View allAll Photos Tagged Aggregation
PROJECT:
Design Miami/ Temporary Structure
PHOTO CREDIT:
James Harris
Design Miami/ Temporary Structure
Aranda\Lasch in collaboration with EventStar
Miami, Florida, USA
2008
Socially Mobile
Location Aggregation for Mobile Devices
January 28, 2004
Dennis Crowley
dens@dodgeball.com
I made this trip to see the spawning aggregations of Goliath Groupers. The week before I arrived there were torrential rains and strong winds from the southwest which had blown the Gulf Stream far offshore. The water was stirred up, green, full of floc, and with a thermocline around 40-55’. But the Goliaths were still there and really impressive!! Frequently 15-30 or more per wreck; it was hard to count with the limited vis. I will be planning to come back next year hoping for better picture taking conditions.
Graves Light, Boston Harbor.
The Graves is an aggregation of rock outcroppings in Massachusetts Bay, Massachusetts, United States. Situated some 11 miles (18 km) offshore of downtown Boston, it is the outermost island in the Boston Harbor Islands National Recreation Area.
It is the location of The Graves Light, at 113 feet (34 m) tall the tallest lighthouse in Boston Harbor, and an important navigation aid for traffic to and from the port. The island has a permanent size of 1.8 acres, and rises to a height of 15 feet (4.6 m) above sea level; there is only aquatic vegetation on the island. The island is managed by the Coast Guard, and is not open to the public.
The Graves are named after Thomas Graves, a prominent early trader of colonial Massachusetts.
The Graves are northeast of the Roaring Bulls and far northwest of Three and One-half Fathom Ledge. Despite their offshore location, the Graves are within the city limits of Boston.
A new major shipping channel into Boston Harbor, the Broad Sound Channel, opened in the early 1900s, necessitating a lighthouse at the Graves.
In 1902, Congress appropriated $75,000 for a lighthouse and fog signal, and Governor Crane of Massachusetts signed a deed conveying 435,400 square feet at the ledges to the federal government.
The project ultimately cost $188,000, meaning a second appropriation of $113,000 was required in April 1904.
Construction took place from 1903 to 1905, and Royal Luther of Malden, Massachusetts, was in charge. The style of Graves Light is very similar to Maine's Ram Island Ledge Light, built at about the same time.
The granite for the tower was cut at Rockport on Cape Ann. Rock on the ledges was blasted, and the foundation was laid just four feet above the low tide mark. The first 42 feet were completed in the summer of 1903.
A schooner transported materials from Lovell's Island, 3 1/2 miles away, to the Graves, and a 75-foot steamer transported workers to the site. A shanty was constructed on the highest ledge of the Graves, connected to the wharf by a 90-foot elevated walkway. The shanty had living quarters, a storeroom, a blacksmith shop, and a kitchen, and up to 30 men lived there in the summers of 1903 and 1904.
While the granite was being put in place, the ironwork was being manufactured in Boston and a huge first-order Fresnel lens was being created in Paris.
The summer of 1904 saw the lighthouse reach a height of 88 feet. Construction was completed during the following year. A granite oil house was built 90 feet south of the tower, reachable by a footbridge.
On the night of September 1, 1905, Graves Light's first keeper, Elliot C. Hadley, lighted the most powerful light in Massachusetts history for the first time. The gigantic lens floated on 400 pounds of mercury. After the completion of Graves Light, a Lighthouse Establishment report stated:
At so exposed a site the height necessary for the lantern above the heavier masses of spray, the consequent geographic range, its location so far seaward, the service of the light to the large commerce of Boston and modern ships of deep draft, make it perhaps the most important light north of Cape Cod.
The 113-foot tall Graves Light is visible from a 24-nautical mile range.
The tallest of the three lighthouses in Boston Harbor, the Graves is sited at the main entrance to Boston Harbor, and continues its tradition as a navigational aid, though now automated.
I came across a mating aggregation of Chromis viridis, where an estimated few thousand individuals crowded on a patch of seagrass in ~ 5 meters and frantically mated. The males turned either slightly yellow, with black fin edges, or completely yellow, with a black caudal fin. What a spectacle!
For some scientific background, and a video of the spectacle, see: www.pacificklaus.com/chromis-viridis-mating-aggregation
Art Work: Aggregation
Artist: Chun Kwang Young (Korean)
chunkwangyoung.com/html/main.php
INFO: fr.wikipedia.org/wiki/Chun_Kwang_Young
Reference: www.google.com.tw/search?q=kwang+young+chun+artist&es...
Art Plural Gallery
Director: Frederic de SENARCLENS
A:: 38 Armenian Street, Singapore 179942
T:: +65 6636 8360
F:: +65 6636 8361
E:: info@artpluralgallery.com
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This shot was taken in an exhibition "ART TAIPEI 2014".
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* PS - This roll got exposed on 2014/11/01, developed by a local studio 達蓋爾銀鹽暗房工作室 on 2014/12/01, and scanned with "Epson Perfection V600 Photo" on 2014/12/12.
(Check out 達蓋爾銀鹽暗房工作室 FaceBook, go to www.facebook.com/pages/%E9%81%94%E8%93%8B%E7%88%BE%E9%8A%...)
Large spawning groups of black drum (Pogonias chromis), called aggregations, produce characteristic sounds as part of their spawning behavior, usually beginning in January and lasting through early spring.
Passive acoustics, a noninvasive method of learning about fish by studying their sounds, allows researchers to gain knowledge about fish behavior without having to disrupt their activities or sacrifice fish. For an example of how this technique is used by researchers at FWC's Fish and Wildlife Research Institute, view the article "Mapping Spawning Habitat of Spotted Seatrout (Cynoscion nebulosus) in Tampa Bay."
