assist with an archaeological survey of the Glenwood Estate on the west side of Charleston, Kanawha County.
City of Fairmont/Fairmont Preservation Review Commission
$15,974
To transform the Fairmont Design Guidelines into a user friendly graphically illustrated program to encourage their citizens to utilize the services of their Commission.
City of Morgantown/Historic Landmark Commission
$7,000
To conduct an intensive research, identification and inventory of stone walls and other stone edifices in the Morgan District of Monongalia County.
Corporation of Shepherdstown
$10,000
To develop drawings and specifications to turn the Entler-Weltzheimer House in Shepherdstown, Jefferson County into a center for preservation education.
Greenbrier County Commission
$7,000
To complete the architectural survey of Greenbrier County.
Hampshire County Commission
$7,000
To prepare two individual National Register nominations for properties in Hampshire County.
Wheeling Historic Landmark Commission
$7,000
To prepare a Historic Structures Report on the Forbes and Robb Mausoleums in the Mt. Wood Cemetery in Wheeling, Ohio County.
The Records Management and Preservation Grant Program is administered through the Records Management and Preservation Board (RMPB) and includes projects to improve management, storage conditions, access, and preservation of public records held in county offices. Funding for the grants program comes from filing fees collected by county clerks and deposited in the special Public Records and Preservation Account. Recipients of Records Management and Preservation Grants include:
Barbour County Commission
$13,549
To digitize pre-1985 assessor’s copies of the land books; and to purchase a color scanner for the county clerk’s office.
Berkeley County Council
$19,492
To index digital images of case files in the circuit clerk’s office; digitize and rebind the original grantor/grantee index books; and recover will, plat, and deed index books in the county clerk’s office.
Boone County Commission
$10,000
To index deed books digitized by the RMPB Statewide Preservation Project in the county clerk’s office.
Braxton County Commission
$8,103
To purchase open steel shelving and archival cubic foot records storage boxes for the sheriff’s and circuit clerk’s offices; and to repair and encapsulate the assessor’s copies of land books in the county clerk’s office.
Calhoun County Commission
$12,429
To index deed books digitized by the RMPB Statewide Preservation Project; and to rebind and encapsulate birth, death, and deed books in the county clerk’s office.
Fayette County Commission
$22,243
To purchase open steel shelving for all county government long-term records located in the county commission’s records storage facility; and to purchase moveable track shelving for improved case file management in the prosecuting attorney’s office.
Grant County Commission
$8,628
To scan and index case files; and to purchase a color scanner and high-volume shredder for the prosecuting attorney’s office.
Greenbrier County Commission
$14,409
To scan deed index books; to restore and encapsulate the assessor’s copies of land books in the county clerk’s office; and to digitize tax parcel maps cards in the assessor’s office.
Hampshire County Commission
$4,455
To restore and digitize the earliest will books in the county clerk’s office.
Hardy County Commission
$12,046
To restore and encapsulate 1791-1799 county court records in the county clerk’s office; and to scan and index chancery case files in the circuit clerk’s office.
Harrison County Commission
$10,000
To digitize the assessor’s copies of land books in the county clerk’s office.
Jackson County Commission
$10,000
To scan and index case files in the circuit clerk’s office.
Kanawha County Commission
$32,814
To purchase a color scanner and to scan and index pre-1999 records in the county clerk’s office; to scan and index order books; and to purchase roller shelving for improved storage of these records in the circuit clerk’s office.
Lewis County Commission
$10,000
To scan and index case files in the circuit clerk’s office.
Lincoln County Commission
$14,227
To index deed books digitized by the RMPB Statewide Preservation Project; and to restore and encapsulate land books in the county clerk’s office.
Marion County Commission
$10,000
To scan and index the earliest handwritten birth, death, and marriage records in the county clerk’s office.
Mason County Commission
$14,611
To digitize the assessor’s copies of land books and maps; and to purchase a color scanner in the county clerk’s office.
McDowell County Commission
$10,000
To purchase Mylar sleeves and map cabinets for improved storage of the county clerk’s survey maps.
Mercer County Commission
$18,023
To digitize military discharge records and purchase public access computers in the county clerk’s office; and to purchase moveable track shelving for long-term inactive case files in the circuit clerk’s office.
Mingo County Commission
$10,000
To scan and index order books in the circuit clerk’s office.
Monongalia County Commission
$18,431
To purchase color scanners in the county clerk’s and prosecuting attorney’s offices; and a high-volume, cross-cut shredder for the sheriff’s office.
Monroe County Commission
$20,000
To index deed books digitized by the RMPB Statewide Preservation Project in the county clerk’s office; and to scan and index case files in the circuit clerk’s office.
Morgan County Commission
$10,000
To scan and index case files in the prosecuting attorney’s office; and to scan and index map cards in the assessor’s office.
Nicholas County Commission
$16,126
To restore and encapsulate the assessor’s copies of land books in the county clerk’s office; and to purchase moveable track shelving for long term case files in the circuit clerk’s office.
