The market cross is 15th century, but the top fell off and was replaced with a copy in 1950. Very impressive & thirty feet high.

"Legend has it that it was originally erected by Galfridius de Mervin as a thanksgiving for his miraculous recovery from wounds received in a battle with the Saracens in 1309..." www.dorsethistoricchurchestrust.co.uk/stalbridge2.htm : but the cross that survives today is believed to be late 15th century.

"John Wesley says in his journal... that he preached at Stalbridge Cross [in 1766] and tells us his followers were pelted with mud and filth, though Wesley was unharmed." dorset-ancestors.com/?p=1434http://dorset-ancestors.com/?...

In the background is the Swan pub. "Most of the buildings [on the east side of the High Street] have later frontages but have early Georgian or Tudor internal structures... The Swan has a large older stable block behind it (now a skittle alley) which once housed a forge, and there were pigsties, cart sheds, a coach house and stabling for 17 horses. This area with Gold Street was the hub of business and trade from Medieval times until late Georgian." www.stalbridge.info/uploads/3/1/5/8/31586035/stalbridge_h...

RIDDHI 2019 – Is the Signature Event recognizing and acknowledging the students who have showed inexplicable determination to succeed and excel not only academically but also professionally. With the efforts and backing of NGI faculty members and NCPIR, whose expertise and experience saw these students through several tests to emerge as winners, this event marks the high point of the year.

The focus of the Institution has been on a spectrum of activities that engage students in events that challenge them to cross boundaries of the self and demonstrate their special talents. Overcoming every challenge that crossed their path, the students have risen up time and again, proving that they are achievers.

Nehru Group of Institutions’ Riddhi 2019, conducted by NCPIR team - Coimbatore, on 1 April, 2019 was organized at P.K. Das Auditorium, Nehru Gardens, T. M. Palayam to felicitate students who got successfully placed in prominent companies and industries across India. During the academic year 2018-2019, more than 150 companies visited the campus with over 2000 offers to employ NGI’s students. Companies like Infosys, CTS, Amazon, TCS, BYJU’S, Tech Mahindra, Jaro Education, Amphisoft, 2 ADPRO, Hexaware, Syntel, WIPRO, Caliber Interconnect Solutions and Karvy Stock Broking visited NGI for recruitment.

Dr. P. Krishna Kumar – CEO & Secretary, NGI

On this special occasion of Riddhi Function, I am extremely glad that our young minds have now blossomed into responsible achievers. I am extremely grateful for the companies who visited our campus and gave our young minds an opportunity into the corporate arena.

I urge you students to challenge yourselves continuously so that the desire for growth is always indwelling. I encourage you all to develop an attitude of always wanting to learn and excel that would result in a cycle of learning. NCPIR team has yet again proved its mettle in approaching the best in the industry through their oneness and total co-ordination. More than 2000 offer with over 150 companies visiting is the result of their tireless work with passion to fulfill your achievement.

I applaud the efforts taken by the faculty members and parents to have encouraged you in making the right choice in your professional career. The offer that you have received may not be your dream company, but I insist that you should continuously work towards the learning cycle of learning, un-learning and re-learning. I would like to quote my father Late Shri. P.K. Das who said, “Make sure that your work speaks more about you”. I wish you all the best for the future.

Chief Guest: Mr. Johnny Edward Solomon – Director PricewaterhouseCopper, India

As you would be walking your first step to professional career, I would like to congratulate you. Being in the industry for a very long period of time, I have come across a lot of individuals – but today I can see the bright faces of learning and eagerness to learn; keep this always.

Relevance, Responsive, Rigorous, Reliability and Responsibility are the most important factors that any industry looks for. Today, technology has changed and challenges us in many ways. Every 5 years, 40% of the jobs that was being done or have been doing would be replaced by technology, so I urge you to constantly reinvent yourself by up skilling. I encourage you to do something that defines your goal rather than becoming something. All the very best to all students who have made their parents, teachers and the institution very proud, you are an achiever remember this.

Guest of Honor: Mr. Mohanasundram, Manger- L&D, Caliber Interconnect Solutions Pvt., Ltd.

I am happy for you and proud to share the dais with people who have such immense experience from both academic and industry. I congratulate you on your success and proud to tell that you have given new hope to your juniors and a lot more to Nehru Group of Institutions' Management, Principals, staff and team NCPIR. 2000+ offers is not a small achievement, it can be only achieved by a dedicated team.

I urge you to take on every opportunity to update your domain knowledge for growth. Remember technology is based on Design, Data and Development. Anyone not meeting the standards set will automatically reflect on your ability to grow. I wish you all the best in your future endeavors.

source: www.flickr.com/photos/dirtdirt/3909773408/

Not my picture, but I have loved this image since first seeing it on some gift wrap in a tiny store in Royal Oak! Makes me giggle everytime! (I later found her on a skateboard too, so grabbed that deck and tried to kill myself learning to skateboard! I learned to ollie and that was that...LOL) Anywhooos, I am uploading her here today because my birthday gift is in the mail- and she has hit the nail on the head as to how happy I am about that! :D

Package deal in which I am getting:

Canon EOS Rebel T4i DSLR camera

18-55 IS lens

75-300 lens

8GB SD card

interface cable

neck strap

rechargeable battery

and carrying bag

EOS Digital Solution software

software instruction CD

manual

•18 megapixel CMOS sensor

•14-bit A/D conversion

•3" diagonal Vari-angle touchscreen Clear View LCD monitor with smudge-resistant coating, multitouch operation, touch AF

•Live View

•DIGIC 5 image processor

•Nine-point auto focus with dual-cross f/2.8 center point

•Hybrid CMOS AF

•Scene Intelligent Auto Mode

•HDR Backlight Control

•Night Scene mode

•Seven creative filters

•Multishot noise reduction

•Up to 5fps continuous shooting

•Full HD 1080p movie mode with Movie Servo AF, manual exposure control, multiple frame rates

•Video snapshot with editing

•Built-in stereo mic

•Manual audio level adjustment

•SD/SDHC/SDXC memory card slot

•USB 2.0 terminal

•Video, mini HDMI outputs

•Measures approximately 5"W x 4-1/4"H x 3-1/4"D

•UL listed adapter; 1-year LMW

Goal: To attract families in the neighborhood to the Carnival and VBS events.