I came across a mating aggregation of Chromis viridis, where an estimated few thousand individuals crowded on a patch of seagrass in ~ 5 meters and frantically mated. The males turned either slightly yellow, with black fin edges, or completely yellow, with a black caudal fin. What a spectacle!
For some scientific background, and a video of the spectacle, see: www.pacificklaus.com/chromis-viridis-mating-aggregation
I made this trip to see the spawning aggregations of Goliath Groupers. The week before I arrived there were torrential rains and strong winds from the southwest which had blown the Gulf Stream far offshore. The water was stirred up, green, full of floc, and with a thermocline around 40-55’. But the Goliaths were still there and really impressive!! Frequently 15-30 or more per wreck; it was hard to count with the limited vis. I will be planning to come back next year hoping for better picture taking conditions.
Since red drum are not normally long distance travelers, they don't stray far from the areas in which they were born.
Studley Royal Park including the ruins of Fountains Abbey is a designated World Heritage Site in North Yorkshire, England. The site, which has an area of 800 acres (323 ha), features an 18th-century landscaped garden, some of the largest Cistercian abbey ruins in Europe, ruins of a Jacobean mansion and a Victorian church designed by William Burges.
Originally separate estates, after the Dissolution of the Monasteries, the Fountains estate was owned by the Gresham, Proctor, and Messenger families. At the same time, the Studley estate was separately held by the Mallorie (or Mallory) and then Aislabie families, after the marriage of Mary Mallory and George Aislabie. The estates were combined on 22 December 1767, when William Aislabie purchased the Fountains estate from John Messenger. In 1966, the property came into public ownership after its purchase by West Riding County Council. In 1983, it was acquired by the National Trust.
The gardens and park reflect every stage in the evolution of English garden fashion, from the late 17th century to the 1780s and beyond. Most unusually, both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles.
Background
Studley Royal Park is an estate in North Yorkshire, England. The land broadly slopes and east-facing views are a feature of its landscape. The River Skell runs through the site, cutting through layers of Upper Carboniferous sandstone and Permian Magnesian limestone. The park was formed through the aggregation of the former land-holdings of Fountains Abbey, which were purchased by the Gresham family after the Dissolution, and the estate of Studley Royal.
Whilst the prehistoric origins of the land upon which Studley Royal Park now stands are under-researched, there is evidence for settlement in the area. An excavated flint assemblage from the park demonstrates the presence of people working flint on the site. There is evidence of farming activity dated to 4,500 years ago.
Material from the Iron Age is also associated with the site, including a lost gold torc. Iron Age enclosures at Mackershaw date from the sixth to fifth centuries BC. In the later phases of that enclosure, Romano-British material, including an Egyptian glass bangle, has also been discovered. The presence of Romano-British communities is also attested by the excavation of four skeletons by the vicar of Wath in 1881.
Documentary sources and place-name evidence, rather than archaeological excavation, provide insight into the early medieval period in the area. The Venerable Bede recorded that king Alhfrith of Deira granted land for a monastery near Ripon to Eata.
History
Fountains Abbey was founded in 1132 by Benedictine monks who left St Mary's Abbey, York to follow the Cistercian order. During the medieval period, monastic landholding steadily increased. For example, in the 1220s, Cassandra de Aleman donated land at Swanley to become part of the monastic grange.
After the dissolution of the monasteries in 1539 by Henry VIII, the Abbey buildings and over 40% of the former monastic estate was sold by the Crown to Sir Richard Gresham, a merchant. The Greshams, as new owners of a formerly monastic site had a responsibility to render it incapable of future religious use. This was done through a programme of demolition and sale of goods, which included the stripping of lead from the buildings, the removal of glass and Nidderdale 'marble' from the church.
The property was passed down through several generations of Sir Richard's family, then sold to Stephen Proctor in 1596. This included the precinct, Fountains Park and Swanley Grange. It was Proctor who built Fountains Hall probably between 1598 and 1604. The hall is a Jacobean mansion, built partly with stone from the Abbey ruins. Proctor was subsequently imprisoned and sold Fountains Park to pay his legal fees. In April 1622 the Fountains estate was re-combined by Timothy Whittingham, who re-mortgaged it the same year to Humphrey Wharton. Over the subsequent two years, parts of the estate were ceded to several creditors, but ultimately Wharton regained control. The 1627 estate sale includes details for a lead casting workshop in the Warming House; the estate was bought by Richard Ewens and his son-in-law John Messenger. During the English Civil War Messenger reputedly fought at the Battles of Marston Moor and at Naseby. In 1655 Ewens' grandson, William Messenger, inherited the estate.
The Messengers were never wealthy, and in 1676 William Messenger had to arrange mortgages on the estate in order to pay for his daughters marriages. Other financial troubles led William to leave his family, and he died in Paris in 1680, leaving his three-year-old son, John Messenger, to inherit. He married Margaret Scrope in 1698, a year after he came of age, and around this time he began re-building works on Fountain Hall. He rented out areas of the former abbey, including the mill; however these leases excluded mineral extraction, which were kept by Messenger. The family were also keenly interested in the ruins of the abbey itself, and allowed people to visit from as early as 1655.
In 1736, William's son Michael James married Elizabeth Sayer and took responsibility for the estate. He commissioned the first measured survey of the abbey in 1758. The family's financial position was declining and by 1765 Michael was selling oaks from the estate. Michael James died in 1766 and his son John Michael inherited. On 22 December 1767, John Michael sold the Fountains estate to William Aislabie for £18,000.