Pendleton County Commission
$4,955
To digitize deed, release, and trust deed books; and to restore, rebind, and encapsulate 1788-1850 location and will books in the county clerk’s office.
Putnam County Commission
$10,000
To scan and index deed books in the county clerk’s office; and to scan and index map and homestead cards in the assessor’s office.
Raleigh County Commission
$5,124
To purchase shelving for improved storage of homestead cards, a public access computer for the records room, and Mylar sleeves to encapsulate the county’s maps in the assessor’s office.
Ritchie County Commission
$5,864
To purchase roller shelving for deed, lease, and will index books in the county clerk’s office.
Roane County Commission
$5,559
To purchase shelving for improved storage of land and financial records in the sheriff’s office.
Summers County Commission
$10,000
To digitize handwritten deed index and map books; and to restore, rebind, and encapsulate deed books in the county clerk’s office.
Tucker County Commission
$9,409
To digitize plat books, and to restore, rebind, and encapsulate the assessor’s copies of land books in the county clerk’s office.
Upshur County Commission
$10,000
To scan and index chancery and law case files in the circuit clerk’s office.
Wayne County Commission
$12,000
To index deed books digitized by the RMPB Statewide Preservation Project; to encapsulate the assessor’s copies of land books; and to purchase public access computers in the county clerk’s office.
Wood County Commission
$10,000
To index deed books digitized by the RMPB Statewide Preservation Project in the county clerk’s office.
Wyoming County Commission
$10,000
To digitize the earliest will, judgment, and appraisal books in the county clerk’s office.
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
✨ ACCESS MAY 12-JUNE 8 ✨
HAIR : .NONNATIVE - KARLEE HAIRSTYLE
Outfit : MASOOM: Spoiled Cutie
The round of ACCESS is now officially open - and we’re excited to welcome you!
MAIN EVENT LOCATION:
maps.secondlife.com/secondlife/ACCESS/23/125/1001
This photo edited by PS & AI
Franklin County
Indian Carry Hand Launch
Waterbody: Upper Saranac Lake
Directions: On Route 3, 8 miles east of Village of Tupper Lake
Site Details: Hand launch with parking for 18 cars
Accessibility Details: Designated accessible parking, path to hand launch with loading dock (pictured), plus a separate path to a boardwalk over shallow water
Part-time home from the Autumn of 1980 to the Summer of 1982 by which time it had become a bit of a student ghetto.
The flats were actually quite comfortable and I used to enjoy walking round the decks in the evening; no doubt protected by being such an innocent!
East Side Access tunnel boring machine launch March 18, 2011. Dr. Michael Horodniceanu speaks in front of tunnel boring machine as MTA Chairman Jay H. Walder and Helena E. Williams, President of MTA Long Island Rail Road, look on. Photo by Metropolitan Transportation Authority / Patrick Cashin.
Originally an access shaft to the Plessey Company factory built in the completed but unopened Central line extension tunnels between Wanstead and Newbury Park during World War 2. In this tunnel, a total length of 5 miles, 2,000 people were continuously at work and it became the most successful underground factory in the country. This Underground factory employed 2,000 day and night shift workers and continued to supply the RAF with aircraft parts throughout the war. This is between houses on the A12 between Redbridge and Gants Hill Stations.
c1977 picture of S.K. Tan and her older brother, each perched on one speaker. Click here to access link to 15 Jun blog comment at www.aarontanlive.com. In between the siblings is a JVC turntable cum radio receiver. The audio equipment was modern at that time but is obsolete today. Below the music player are some vinyl records. Among them is a compilation entitled "RTS Talentime Finalists" by contestants of the TV talent show. RTS stands for Radio and Television of Singapore, the former name for Mediacorp. Used with the permission of S.K. Tan
A small structure built into the north slope of Red Mountain near Vulcan Park providing access to some large valves in a water pipe tunneled through the mountain.
BhamWiki:Birmingham Water Works Tunnel
Made famous in Caitlín R. Kiernan's 2001 novel Threshold.
Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
Success of the LA Conservation Corps’ Paddle the LA River program is well documented. One of the program tenets is access to the river. To answer that call, program partner the Mountains Recreation and Conservation Authority developed ‘River Access for All,’ which offers kayak outings on rafts that can accommodate challenged children and adults and those with limited mobility.
“We wanted the boating experience to not be limited to a select group of people who can pay to paddle the Los Angeles River so we also required groups to submit a plan on community involvement and outreach,” said Lisa Sandoval, District realty specialist.
The program was booked solid as soon as it was announced and openings are rare, but with little more than a week before the final trip of the season, MRCA had a vacancy. After consulting with another program partner, Friends of the LA River, a call was made to the U.S. Army Corps of Engineers Los Angeles District.