Audience: Families with children (up to 10 years old for VBS), although this will be sent to all residents, and everyone is welcome at the carnival. The main neighborhood is an upper middle class suburb, with lots of highly educated young families.

Direction: The challenge was to promote these two events simultenously. The Carnival is sort of the kickoff to the VBS. The goal was to keep a unified look to the piece, and have a fun, and kid friendly message. The VBS logo is from the company who produced the materials, a bit modified by me. The Carnival logo is one I created for the same event last year, with a bit different color scheme and layout. The event was a big success last year, and the hope is that using the same look will get a positive response, especially since it is on the church property this year and not at the park like last year. That continuity is the thinking behind "3rd annual" as well. Also, the word "FREE" was not the main selling point as it has been in the past for these events. The thinking is that the audience may not respond as strongly to something that is free, especially if that suggests that it is low quality. It is a bit of a change, so we will see. The event will be free and it will say it is free on the other side, just not as the headline. Comments about that are welcome.

Project: Postcard mailing (8.5 x 5.5 inches), and general branding for Carnival & VBS event. The other side of the postcard will have more details.

Other important info: I am very rushed on this project, so I wanted to get this concept up quick for feedback. I know there are some refinements to the execution that really need attention, but I am mainly looking for feedback on the concept and how this communicates at this point. Thanks!

But I had better not lean back!

slexyfashionista.blogspot.com/

free sweater by aRAWRa; free pants by paper.doll; free ribbon eyepatch hair by maomi*G*

new skin by The Plastik

free "Naughty Stocking" w/ poses by Olive Juice

Butor étoilé (savoie 02_2016) 1

A friend of mine is Armenian, has conducted tours of Armenian sites in Armenia, Turkey, and Syria on his vacation, and could retire in Armenia. Every guidebook describes this as Georgian but he's convinced it's Armenian as he and his friends found part of a surviving Armenian inscription on a wall of the church. [Update: The description to this video on Youtube refers to an "inscription in the Georgian and Armenian language placed at the entrance to the chapel" which dates from 1006. See it at the 2:25 min. pt.: www.youtube.com/watch?v=VsPkodsJ5RE More on this point below.] He explained that after WWI a number of abandoned Armenian churches in E. Turkey were claimed by Georgians or Turks to be Georgian. The guidebooks don't say much about its history, the LP only that it was built in the 8th cent., enlarged in the 11th, and that it's "spectacularly sited" and "wonderful". (It's a beauty, there's a fresco on the ceiling under that conical dome with 4 chariots driven above clouds round the edge of the circle, below a blue sky with stars and angels. en.wikipedia.org/wiki/Ishkhani#/media/File:Ishkhan_Monast... [More re this fresco below]). Fodors says it was built in the 10th cent. and Berlitz that it was "once the seat of a Georgian bishropric", that a section's now used as a mosque, and that it has the same plan as Osk Vank, the largest Georgian church in the area, built /b/ 958 and 966 by Prince David who became "King David the Great [and] made Georgia a dominant power in the Caucasus" for a time. So ... I don't know.

- Update: Wikipedia has more to say now. "The name Ishkhani derives from the word Իշխան, Ishkhan, “Prince” in Armenian. ... The earliest reference to the monastery is found in 'The Life of Grigol Khandzteli', a Georgian manuscript dating from 951 which is now kept in Jerusalem. It recounts that Saba, a nephew and follower of the priest Gregory of Khandzta, founded a monastery on the site of an earlier church built by [the Armenian] Catholicos Nerses III Ishkhanetsi (641-661), a native of the village of Ishkhan, which had a tetraconch plan (a central dome with 4 apses radiating to the cardinal points) and which was damaged in the Arab invasions of the 7th cent. 5 Georgian inscriptions within the church and on the southern facade commemorate 5 restorations from 917 to 1032. One ascribes the foundation of the church to Bagrat III. [As it was "constructed in stages /b/ the 8th and 11th cent.s, it ranks amongst the oldest extant Georgian sacred architecture." {RG}] ... The monastery had been one of the 5 patriarchates of Tao-Klarjeti and its church functioned as a cathedral until the 17th cent. It was used as the headquarters for Ottoman officers during the Russo-Turkish War in the 19th cent., while its west arm was converted into a mosque and remained so until 1983." (Wikipedia)

- The church is domed, cruciform, with outer dimensions of 35 x 20.7 m.s. The amazing central cupola, 42 m.s high, entirely intact and similar to that at Öşvank, seemed to float on 4 free-standing piers, each 2 m.s in diameter (as the roof had fallen in. But I've read it's been faithfully resurrected in a recent restoration.) The eastern cross-arm extends with an apse with a unique arrangement (or unique in Georgian churches, not in ancient Armenian churches): a horseshoe-shaped arcade with arches resting on 8 columns, each with a unique capital, opens onto a rectangular ambulatory. www.360cities.net/image/georgische-kirche1-ishan-ostanato... That apse, "the oldest surviving portion of the bldg., was modelled after the church at Bana" (RG. See my next photo, and see below.) 2-story pastophoria, used to store priestly vestments, etc., flank the apse.