Studley estate development
From 1452 onwards, Studley Royal was inhabited by the Mallory family, most notably by MPs John Mallory and William Mallory. A depiction of the enclosed park first appeared on Christopher Saxton's 1577 map of Yorkshire. In 1607 John Mallory commissioned the first surviving survey of the estate. This listed land-holdings and it demonstrated that the estate formerly extended beyond the park. During the English Civil War, William Mallory and his son John, were loyal to the Crown; John commanded a force that defended Skipton Castle. They only surrendered in December 1645. William died in 1646 and John was fined by Parliament for half the value of the estate. Paying off the fine was attempted by selling off his wife's family estate, as well as other property, including a mill at Galphay and a farm at Nunwick. However, despite this, when John died in January 1656, and his son William inherited, aged only eight years old, debts had mounted up to £10,000. During this time it was John's widow, Mary, who managed the estate and managed to bring it within its means once more. However, in 1667, William died aged nineteen and the estate passed to his sisters: the eldest Mary, who was married to George Aislabie, as well as Jane and Elizabeth.
Aislabie was the son of a farmer from Osgodby in North Yorkshire. He worked as a clerk for William Turbutt in the church courts at York. As part of Turbutt's household, Aislabie inherited £200 at his death in November 1648. After Turbutt's death Aislabie remained as part of the household, working for the widowed Elizabeth Turbutt. There is a suggestion made by John Richard Walbran that the pair may have had a romantic attachment, but this is unproven. Nevertheless he was the primary beneficiary of Turbutt's will when she died in 1662 – a result of which he purchased Treasurer's House in York. It was around this time that he married Mary Mallorie. George was killed in a duel in 1676. It was George who began plans for the re-establishment of an enlarged park with Studley Royal in its centre. Studley Great Gate, now more commonly known as East Gate, the largest probable remnant of his plans.
George Aislabie's wife, Mary, preserved the estate, but by the time of her death in 1683 was in debt. Trustees to the estate were appointed until the heir, Mallorie Aislabie, came of age: William Robinson, husband of the eldest daughter Mary and Arthur Ingram. Mallorie died in 1685 and was succeeded as heir by his brother George, who inherited but then died in 1693. The third brother, John Aislabie inherited the Studley estate. A survey in 1694 describes both an 'old park' and a 'new park' which invites consideration of expansion under his father.
By 1695 John Aislabie was the Tory Member of Parliament for Ripon, and in 1718 became Chancellor of the Exchequer. This enabled some of the family's perhaps long held plans, to landscape the park, to begin. This included the construction of a tower on How Hill, and the canal and cascade that became the foundation of the Water Garden. Aislabie was a principal sponsor of the South Sea Company scheme, the bill for which was promoted by him personally. In 1720 this vast financial operation collapsed, and in 1721 he was expelled from Parliament and disqualified for life from public office. Stocks from the South Sea Company were grafted to the East India Company, of which his brother William was a director.
Development of the gardens
Aislabie returned to Yorkshire and from 1723 devoted himself to the landscaping of the estate. This included the construction of a boundary wall along the western side of the valley between the Fountains Abbey and Studley Royal estates. This wall had at least one viewing platform and connected to the path known as High Walk. Boundaries including ha-has were also constructed at this time. It is possible the design was influenced by his kinsman William Benson's knowledge of neo-Palladian design. Other early features included The Upper Canal and Drum Falls. Flooding subsequently damaged these early developments, and by 1726 approximately 100 men were working to create water features, which included canals and ponds. The design of the cascade and the fishing lodges is attributed to Roger Morris, who worked with Colen Campbell. The cascade and the canal was described in 1729 by Stephen Switzer in his volume of engineering, Hydrostatics. Aislabie and Morris's works did not just extend to the water gardens, but also to other areas of the estate. By 1728 work was also underway on the High Stables, which can still be seen in the deer park.
During the 1730s and 1740s, there were a number of head gardeners employed by Aislabie. William Fisher worked on the estate from at least 1717 to 1732, when he was paid off. He was followed by John Hossack (left 1738), Mathias Mitchell (dismissed 1742) and then James Lockey (died 1744). Another significant employee was Robert Doe, who was a builder, mason and later head gardener too. Doe later worked on building projects for Castle Howard and for Swinton Castle. This was also a period of expansion, during which Aislabie changed the lease on Mackershaw – making it permanent, rather than leased for agriculture. During this phase, the Grotto was constructed and changes were made to footpaths around its location; the Temple of Piety was also built.
In 1738 the first known plan of the gardens was made by Sir John Clerk of Penicuik, who was visiting them as part of a northern tour. At the same time the Octagon Tower was also constructed and it was glazed and decorated during 1735; subsequently stuccowork was added by Francesco Vassalli. Other buildings constructed at this time include the Bathing House and the Boathouse. The planting at this time was perhaps sparser than that of the estate in the early twenty-first century: eighteenth-century visitors reported seeing bare rock between the trees. The late 1730s also saw a revision of the statuary scheme in the gardens, which included the introduction of a statue of Neptune, centrally located in the Moon Pond.
After Aislabie's death on 18 June 1742, his son William inherited, and whilst little is known about William's life, it is known that he set out on a Grand Tour in 1720, which was thwarted by political turmoil in France. In 1724 he married Lady Elizabeth Cecil, with whom he had six children: two sons and four daughters. Elizabeth and two of their daughters died in a smallpox outbreak in 1733. William's first scheme for the gardens was the construction of a funerary pyramid, modelled on the one at Stowe Gardens. He also extended the designed landscape further down the Skell Valley and introduced in 1745 a 'Chinese house', inspired by fashion at the time.