“When the call came in from FoLAR that space was suddenly available in the MRCA program, one group came to mind,” said Jennie Ayala District outreach Coordinator and STEM program manager. “I remembered the passion of Tova and Sterling Barbour of the Veterans Advocacy Group of America. They’d contacted me for USACE support on an educational program they offer to veterans’ children.”
VAGA also reached out through veteran channels and in keeping with tradition, were able to fully book the opportunity for a group of veterans.
“One thing that we like to do is to give back, to see our veterans out here; the smile on their faces just means so much,” said Sterling. “Next year we are definitely going to do this again for our veterans, because it is so wonderful.”
These veterans were fairly ambulatory, although many still showed physical signs of their injuries, making them perfect candidates for the new program.
“With our inflatable rafts we’re able to accommodate various disabilities, we’ve had a variety of organizations come out,” said Fernando Gomez, Chief Ranger of the MRCA. “Today, VAGA was able to participate; one individual was blind and we had our first service dog. Because the KaBoat platform is so stable and if they aren’t able to paddle, they can leave it to the rangers.”
As a fully committed partner to the city’s Los Angeles River Revitalization Master Plan, the District’s own work on river ecosystem restoration plans to restore natural habitat where appropriate, improve water quality and enhance recreational benefits, all while maintaining its primary mission of flood damage reduction.
Access Travel, Farningham, Volvo B12B Caetano Enigma FN04 FSE is seen in Brighton this afternoon, 17th June, 2017, in Ensignbus' blue and silver livery. It was new to Tellings Golden Miller.
Bocuse d'Or USA
Lyon, France
(January 28, 2013)
the ulterior epicure | Twitter | Facebook | Instagram | Bonjwing Photography
U.S. Department of Agriculture (USDA) Forest Service (FS) Smith River Hotshots Forestry Technician Shane Blair mitigate trail hazards by clearing pathways blocked by dead and fallen trees and brush allowing other crews to better access the area and help stop the Cedar Fire in the and around the Sequoia National Forest, and Posey, CA, on Tuesday, August 23, 2016. USDA Photo by Lance Cheung.
For more information please see:
@usda
@forestservice
See the video about wildland firefighters youtu.be/QxJFIfkOQLY
This is a photograph from the 35th Michael Manning Memorial "Dunshaughlin 10KM" Road Race and Fun Run which took place in Dunshaughlin, Co. Meath, Ireland on Saturday 21st June 2014 at 19:30. This race is widely acknowledged in the running community as one of the best races in Ireland. It is also one of the oldest 10KM races in Ireland. The numbers for this race have exceeded expectations year on year for the past number of years. In 2008 a record field of 306 took to the start line but by 2012 this number had more than doubled with 647 runners taking part. The starting numbers in 2013 topped this again at 668. Then this year the numbers rocketed to a new record of 883. Who knows but this race could reach 1,000 entrants next year. The work of the organising committee must be commended on making this event possible. The Dunshaughlin 10KM has earned it's place at the top of the pedestal of Irish running through the sheer hard work of Dunshaughlin AC over the years. Well done to all.
We have an extensive set of photographs from the race tonight taken at the 1 mile mark and then at the 400M and 600M to go mark. The full set is available at: www.flickr.com/photos/peterm7/sets/72157645329098733/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Some useful links
2014 Results: www.precisiontiming.net/result.aspx?v=2037
2013 Results: www.precisiontiming.net/result.aspx?v=1320
2012 Results: www.precisiontiming.net/result.aspx?v=891
History of the Dunshaughlin 10KM www.dunshaughlinac.com/10k.asp
Dunshaughlin AC on Facebook: www.facebook.com/dunshaughlin.athleticclub?fref=ts
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
A series of neodymium magnets hides a large access panel in the cross guard. Inside will be switches, arduino, boards and batteries. This will make wiring and maintenance much easier.
Blackwell Island Boat Ramp
Blackwell Island provides boat access to Coeur d'Alene Lake and the Spokane River. This popular site hosts over 40,000 annual visitors and features 4 boat launch lanes, 130 vehicle-with-trailer parking spaces, 34 single vehicle parking spaces and 520 linear feet of boarding and short term moorage dock.
Additional facilities include a reservable group picnic shelter, individual picnic units and an easy one-quarter mile elevated boardwalk trail along the Spokane River with wildlife viewing decks and interpretive signs.
An on-site native garden featuring north Idaho native species educates visitors about the connections between people, plants and pollinators.
The site and facilities are fully accessible for those with disabilities. A daily fee of $6 is charged for the site. Season passes are also available for $40. Unoccupied vehicle parking limited to 72 consecutive hours with appropriate payment.
Blackwell is open seasonally from the Thursday before Memorial Day to early October.
Maya Wiley, Andrew Rasiej, Bruce Lincoln, and Andrea Batista Schlesinger participate in "Action on Access New York City’s Diverse Approaches to Bridge the Digital Divide | Presented by NYC Digital" on Day 3 of Internet Week New York 2014, May 21, 2014 in New York. INSIDER IMAGES/Andrew Kelly (UNITED STATES)