- In 966, the interior walls of the church were painted with frescoes, but apart from the cupola, little remains. (The LP writes cryptically that whole walls were covered in blue frescoes in the 1980s.) The “Ascension of the Cross” in the ceiling of the cupola depicts a bejeweled cross in a white, moon-like circle carried by 4 flying angels on a background of vibrant, dark blue (lapis lazurite) with specks of white, a starry night sky. 4 2-wheeled chariots drawn by 4 winged horses and driven by a standing figure are at each axis just above the rim, depicting 'the Vision of Zechariah' (Book of Zechariah, 6:1-6) in the Old Testament. A Georgian inscription above each chariot indicates the colours of the horses; red, black, white and dappled (see below). (Neither my photo nor any I've seen does it any justice, but I'll scan mine anyway. What a thing to find and see in the open, and exposed for so many centuries.)

- 8 figures identified as prophets by some scholars alternate with 8 windows in the blind arcade of the drum and stand below angels in circular niches holding scepters. During restoration in 1032, their heads were replaced by round openings [? See 3 in this shot]. A female figure dressed in blue, carrying a diadem and holding a model of a church in her hand is visible on the intrado of the NW window. This has been interpreted by scholars as a depiction of either the Cappadocian Ste. Nino, who converted the Georgians to Christianity, or the first Christian queen of Georgia or a personification of the church itself.

- 22 geometric and floral motifs are employed in the sculptural decoration of the church. Animals and legendary creatures are depicted within the geometric patterns.

- The exterior walls of the church and the drum are decorated with blind arcades (seen here). The conícal roof of the cupola is covered with alternating rows of dark red and grey coloured glazed tiles (again, seen here).

- A Georgian inscription at the entrance to the chapel (from 1006) states that King Gurgen I dedicated it to the Holy Mother of God. Vaulted with a single nave, an apse and 2 windows, its outer dimensions are 10.3 x 5.7 m.s. (all Wikipedia)

- A famous, solid-gold processional cross found here in the 19th cent. is on display today in the state museum of Georgia in Tbilisi. (Bradt)

- From 'the Book of Zechariah': 6. Then I turned and raised my eyes and looked, and behold, four chariots were coming from between two mountains, and the mountains were mountains of bronze. With the first chariot were red horses, with the second chariot black horses, with the third chariot white horses, and with the fourth chariot dappled horses [or 'grizzled and bay horses'] - strong steeds. Then I answered and said to the angel who talked with me, “What are these, my lord?” And the angel answered and said unto me, “These are four spirits of heaven, who go out from their station before the Lord of all the earth. The one with the black horses is going to the north country, the white are going after them, and the dappled are going toward the south country.” Then the strong steeds went out, eager to go, that they might walk to and fro throughout the earth. And He said, “Go, walk to and fro throughout the earth.” So they walked to and fro throughout the earth. And He called to me, and spoke to me, saying, “See, those who go toward the north country have given rest to My Spirit in the north country.”

- www.youtube.com/watch?v=_106IfO6Kc0

- As to that Armenian inscription, recall that a monastery had been founded here in the mid-7th cent. by an 'exiled' [LP] Armenian bishop before it was rebuilt several times by Georgians. Could my friend have found an Armenian inscription that's older than the several other Georgian inscriptions? Was the first (Armenian) church entirely replaced by the Georgians, or have elements survived such as the arcaded apse, "modelled after the church at Bana", which in turn is similar to ancient Zvartnots (see my next photo. The best evidence suggests that the famous Bana church was Armenian. I suspect the said apse at Ishan and its columns date from Nerses III Ishkhanetsi's 7th cent. Armenian church.) Did Ishkhani / Ishkhan serve both local Georgian and Armenian communities? That would be consistent, if so, with the placement in 1006 of a bilingual inscription above the entrance to the chapel. "Alongside the row of the church fathers, on the north and south walls of the bema, a medallion was depicted above the arches leading from the chancel apse to the sides; ... The medallion had an 8-line asomtavruli inscription on the right. ... [Another] medallion on the north wall had long been lost (Ek’vt’ime T’aq’aishvili presumed the presence of the image of Queen Akhshen of Armenia here); a 7-line Armenian inscription was depicted on the left of this medallion." arthistory.tsu.ge/murals/painting/ishkhani-murals-of-the-...

- It was a 7 km.-long slog up a steep, twisty road from the D060 to the green mountain oasis of İşhan (Turkish) or Ishkhani (Armenian) or Ishkhan (Georgian), with no traffic. But views of the almost barren, steeply eroded mtn.s to the south, east and west in the early evening light were compensation. www.youtube.com/watch?v=T_pJ5AuGHnI The road passed a cemetery near the top. The RG writes that that "road up, not recommended for those suffering from vertigo, weaves a lonely course through a heavily eroded, lifeless moonscape, which makes it all the more surprising when you arrive at the church and its surrounding apple, mulberry, and walnut groves. This is charming İşhan village, which despite its beauty seems to be in near-terminal decline. Since the 1980s, when its school had over 130 students, that number has dwindled to 11." (RG, 2013 edition) www.google.com/maps/place/Ishkhani/@40.7855434,41.7304097...