In 1745 William re-married, to Elizabeth Vernon, who was the niece of his step-mother. Perhaps, as a result, Studley Hall was renovated, which included the decoration of two rooms in a chinoiserie style. In the 1750s a gardeners house was built near the Kitchen Garden and two ice houses were constructed. A private garden with aviary was also created next to Studley Hall during this period. William also added new architectural features to the park: an obelisk at the western end of the main avenue and the Belvedere, which was a Gothic garden room. In addition to new buildings, existing ones had a change of character: for example the Temple of Venus had family portraits installed in it and its name changes to that of 'Banqueting House'. In the 1750s the network of footpaths around the gardens were also much greater than the modern-day lay-out. Overall, William extended the landscaped area in the picturesque romantic style, contrasting with the formality of his father's work. Between them, the two created what is arguably England's most important 18th-century landscape gardens.
Combined estates
On 22 December 1767, William Aislabie purchased the Fountains estate from John Messenger, combining the Studley and Fountains estates.
In February 1768, the gardens were flooded, which resulted in repairs and renovations. Subsequently the reservoir was expanded from a two acre, to a three and a half acre capacity. This period also included the insertion of new garden buildings, such as the Green Arch and the White Seat. In addition, new water features were added to the south-east of the gardens. 1768 also saw Robert Doe, on the instruction of Aislabie, begin to clear and stabilise the abbey ruins; work which continued until at least 1773. Part of this scheme of work included the demolition of the Lay Brothers' Cloister. It also included construction: the Gazebo was built under the east Window, which provided visitors with an elevated view of the nave.
Anne Boleyn's Hill is first named as part of the gardens in 1771, where an antiquarian headless statue looked out on the valley. The statue moved and was restored to its location in 2004. The last mention of the Rotondo and the Coffin Lawn date to 1775, and it is likely the former was used to infill the latter. The canalisation of the Skell near the Abbey was undertaken in 1773, which used the river as a framing device for the view of the abbey from Anne Boleyn's Seat (constructed c.1789–91).
William also added ornamentation to parts of the ruins, adding detailing, but most significantly recreating the location of the high alter through the repositioning of medieval tiles found throughout the site. He also added planting to the cloister, in the form of shrubs and flowers. Greater security was also introduced to the abbey, with lockable doors and gates. However there was contemporary criticism of these changes, in particular from William Gilpin, who visited Studley on a tour of the north of England.
William died on 17 May 1781 in London. The estate passed to his elder daughter, Elizabeth Allanson, after his two sons predeceased him. Whilst she spent the majority of her time as owner at her home in Twickenham, Elizabeth did continue her family's civic work in Ripon – donating to the poor, funding streetlighting and building Ripon Town Hall. However, although she appointed Christopher Hall as agent, during her ownership, and her lack of presence at the estate, many areas of the designed landscape became neglected.
Elizabeth died on 8 March 1808 and was succeeded by her niece, Elizabeth Sophia Lawrence, who lived at Studley from 1808 until her death in 1845. An influential woman in the area, she used her position to influence (and punish) voters.[10] Under her ownership, she made further additions to the grounds, which included the stone Obelisk, as well as Robin Hood's Well, which enclosed a small spring. She also made repairs to the abbey, including to Huby's Tower. It was under her ownership that John Richard Walbran first undertook excavations in 1840. In her will she left bequests totalling £237,000, including £1000 to fund a dispensary in Ripon.
The estate then devolved to Thomas Philip, 2nd Earl de Grey, a distant relative. Under de Grey, Walbran undertook further excavation. These excavations in the 1850s also piqued public interest further in the site. This was furthered by the opening of curative springs nearby in Harrogate bringing a large tourism audience with it. Management of the huge increases in the numbers of tourists entailed the creation of new routes, including the De Grey Walk and the Well Walk. In 1847 a new one shilling entrance fee was introduced. The first record of a school trip to the site was from St Peter's School, Dallowgill, in September 1851. In 1858 the first museum for the site was opened in the Muniments Room, above the Warming House. The 1850s also saw major events held at the estate for the first time. These raised funds for a variety of causes, such as the Ripon Mechanics Institute, to celebrate peace in Crimea, and a 'Great Musical Celebration' in 1868. In 1869 the third-earliest bicycle race to be held in England ran through the estate.
On de Grey's death in 1859, the estate passed to his nephew, George Frederick Samuel Robinson, the Marquess of Ripon, and later the Viceroy of India. He redeveloped areas of Studley Hall, as well as renovating the gardens near the house. He also constructed the Pheasantry at the edge of the estate, as well as building a golf course, whose first professional was Harry Vardon. He also built St Mary's church in the park. During his ownership of the estate, three structures were added: Studley tea room, an oval island in the lake, and the High Seat in the west of the gardens. During this period, more exotic trees were introduced as part of the planting scheme – for example a Wellingtonia gigantea was planted by the Prince of Wales in 1863. In 1886 a pageant was held on the estate, celebrating Ripon's millennium; a similar event was repeated in 1896 for the Diamond Jubilee of Queen Victoria.
George Frederick Samuel Robinson, the Marquess of Ripon died in 1909 and his son Frederick Oliver inherited the estate. On the death of Frederick Robinson, 2nd Marquess of Ripon in 1923, the estate was acquired by his cousin Clare George Vyner. Visitor income became more significant for the Vyner family, than it had been for the Robinsons, yet the family had a strong sense of social responsibility and in the 1930s established the Fountains Abbey Settlers Society, which provided work and skills to unemployed families. This also included a work scheme that dredged the river. In addition to the scheme on the estate, Vyner also funded the construction of a model village in Swarland, Northumberland. The Settlers Society ended at the outbreak of the Second World War, but its accommodation was repurposed to house German and Polish refugees. During the war much of the estate's land was cultivated for the first time in 600 years, as part of the 'Dig For Victory' campaign. Studley Hall after doing war service as the home of Queen Ethelburga's School, was destroyed by fire in April 1946. After the war, the upkeep of the estate became too expensive for the Vyner family, who sold it to Broadlands Properties for £1,250,000. They subsequently also sold Fountains Hall to West Riding County Council in 1969.