- On my arrival in the village, I headed for the church, explored it some, took some photos, said Wow, and then, somewhere, spoke with a group of young local guys and either one kindly offered to put me up for the night or I made the request with an offer to pay and he kindly accepted. I slept the night in a spartan room in a separate building near his house but on his property. I said my thank yous the next morning and headed back to the church to explore it further and take photos in the morning light. Again, this was my favourite of the churches I toured in Turkey o/s Istanbul. It's exotic, unusual, ancient but well-preserved, immense, and the most spectacularly-situated temple that I can recall touring. It was bright but cool with plenty of shade (see the trees here), and that wonderful blue and silver dome-ceiling fresco, in particular the 4 chariots, is a treasure.

- www.youtube.com/watch?v=Haij8ALJppc

- www.youtube.com/watch?v=FaXgXlxQU2Y

- www.youtube.com/watch?v=iOT26lCqUiU

- The Rough Guide has a good write-up re this ancient Georgian kingdom.:

"Georgians have lived in the valleys of the Coruh, Tortum, Kura and Berta rivers, now in NE Turkey, since the Bronze Age. Like the neighbouring Armenians, they were among the first Near Eastern nations [is the Caucasus in the Near East?] to be evangelized, and were converted rapidly to Christianity by St. Nino of Cappadocia in the mid-4th cent. Unlike the Armenians, they never broke with the Orthodox Patriarchate in Constantinople, and maintained good relations with Byzantium.

- An effective Georgian state only entered the local stage in the 9th cent., under the auspices of the Bagratid dynasty. This clan contributed rulers to both the Georgian and Armenian lines, hence the partial overlap in the medieval history of the 2 kingdoms. They claimed direct descent from David and Bathsheba, which explains a preponderance of kings named David, a coat of arms laden with Old Testament symbols, and curiously Judaic stars of David embossed on many of their churches.

- Ashot I Kuropalates began the first stages of territorial expansion and of the construction of churches in the area, under the guidance of the monk Gregory Khantzeli [or of Khandzta]. Ashot's descendants included David 'the Great' Magistros of Oltu, as well as Bagrat III, who in 1008 succeeded in unifying the various Georgian principalities into one kingdom. The Selcuks arrived in 1064, ravaging Georgia and all of eastern Anatolia, but as soon as they turned to confront the Crusaders a Bagratid revival began. David the Restorer managed to expel the Selcuks by 1125, moved the Bagratid court to newly captured Tbilisi, then reunited the various feuding principalities ruled by minor Bagratid warlords.

- Under the rule of David's great grandfather Tamara, medieval Georgia acquired its greatest extent and prestige, controlling most of modern Georgia, Armenia and Azerbaijan, as well as the ancestral Georgian valleys. A formidable military strategist and shrewd diplomat, the queen displayed a humanity and tolerance unusual for the era. [Some in Iran might dispute this. The Georgians under Tamara massaced Muslims in Ardabil and in the NW, although in revenge for the preceding, infamous Selcuk Turkish massacre of Armenians and Georgians at Ani.] Many churches and monasteries were repaired or re-endowed under Tamara; despite being a woman and a non-Muslim, her name still elicits respect from local Turks. (This Turkish vlogger refers to her with respect on a tour of the former Georgian church at Parkhali in this vlog: www.youtube.com/watch?v=85gsyuMr5UU and refers to the church in the caption as 'Queen Tamara's treasure.' But the construction of that church predates Tamara's reign [1184-1213] by > 200 yrs.)

- Following the death of Tamara, the Georgian kingdom began a slow but steady decline, effectively partitioned /b/ the Ottoman and Persian empires. The rise of Imperial Russia signaled the end of any viable Georgian state, and the last semi-independent king effectively surrendered to Catherine the Great in 1783.

- These early Bagratid monastic churches all date from before the move NE to the Caucusus proper, and most are sited amidst oases at the heads of remote valleys. The Georgians borrowed many of the architectural features of Armenian churches. It takes a trained eye to distinguish the two styles, although generally the Georgians rarely attempted the rotundas or multi-lobed domed squares beloved of the Armenians.

- Almost all of these churches have suffered damage from dynamite and pick-axe wielding treasure hunters, as the locals have an unshakeable conviction that all the Christians who left the are in 1923 secreted precious items in or under their churches in the mistaken belief that they'd eventually be able to return." (All RG, 2013)

- The following is from an article written by Irene Giviashvili www.atinati.com/news/6388a71b7103640043fa3670 (I'll have to splice it into the RG 's write-up above sometime to reduce any repetition.)