Public ownership
In 1966 much of the estate was purchased by West Riding County Council from Broadlands Properties, and the property was reopened to the public in 1967. However resource pressures meant that the local authority was keen to find another owner for the estate. There had been previous appeals to the National Trust to undertake running the site, including in 1923. In 1983 the property was acquired by the National Trust.
English Heritage is responsible for conservation of the abbey under a guardianship agreement, but managed on a day to day basis by the National Trust. St Mary’s Church is owned by the State and managed by the National Trust under a local management agreement. In 1986 the entire estate was designated a World Heritage Site by UNESCO. It gained recognition as it fulfils the criteria of “being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history”. The initial proposal for World Heritage Status only extended to Fountains Abbey and St Mary's Church; it was on the recommendation of the International Council on Monuments and Sites (ICOMOS) that the listing extended to include Studley Royal. In 1992, a new visitor centre and car parks were designed by Ted Cullinan to accommodate growing visitor numbers. Lying north-west of the Abbey above the valley floor, the new visitor centre incorporated a shop, large restaurant, lecture theatre and exhibition space (currently office space) arranged around an open courtyard.
In 2015 stage designer Gary McCann was commissioned to produce work in response to the buildings on the property; the resulting exhibition, entitled Folly!, installed works in spaces such as the Banqueting House. In 2016, Mat Collishaw created Seria Ludo and The Pineal Eye in the Temple of Piety. In 2018, Charles Holland, Lucy Orta and Flea Folly Architects created artworks to reimagine lost follies in the landscape. In 2021, Steve Messam created three artworks in an exhibition entitled These Passing Things and in 2022 Joe Cornish created a photographic exhibition Still Time to Wonder in various buildings on the property.
Significance
Studley Royal, under National Trust ownership, is the preserved core of a once much more substantial Aislabie project, which incorporated the surrounding agrarian landscape that they owned, long distance views to Ripon and beyond, and rides extending to other designed landscapes including Laver Banks and Hackfall (seven miles from Studley), 177–184 The gardens and park reflect every stage in the evolution of English garden fashion, from the late seventeenth-century to the 1780s and beyond. Most unusually both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles. This includes John Aislabie's ground-breaking appreciation of natural topographical landforms, for him it was not necessary to level ground and create a garden, the garden could be made to accommodate and display the underlying landscape.
Major features
The park incorporates Fountains Abbey, Fountains Hall, and a number of other notable historic features.
Studley Royal Water Garden
The water garden at Studley Royal created by John Aislabie in 1718 is one of the best surviving examples of a Georgian water garden in England. It was expanded by his son, William who purchased the adjacent Fountains Estate. The garden's elegant ornamental lakes, canals, temples and cascades provide a succession of dramatic eye-catching vistas. It is also studded with a number of follies including a neo-Gothic tower and a palladian-style banqueting house.
St Mary's Church
St Mary's Church was built by the architect William Burges and commissioned by the family of the First Marquess of Ripon. It has been suggested that the construction of this place of worship was prompted by the death of Frederick Grantham Vyner, who was kidnapped and killed in Greece in 1870.
Burges' appointment as architect was most likely due to the connection between his greatest patron, John Crichton-Stuart, 3rd Marquess of Bute and Vyner, who had been friends at Oxford. St Mary's, on Lady Ripon's estate at Studley Royal, was commissioned in 1870 and work began in 1871. The church was consecrated in 1878. As at Skelton, Burges' design demonstrates a move from his favoured Early-French, to an English style. Pevsner writes of "a Victorian shrine, a dream of Early English glory." The interior is spectacular, exceeding Skelton in richness and majesty. The stained glass is of particularly high quality. St Mary's is Burges' "ecclesiastical masterpiece."
Both marquesses and their wives are buried there.
How Hill Tower
Prior to 1346, a chapel dedicated to St Michael the Archangel was built on How Hill. This became a minor medieval pilgrimage site. Visitors to the site could see both York Minster and Ripon Cathedral from its summit. The flooring was made of mosaic tiles, similar to those attributed to a painted pavement dating to between 1236 and 1247. The chapel was repaired by Marmaduke Huby between 1494 and 1526. Post-reformation the chapel continued to be used between 1551–54 for the churching of women, until falling into ruin.
A tower was constructed next to the ruins, and re-using some of their masonry by, John Aislabie. Likely designed by Sir John Vanburgh, the view from the tower extended across the Studley estates, and York could even be seen twenty-six miles away.
In 1810 an estate survey recorded a farmhouse on the site, but by 1822 the description had changed to 'How Hill House & Tower'. Presumably the site had lost its significance as a garden building in a designed landscape and was commissioned to a more functional use. Whilst its role as a home stopped in the 1930s, there was another use-change: during the Second World War the Home Guard used it as an observation post.
Deer park
The deer park, where the church stands, is home to deer, and a wealth of other flora and fauna. At Studley there are three types of deer: Red Deer, Fallow Deer and Sika Deer. John Clerk, visiting in 1738, described how the buck deer moved in a group, so that they "resemble a moving forrest [sic]".