- "Tao-Klarjeti is a general name coined in the academic language of the 19th cent. to define medieval Georgian heritage, movable and immovable, related to the “Georgian Kingdom” or the “Kingdom of Kartvelians”. Their Kingdom included the provinces of Erusheti, Artaani, Samtskhe, Shavsheti, Tao, Kola, and Klarjeti, which primarily comprised the basin of the River Chorokhi (Çoruh) and the headwaters of the River Mtkvari (Kura). Today it corresponds to the provinces of Erzurum, Artvin, Ardahan, and partially Kars in NE Turkiye. The Kingdom was split into two branches: the Klarjeti and the Tao, thus gaining the name the “Tao-Klarjeti Kingdom”. The millennial reign of the Bagrationi dynasty began in this region, but its history dates back to the very roots of the Georgian nation. The Georgian Chronicles provide a list of the oldest Georgian cities established by Kartlos, the mythical founder of the nation, and his descendants. Among the most ancient are the major cities of the region: the fortified city of Tukharisi in Klarjeti, Tsunda, and Artaani in Javakheti. Tao-Klarjeti played a much more important role in the history of Georgia than merely as another province. This is where the idea of a ​​United Georgian state was born and executed, long before the first united army of the eastern Georgian Kingdom of Iberia and Colchis (western Georgia) was formed. The 11th-cent. chronicler Leonti Mroveli recounts how in the 3rd cent. BC, King Parnavaz of Iberia resolved to confront the Eastern Roman Empire. He was joined in this campaign by the Colchians and Ossetians, and the site of the battle was a place named Huri (the city of demons), which at that time had already been abandoned. The rock-cut complex near the modern Altas (an old Huri, Ardahan) still bears the name “Nakalakoi” ('abandoned city' in Georgian), and most likely witnessed this story. The first church for the newly-Christianized Iberia was built here in the village of Erusheti, in Artaani, by Byzantine masons traveling to Mtskheta. When the newly converted Iberian King Mirian sent a mission to Constantinople, Constantine rewarded the Georgian King with holy relics and sent masons to build churches. The first episcopates were formed here in Klarjeti at Ahiza and Mere, followed by the first monastery at Opiza, all of which were established during the reign of King Vakhtang Gorgasali in the 5th cent.

- During the era of Arab domination in eastern Georgia, which began in @ 640, Erismtavari Ashot Bagrationi (786 - 826) left Tbilisi and moved to the periphery, to the SW provinces of the country that bordered Byzantium. Accordingly, at the end of the 9th cent., a new principality was founded with its royal residence in Artanuji (Ardanuç, Turkiye). The area’s topography, featuring high plateaus and deep canyons, offered fertile farmland and easily defensible positions. Surrounded by the Islamic World while sharing a border with the Byzantine Empire, the Bagrationi Kings played a crucial role in changing the political and cultural landscape of the region.

- The Georgians of Tao-Klarjeti brought monasticism to a new level, particularly through the activities of Father Grigol Khantsteli (Gregory of Khantsta), who established new monasteries and restored old ones. These produced books, the finest masterpieces of metalwork, and were rich in icons and liturgical objects. The Georgian Chronicles state that “Klarjeti was protected by a rocky environment,” and it appears that such a location provided not only physical, but also spiritual tranquility for its inhabitants. In the mid-10th cent., leadership was taken up by the Tao branch of the Kingdom. King David III reigned with spectacular success from 958 to 1001, dramatically altering Georgian history with his diplomatic, military, political, economic, educational, and cultural achievements. The monasteries that were founded or redeveloped during his reign (Khakhuli, Oshki, Otkhta Eklesia and Parkhali) came to define the very borders of the Kingdom.

- Located at a geographical and cultural crossroads, and also owing to the political, religious, and cultural ideology of the Georgians of Tao-Klarjeti, the country became an integral part of and an active player in the regional changes that were occurring in the Caucasus and Anatolia. The religious centers in Tao-Klarjeti became points of transmission for cultural exchanges among Christian centers, as well as between the Christian and Islamic Worlds. At the same time, the fortifications that created a kind of grid of massive fortresses and small watchtowers served as a powerful barrier against political expansion.

- The importance of Tao-Klarjeti declined once the center of the united Georgian Kingdom moved first to Kutaisi (ca. 1000), and finally to Tbilisi (1122), although its cultural impact was diffused around the rest of Georgia. The historic Georgian provinces of Tao-Klarjeti were taken first by Ottoman Turkey in the 16th century, and ultimately by the Turkish Republic according to the Kars treaty of 1923.

- Evidence of the cultural and political importance of the area is seen in the ruins of more than a hundred churches, chapels, bridges, and fortifications.

● The preserved architectural monuments date from the 9-11th cc. There is a wide variety of architectural plans and their rendering. These include cross-domed churches, circular buildings, basilicas, and hall churches – modest in size but greatest in number.

● Almost all the churches were constructed with stones and mortar; there are very few examples of the use of brick.

● The use of stone made the development of sculpture possible, and the churches are richly decorated with geometric, floral ornamentations, and figurative reliefs.

● Inscriptions were applied liberally, giving accounts of the building processes as well as naming the donors and royal patrons; the masons’ initials are a common feature too.

● Most of the grand churches are part of monastic complexes that also include several small churches and chapels, large refectories, and various other monastic buildings.

● Almost all the larger churches have special spaces reserved for royalty and bishops.

● Most of the monuments have been preserved in their authentic original state. Only a few have undergone minor alterations."

- Caucasian history is a soup of tangled webs which comes through in this article in 'Caucusus Plus' reviewing Georgian heritage and history in northern modern Armenia.: kavkazplus.com/en/news.php?id=16049#.ZFZYraDMLrc Here's another from the same site: "Does Georgia persist because of the Armenians?", a rebuttal to a claim made by an Armenian TV presenter.: kavkazplus.com/en/news.php?id=11050#.ZFZ7DqDMLrc (That kavkazplus.com site has some surprisingly anti-Armenian articles. Some are a bit edgy and strange. I hesitate to include these links to those articles, which I'll review again later.) And here's an article from 2011 re a week-long visit to Georgia by "[Armenian] Catholicos Garegin II, which the [Apostolic] church hopes will help resolve disputes with the Georgian government and Georgian Orthodox Church over the country's Armenian religious heritage." www.rferl.org/a/armenia_church_leader_on_landmark_visit_t...