Buildings and structures
Studley Royal House (or Hall) stood in the north-west corner of the park. Originally a medieval manor house, there is a record from the 1220s of an extensive garden created by Cassandra de Aleman. It consisted of a main block with forward projecting wings, it burned down in 1716 and was rebuilt by John Aislabie. He filled in the centre, to which his son William added a portico in 1762 to complete its Palladian appearance.
It was altered and developed by the First Marquess of Ripon, who created a new entrance hall, a royal suite, and the reorganisation of the domestic service areas. He also added a Catholic chapel at the western side of the house in 1878.
The house burnt down in 1946, and its remains were demolished by the Vyner family, who could not afford repairs to it. Instead the splendid Georgian stable block, built for John Aislabie’s racehorses between 1728 and 1732, was converted into an elegant Palladian country house set in 2½ acres of private formal gardens on high ground overlooking the deer park towards Ripon Cathedral in the distance.
Built of stone under a slate roof with distinctive pavilion towers in each of the four corners, the pristine, 11,708sq ft house surrounds a central square courtyard overlooked by all the main rooms and dominated by the working clock tower.
Studley Magna
The deserted medieval village of Studley Magna mainly lies within the boundaries of the park. Excavation demonstrated that the village was aligned with the important road to Aldfield. The earliest ceramics from the site date to c.1180–1220, whilst the latest finds date from c.1300. The site included a large two-storey miller's house with a stone fireplace that was rare for the period. The house was sold in 1362 by Widow Horner to Richard Tempest.
The Banqueting House
Documentary evidence suggests that the Banqueting House was being completed in 1731, and is described in the estate accounts as 'the new building'. The structure had several phases of alteration after construction, and other documents refer to it as 'the Greenhouse'. In front of the façade a deep coffin-shaped lawn was introduced, who sightlines connected the building and the Rotondo. Above the Banqueting House, amongst the trees, is an oval platform, which is likely to be the Dial Lawn, which is described in accounts in 1730s.
The Temple of Piety
The building was constructed based on a sketch by Palladio owned by Lord Burlington, and was initially known as the Temple of Hercules. Documentary evidence shows that it was constructed and named by April 1736.
Mackershaw Lodges
These buildings were constructed after 1731, with the change in terms of the loan (to acquisition) of the Mackershaw area. They compromise two small lodges with classical pediments either side of a central arch, constructed from rough, undressed stone, with Venetian windows.
Lost buildings
Wattle Hall
One of the buildings most frequently attested in the early eighteenth-century is the Wattle Hall. Surviving records suggest that it was made of bent branches rather than brick or stone, and it was repaired in 1732.
Rotondo
Close to Kendall's Walk and in the north-east corner of Coffin Lawn, evidence for the Rotondo first appears in a painting dating to 1734–41. It was demolished in the 1770s. A close comparison to this would have been the Temple of Venus in Stowe Gardens.
Pyramid
William's first building work for the gardens was ordering the construction of a funerary pyramid, modelled on the one at Stowe Gardens. Whilst designs for this building exist, its location is unknown. It is possible that the stone was cut, but it was never constructed.
Chinese house
The Chinese house was constructed in 1745 and a 1751 visitor described it as having blue columns, gilded decoration, a white ceiling, a variety of Chinese ornaments and stuccowork by Giuseppe Cortese. It also had a balustrade seat running inside the columns. There is a surviving sketch of the building, but only the plinth for its survives. It was located beyond the southern limit of National Trust estate. The area around the house was known as the Chinese Wood, to which two chinoiserie-style bridges provided access.
The National Trust (Welsh: Ymddiriedolaeth Genedlaethol; Irish: Iontaobhas Náisiúnta) is a charity and membership organisation for heritage conservation in England, Wales and Northern Ireland. In Scotland, there is the separate and independent National Trust for Scotland.
The Trust was founded in 1895 by Octavia Hill, Sir Robert Hunter and Hardwicke Rawnsley to "promote the permanent preservation for the benefit of the Nation of lands and tenements (including buildings) of beauty or historic interest". It was given statutory powers, starting with the National Trust Act 1907. Historically, the Trust acquired land by gift and sometimes by public subscription and appeal, but after World War II the loss of country houses resulted in many such properties being acquired either by gift from the former owners or through the National Land Fund. Country houses and estates still make up a significant part of its holdings, but it is also known for its protection of wild landscapes such as in the Lake District and Peak District.
In addition to the great estates of titled families, it has acquired smaller houses, including some whose significance is not architectural but through their association with famous people, for example, the childhood homes of singer/composers John Lennon and Paul McCartney of The Beatles.
One of the largest landowners in the United Kingdom, the Trust owns almost 250,000 hectares (620,000 acres; 2,500 km2; 970 sq mi) of land and 780 miles (1,260 km) of coast. Its properties include more than 500 historic houses, castles, archaeological and industrial monuments, gardens, parks, and nature reserves. Most properties are open to the public for a charge (members have free entry), while open spaces are free to all. The Trust has an annual income of over £680 million, largely from membership subscriptions, donations and legacies, direct property income, profits from its shops and restaurants, and investments. It also receives grants from a variety of organisations including other charities, government departments, local authorities, and the National Lottery Heritage Fund.
The Trust was incorporated on 12 January 1895 as the "National Trust for Places of Historic Interest or Natural Beauty", which is still the organisation's legal name. The founders were social reformer Octavia Hill, solicitor Sir Robert Hunter and clergyman Hardwicke Rawnsley.
In 1876, Hill, together with her sister Miranda Hill, had set up a society to "diffuse a love of beautiful things among our poor brethren". Named after John Kyrle, the Kyrle Society campaigned for open spaces for the recreational use of urban dwellers, as well as having decorative, musical, and literary branches. Hunter had been solicitor to the Commons Preservation Society, while Rawnsley had campaigned for the protection of the Lake District. The idea of a company with the power to acquire and hold buildings and land had been mooted by Hunter in 1894.