- Sufficiently sufficed with my tourism at İşhan/Ishkhan that morning, I took a long, pensive walk back down those 7 vertiginous km.s to the D060 with time for cogitation. Turning left, I then hiked further east through more of the best scenery I'd seen and would see that whole trip. (I took a photo towards the east down that road /b/ soaring canyon walls that I'll upload sometime.) My destination was the city of Kars ("one of the ancient Armenian capitals, after Artashat, Tigranakert, Vagharshapat and Dvin"). I followed the D060 alongside the Oltu stream east to the village of Coşkunlar where both the hwy. and the stream turn right (south), and then down to the T-junction with the D955 passing 2 ruined kales just east of the rd. not far north of that junction, Erkek kalesi (Mens' castle) www.castles.nl/erkek-castle and Kizkalesi (Girls' castle, not to be confused with the famous Crusader castle of the same name in the Mediterranean), only @ 300 m.s apart north to south, forming a defensive system in a valley where two rivers meet. Of the 2, Kizkalesi is the more dramatically sited, with an upper castle perched on a rocky ridge below a lower castle, "an eerie site, in keeping with the surreal landscape, where craggy gorges alternate with reddish bluffs (Bradt)," and was a miss. (It was right by the road.) I recall neither. (?)

- The city of Oltu was 15-20 clicks off route (detouring SW down the D955), 30-40 there and back, but it's home to the huge, well-preserved Oltu kalesi (the inner bailey really). Built by the Urartians @ 1,000 B.C., it "was of some importance in the Roman and Byzantine periods, and was occupied by Selcuks and Genoese colonists before falling to the Ottomans in the 16th cent" (LP) who would use it as a caravanserai. There's also an impressive Russian Orthodox church (1885-'90) on the other side of town which was a defunct fixer-upper in 2000, and now has a new steeple and a golden dome at the back end that looks just like a Gellhorn pessary. That church was built in part with early medieval masonry cannibalized from the awesome Bana cathedral (see the next photo), partially blown up by the Russians in the Russian-Turkish war. The city's best-known for the 'black amber' or jet mined nearby for prayer beads, etc. So that town might've been a miss.

- Living the good life directly beneath Oltu kalesi: www.youtube.com/watch?v=FsZ-3uCLctw .

- I then turned to head east again on the D060 (the D955 becomes the D060 at that junction) and caught a lift soon enough on a long-distance coach heading to Kars. (It's a rare event when a coach driver will stop for a hitch-hiker; the hitching in Eastern Turkey was that good, offsetting the lack of traffic.) I was heading to Kars in style when only 15 clicks or less further east I caught sight of an impressive round ruined construction not too far north of the road (@ 700 m.s) and had to apologize and ask the driver to stop again. It was a lucky thing, for that round pile was the impressive and architecturally influential Bana or Banak cathedral (Georgian Orthodox, originally Armenian Apostolic, 7th cent., reconstructed or renovated in the late 9th to early 10th). www.google.com/maps/place/Bana+Cathedral/@40.6676853,42.2... (See the next photo.)

But every Song is my favorite one :)

Found this leaf bug (katydid) in Rosalind Park yesterday morning, didn't notice it until I was looking closely at the plant it is on, wanted a shot of the red leaves with water drops with some green in the background, I think this is better though!

I had the title because it popped into my mind instantly but I had to sideline it for a while because I had to do some warping to present it the way I wanted and I don't care if the viewing are down a bit on the carney rides I had a max of fun shooting and they were a breeze to edit, especially for me! I don't get many colors in the ag settings so I revel in JUST COLORS. And this title DOES have a nice touch for a warped brain, don't you think? It reminds me of Monty Python's response to the Stutterers Union of Americans after "A Fish Called Wanda." Peaches but tough to write out. Must be a couple of the carneys I met somehow?

My attitude was down due to the rotten skies yesterday and today so I kept editing and ran out of capturesI looked out of the blinds and noticed the day was running down, unsprung, and I sprung up with no one to tango so I slapped my buns and switched modus activitii to full power. Who knew that could happen? The county fair ran from the first through the fifth, I needed a fifth and time was a-wasting. As it works out it seems the close by fairs all close on Sunday at 4:00. This was it. Bail for the fair now and I forgot to call Eddie. I probably had time. Charge camera, check card and off to see what the carneys have in store.

All my shooting before sunset was garbage; after, was a kick. And me there hand-held without my tripod and nothing to do but experiment. I figured exposure was no sweat if I was taking images of colored lights. As exposures grew slower, I opened the monster lens but in fact, that is a mistake; so I crept back up to f:11 and f:16. The new plan is to start slowing the shutter down and I got as slow as 2 seconds which ended up being the key at 200 ISO. I could then pan the camera and jiggle the camera at will. It seems that jiggling the camera at 2 seconds is not a problem as you can see. It is more difficult zooming full range when the shutter is open and the camera hand held. A tripod MIGHT help on zoom at the sacrifice of spontaneity. A piece of foam on top of the tripod, rest the lens shade on that and manipulate the zoom? I completely forgot to try racking the focus during exposures and I certainly didn't get enough pans and blips, IMHO. Apparently, colors and saturations are in the bag with digital sensors. The real goal is to find angles that maximize the balances of the lights in the frame. Look for complexity and combinations. It's hard to capture three rides active at the same time, five impossible. This is what I learned; go from there. Place lights in the middle of the frame but you best have no expectations except balance, where ever your goose is cooked there. The jiggles add the action. This is the Ferris wheel and the other rides in action while the lens was being vertically, sort of.

I'd like to think there is a fraction of the creativity of i_still_believe_in_u! I am trying. At least I got a chance to shoot colors instead of subtleties like Anoop Negi in Goa. That's fun!

read each of the statements and select the one which discribes how you feel / discribe

psychosocial therapies are part of the standard management of schizophrenic illnesses, but have not been subjected to systematic evaluation and are therefore not included in this guideline. This does not imply that they are not essential components of good practice.

The remainder of this section describes the evidence for the effectiveness of Education Programmes, Family Interventions, and Cognitive Behaviour Therapy in the management of schizophrenia. Section 3 provides recommendations for the application of these interventions in clinical practice, according to the phase of the illness.

Education programmes

Education Programmes are directed at either patients or carers/family members and have several aims. Improvement in knowledge of schizophrenia and its course and in compliance with treatment has been shown. There is also evidence of greater satisfaction with services provided. Some programmes go beyond the provision of information and take an educational approach to skills training or problem solving.

Education Programmes for patients may be undertaken in individual or in group settings. Simple information-giving is less effective than interactive sessions. The focus includes giving information about the course and management of the illness, including the importance of compliance with medication and the management of stress.

Providing carers and family members with information on the likely course of the illness, the treatments available, the importance of compliance and the services available is an essential element of good practice It may be undertaken as part of a Family Intervention programme

Specific techniques, e.g. use of homework or video, have not been shown to improve the assimilation of information, but a group setting has advantages

Family interventions

The aims of 'Family Intervention' include reduction of frequency of relapse into illness and reduction of hospital admissions, reduction in the burden of care on families and carers, and improvement in compliance with medication.

Some Family Intervention Programmes have targeted families where there are high levels of criticism, hostility and over-involvement. 'High expressed emotion' is a measure of these features and programmes which reduce this or reduce the amount of 'face to face' contact between the patient and family members have been shown to reduce the frequency of relapse. However, the measurement of expressed emotion is a research technique which is not practical for everyday use. Family Intervention Programmes which are not derived from this theoretical background have been shown to be effective.

Most intervention strategies contain more than one technique. Separating and defining the effects of the components of an intervention strategy is not possible at present as few studies examine the effect of a single technique and only a general description of interventions used in research studies is usually given. However, a number of practice guides have been published which give detailed descriptions of the techniques employed in some studies. Family Intervention has been shown to be effective with some variation in the components of the programme, but family sessions to address the problems identified in the analysis may not be effective if the patient is not included. Social skills training and vocational rehabilitation were included in some studies. These are not covered as separate interventions in the guideline.

Cognitive behaviour therapy

Cognitive Behaviour Therapy for psychosis is a modification of standard cognitive behavioural therapy. The aim is to modify symptoms (e.g. delusions, hallucinations) or the consequences of the symptoms which may be cognitive, emotional, physiological or behavioural. The treatment programme is intensive (involving about 20 hours of individual treatment) and based on an individually tailored formulation which provides an explanation of the development, maintenance and exacerbation of symptoms and of pre-morbid mood, interpersonal and behavioural difficulties.

There is now good evidence that treatment resistant symptoms (delusions, hallucinations) can be substantially reduced in a significant proportion of those who complete therapy. It is not yet clear who is most likely to benefit from treatment and many patients may be unwilling to participate. The treatment is well tolerated. However, reduction of symptoms has not been shown to lead to significant social or lifestyle improvements.

A combination of the following techniques has been shown to be most effective in lessening symptoms of psychosis resistant to other forms of treatment:

◦enhancement of cognitive behavioural coping strategies5

◦developing a rationale to explain symptoms28◦realistic goal setting

◦modification of delusional beliefs29◦modification of dysfunctional assumptions.

A number of these techniques are a refinement of normal good practice using a systematic approach.

'Early Intervention Studies' have aimed to identify prodromal symptoms or the 'signature' preceding relapse. The approach is not a form of cognitive therapy, but early intervention with medication or Cognitive Behaviour Therapy may be facilitated

Please check under Hiawatha or Sitting Bull.... maybe Bull, Sitting? Non-smoking is fine, we'll save the peace pipe for later...

There are times I can't explain why I like a particular image but I like this one.

This is a photograph from the Tullamore Harriers AC "Quinlan Cup" Half Marathon which was held on Saturday 29th August 2015 in Tullamore, Co. Offaly, Ireland at 12:00. This is the third year of the event. The race is organised and promoted by Tullamore Harriers AC. The race starts on the Charleville Road just outside the entrance to Tullamore Harriers. The race proceeds south along the R421 and onto the N52 before taking a route onto local back roads. The race then completes a large rural road route before it joins to the R421 again and the final 1.5 miles are the same as the first mile of the race. The runners enter Tullamore stadium and complete one lap of the tartan track before the finish line. The course is challenging in places with some undulations along the route. But overall it is fair course. 2013 seen the first year of the event as the club commemorated the 60th Anniversary of the formation of Tullamore Harriers AC which today is one of Ireland's best known athletics clubs.

The race was perfectly organised. The weather was good for racing but there was a very strong headwind for the first 6 miles of the race which made the conditions difficult. The weather was dry and warm except for the torrential downpour at around 1:45pm which cleared the whole finish area of spectators and runners. There were stewarts all along the route, 3 drink stations with bottled water, superb facilities, and great after-race refreshments. The stewards along the route provided great encouragement to all of the runners. Tullamore Harriers and the local community really worked together to make this is a wonderful event. There was also a relay option where teams of two can run approximately 10.5km each. In total almost 700 participants took part. This was higher than the 568 participants who completed the race which is almost 150 more than the 2013 event.