In July 1894 a provisional council, headed by Hill, Hunter, Rawnsley and the Duke of Westminster met at Grosvenor House and decided that the company should be named the National Trust for Places of Historic Interest or Natural Beauty. Articles of association were submitted to the Board of Trade and on 12 January 1895, the Trust was registered under the Companies Act. Its purpose was to "promote the permanent preservation for the benefit of the Nation of lands and tenements (including buildings) of beauty or historic interest"
Microscopic photo showing aggregations dilated thick walled vessels in dermis of auricular skin, H & E stain. 10X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA. (乔建华医学博士， 美国病理学家学院专家会员。美国加州洛杉矶)
Cusk eels (Ophidion barbatum), like species in the sciaenid (drum) family, are sound producers. When these fish gather in large numbers, called aggregations, their sound pattern is more call-and-response than overlapping, as with the drums.
Calibration of a fertilizer bucket used for MCH flake application. Lake Wenatchee State Airport, Washington.
Photo by: Connie Mehmel
Date: May 8, 2015
Photo credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection, Wenatchee Service Center.
Source: Connie Mehmel collection. Wenatchee, Washington.
Note: MCH is an anti-aggregation pheromone used to protect trees from attack by the Douglas-fir beetle.
For more information see:
Ross, Darrell W., Kenneth Edward Gibson, and Gary E. Daterman. 2015. Using MCH to protect trees and stands from Douglas-fir beetle infestation. Forest Health Technology Enterprise Team, US Department of Agriculture, Forest Service.
www.fs.fed.us/foresthealth/technology/pdfs/MCH_handbook_1...
Image provided by USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
"Mussel" is a common name used for several different families of clams. Its most frequently used to mean the edible bivalves of the marine family "Mytilidae", most of which live on exposed shores in the intertidal zone. The mussels in this photograph are "California mussels" (Mytilus californianus). This is a species native to the west coast of North America from northern Mexico to Alaska and have a slightly tougher meat than Blue mussels found elsewhere. They are found clustered close together, often in very large aggregations, on open rocky coastlines where they are exposed to the strong action of the surf. The shell is blue on the outside except near the growing edge of the shell. It has course radial ribbing and irregular growth lines on the outer surface. The California mussel is harvested as a source of food up and down the Pacific Coast of North America. They can be baked, boiled or fried and have a mild, delicate flavor unlike clams and oysters.
I've been meaning to illustrate how superb of a photo-casting aggregator iPhoto is for a while. Now that iPhoto 6.0.5 is out Apple finally has the majority of the bugs worked out.
Part of what makes it so damn superb is it that there's a paradigm shift in the way iPhoto treats aggregated photos. It doesn't assume you're merely a passive "consumer". Once a photo is aggregated you can do absolutely everything you can do with your own photos including tag it, rate it, enhance or manipulate it, and generally organize photos until your hearts delight. All the while iPhoto retains all the meta information, including the title, description by the original poster, and above all the all important permalink to the original photo on Flickr so you can comment and favorite and be social and merry. :)
Check out the notations on the photo for more information.
For more information on photocasting check out my photocasting group.
www.flickr.com/groups/photocasting/
Photocasting rulez!
photo by David Fisher
www.flickr.com/photos/david_fisher/183608782/in/pool-8813...
Microscopic photo showing aggregations of tumor cells. Hematoxylin and Eosin stain. 20X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA.
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Alternatives to Data-Silos: Tools for democratic aggregation
This panel presents results from a series of Berliner Gazette-workshops that started at the conference “Digital Backyards” (October 2012) and “Digital Backyards Japan” (January 2013) asking about alternatives to Google and Facebook; then continued at the hackathon “bottom-up & open” (May 2013) and recently culminated at the conference “Complicity” (November 2013) once again bringing together Hackers and Journalists.
Date: December 7th, 6 p.m. | Format: Panel
Speakers: Markus “fin” Hametner (Onon.at, Vienna), Magdalena Taube (berlinergazette.de, Berlin), Anwen Roberts (Eclisping Binaries, Berlin). Moderation: Lili Masuhr (leidmedien.de)
Location: mindpirates, Schlesische Straße 38, Berlin-Kreuzberg
Photocredit: Andi Weiland | Berlinergazette.de
The buzz of large numbers of silver perch (Bairdiella chrysoura), called an aggregation, can sound almost insectlike. Because the fish formed an aggregation, they were likely engaged in courtship behavior employing the sound to attract spawning females.
Alternatives to Data-Silos: Tools for democratic aggregation
This panel presents results from a series of Berliner Gazette-workshops that started at the conference “Digital Backyards” (October 2012) and “Digital Backyards Japan” (January 2013) asking about alternatives to Google and Facebook; then continued at the hackathon “bottom-up & open” (May 2013) and recently culminated at the conference “Complicity” (November 2013) once again bringing together Hackers and Journalists.
Date: December 7th, 6 p.m. | Format: Panel
Speakers: Markus “fin” Hametner (Onon.at, Vienna), Magdalena Taube (berlinergazette.de, Berlin), Anwen Roberts (Eclisping Binaries, Berlin). Moderation: Lili Masuhr (leidmedien.de)
Location: mindpirates, Schlesische Straße 38, Berlin-Kreuzberg
Photocredit: Andi Weiland | Berlinergazette.de
www.flickr.com/search/?w=46835425@N00&q=robotics&...
of course there is also robot, robotic, etc. more on that later.
would be nice if flickr had similar URL structure as delicious.
photos\sixmilliondollardan\robotics or
www.flickr.com/photos/sixmilliondollardan/tag/robotics
but these dont work...
Microscopic photo showing aggregates of clumped platelets (green arrows) on a peripheral blood smear. Wright Giemsa Stain. 100X oil objective magnification. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA. (乔建华医学博士， 美国病理学家学院专家会员。美国加州洛杉矶)
The old song RipMixLearn still sounds good, but we can now be thinking along with that about how tcontene built from content elsewhere (aggregation via RSS feeds) is viewed. There are different needs and reasons for going Inward or Outward in your aggregating.
Key questions:
* What are some ways of collecting the small pieces into useful packages?
* What are the key considerations in aggregation and representation?
* How do the current available tools stack up?
* What are advantages/pitfalls of relying on this site versus hosting it iin your own web site?
Sniff Some Glu
* Content related to this presentation elifishtacos.suprglu.com/
* Alan's Glu cogdog.suprglu.com/
* Brian's Glu abject.suprglu.com/
* Jay's (Cross) Eclectic Interests jaycross.suprglu.com/
Glu It Yourself
Stephen Downes prefers not relying on the Suprglu site, so he rolled (and shares) his own code to create MyGlu,a similar service you can integrate into your own site.
Blog posts:
* CogDogBlog: Inward / Outward Aggregating (RipMix Fever) And That Fresh Smell of Ajax and RSS Mixers
* Abject Learning: Small pieces more loosely joined... musings from the fog
Some tools
* SuprGlu
* MyGlu
* Netvibes
* Spliced feeds republished via javascript. Example - the Textologies resource page
See more examples and resources in the glu tag stream.
Image Credits: Mock-up of SciFi book cover created by Alan Levine, derived from Creative Commons licensed flickr image by Chuck and Vicki Rogers
Graves Light, Boston Harbor.
The Graves is an aggregation of rock outcroppings in Massachusetts Bay, Massachusetts, United States. Situated some 11 miles (18 km) offshore of downtown Boston, it is the outermost island in the Boston Harbor Islands National Recreation Area.
It is the location of The Graves Light, at 113 feet (34 m) tall the tallest lighthouse in Boston Harbor, and an important navigation aid for traffic to and from the port. The island has a permanent size of 1.8 acres, and rises to a height of 15 feet (4.6 m) above sea level; there is only aquatic vegetation on the island. The island is managed by the Coast Guard, and is not open to the public.
The Graves are named after Thomas Graves, a prominent early trader of colonial Massachusetts.
The Graves are northeast of the Roaring Bulls and far northwest of Three and One-half Fathom Ledge. Despite their offshore location, the Graves are within the city limits of Boston.
A new major shipping channel into Boston Harbor, the Broad Sound Channel, opened in the early 1900s, necessitating a lighthouse at the Graves.
In 1902, Congress appropriated $75,000 for a lighthouse and fog signal, and Governor Crane of Massachusetts signed a deed conveying 435,400 square feet at the ledges to the federal government.
The project ultimately cost $188,000, meaning a second appropriation of $113,000 was required in April 1904.
Construction took place from 1903 to 1905, and Royal Luther of Malden, Massachusetts, was in charge. The style of Graves Light is very similar to Maine's Ram Island Ledge Light, built at about the same time.
The granite for the tower was cut at Rockport on Cape Ann. Rock on the ledges was blasted, and the foundation was laid just four feet above the low tide mark. The first 42 feet were completed in the summer of 1903.
A schooner transported materials from Lovell's Island, 3 1/2 miles away, to the Graves, and a 75-foot steamer transported workers to the site. A shanty was constructed on the highest ledge of the Graves, connected to the wharf by a 90-foot elevated walkway. The shanty had living quarters, a storeroom, a blacksmith shop, and a kitchen, and up to 30 men lived there in the summers of 1903 and 1904.
While the granite was being put in place, the ironwork was being manufactured in Boston and a huge first-order Fresnel lens was being created in Paris.
The summer of 1904 saw the lighthouse reach a height of 88 feet. Construction was completed during the following year. A granite oil house was built 90 feet south of the tower, reachable by a footbridge.
On the night of September 1, 1905, Graves Light's first keeper, Elliot C. Hadley, lighted the most powerful light in Massachusetts history for the first time. The gigantic lens floated on 400 pounds of mercury. After the completion of Graves Light, a Lighthouse Establishment report stated:
At so exposed a site the height necessary for the lantern above the heavier masses of spray, the consequent geographic range, its location so far seaward, the service of the light to the large commerce of Boston and modern ships of deep draft, make it perhaps the most important light north of Cape Cod.
Mellow Clutter™ is a concept I've talked about for the past 2 years and it anticipated content aggregation, rich APIs, and that we'd post once and publish everywhere.
"Web technologies have finally caught up to their promise and by using APIs, feeds, and widgets, a company can create a “portal” for their product, a Mellow Clutter."
Today, I used the newest new TypePad Motion to build a quick Mellow Clutter and cool. This particular Melllow Clutter just has pumpkins on it, but that took me about 34 minutes to set up on my Macbook Air.
It's using TypePad on the backend with locally hosted Python and Django to generate the front end templates and pages. The next step is to fully customize it and move it into production on a web host.
The Mellow Clutter concept is also known as Social Publishing and is applied to products and brands. It's a dynamic website that shares photos, videos, news, and video from a variety of sources focused on a particular topic.
In context to Social Media, instead of lifestreaming, a business streams their product.
It's what we've been doing on Bike Hugger using a Movable Type/Type Pad hack. Next step is this.
We'll debut the production site shortly during the Mobile Social Worldwide.