We have a large set of photographs from today's race at the start and the finish until the 2-00 finish time. They are available on Flickr at www.flickr.com/photos/peterm7/albums/72157655560294853

Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2855

Our photographs from the 2014 Half Marathon on Flickr. www.flickr.com/photos/peterm7/sets/72157646587496250/

Our photographs from the 2013 Half Marathon on Flickr: www.flickr.com/photos/peterm7/sets/72157635307620452/

Half Marathon Route on MapMyRun: www.mapmyrun.com/ie/tullamore-l/half-marathon-tullamore-r...

2014 Race Results are available from PRECISION TIMING: www.precisiontiming.net/result.aspx?v=2136

2013 Race Results are available from PRECISION TIMING: www.precisiontiming.net/result.aspx?v=1448

Tullamore Harriers on Facebook: www.facebook.com/tullamore.harriers?fref=ts

As mentioned above this race half marathon started in 2013 and celebrated the 60th Anniversary (a Diamond Anniversary) of the foundation of Tullamore Harriers AC. The club was formed in the town in November 1953. However, it was almost 1979 before facilities close to what we see today open in the present day site. Over 50 provincial and national athletics meetings are held at Tullamore Harriers every year. The facilities available combined with it's central geographical location joining routes from North, South, East, and West make it a very attractive venue. The half marathon today firmly brings competitive national road racing back to "The Harriers". The Quinlan Cup which will be awarded to the winning club team. For more than 40 years the Harriers Quinlan Cup was the most prestigious event on the road racing calendar. Having started as a cross-country race back in 1957, it became a road race in 1967 and remained so until 2000 when the race was last held. During its reign as a blue-ribband event the Quinlan Cup was won by the likes of John Treacy and Eamonn Coughlan.

Today, the facilities at Tullamore Harriers are the envy of many athletics clubs in Ireland. The facilities provided by Tullamore make it one of the premier venues for local and national level athletics in Ireland. There is an Olympic standard tartan track, a fully equipped gym, changing facilities, press and media facilities, meeting room spaces, etc. The club also provides a social center and niteclub which makes "The Harriers" a very well known on the local social scene. Esssentially, the town of Tullamore would be a different place if it weren't for the presence of Tullamore Harriers AC.

USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS

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 directly 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.

BUT..... Wait there a minute....

We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,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 or acknowledge us as the original photographers.

This also extends to 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 this photographic image here directly 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. Have a look for a down-arrow symbol 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 takes 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.

Let's get a bit technical: 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.

Above all what Creative Commons aims to do is 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

The entire 15-kilometre stretch is regardedas very lonely and scary but mystical. Since there is no electricity and means of communication between Rameswaram and Dhanushkodi, and taxis do not work on the stretch after sundown.

Regular bus service is available only up to a certain distance from Rameswaram via the Kodhanda Ram Kovil temple, and many pilgrims who wish to perform religious rites at Dhanushkodi have to depend on private vans who charge anything between ₹100 and ₹200 per passenger depending upon the number of passengers and type of vehicle. There are passenger jeeps and buses which tourists can hire from Dhanushkodi or from the city of Rameshwaram, and are capable of traversing the sandy stretch to the beach.

At the "land's end" terminus of the peninsula to the southeast of Dhanushkodi, known as Arichumunai or erosion point, begins the chain of rocks and islets known as Rama's Bridge. These lead approximately 19 miles (31 km) across the Palk Strait to Mannar Island on the northwestern tip of Sri Lanka.

Foundation pieced, but tricky & time consuming with all those pieces. If you have any tips on trimming these triangles accurately, I would love to hear from you. I don't have the 'you beaut' Dear Jane triangle ruler. And I am a tad concerned about trimming the triangles too small - that would not be good considering how much blood, sweat & tears is invested in each of them!

Marks dialogue had me giggling, but it was Mikes art that nailed it! Johnny and Ben in indian costumes just had me in stitches!!

This is taken from the last page of Mark and Mikes first issue on Fantastic Four, quite possibly my most favourite issue ever. It is the first issue that ever made me want to read Fantastic Four, and I have used it more than once to introduce people to comics. I was the perfect jumping-on point for new fans, and brought Marvels First Family right back into center stage for the first time in years.

And I need not mention that Mikes depiction of Sue Richards as adventurer, hero, wife and super-hot soccer-mom has yet to be beaten in comics. She was beautiful without being sexual, strong without being butch and proved that you didn't need to have revealing cleavage and big bosoms to keep every readers eyes glued to the panels.

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_______________________

www.phillipscollection.org

Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.

HISTORY

“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”

Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.

Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.

Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.

Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.

From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.

www.flickr.com/photos/ugardener/54812157486/in/dateposted/

www.youtube.com/@PhillipsArtMuseum

www.cntraveler.com/activities/washington/phillips-collection

....

I've been intrigued by the idea of the '365 project' for a while now but after reading the exploits of a couple of my contact friends who've just finished theirs, I thought I'd attempt it, too. I say 'attempt' because long term projects like this aren't my particular thing, I can be fickle with subject and genre, the 'butterfly syndrome' as my partner and my brother both describe it. Still, I like a challenge, and trying to take a shot a day is certainly that. Whether it's possible for me to do it will be tested most during autumn and winter when I only have an half hour lunch break at work but, onwards and upwards, eh!

The many and varied reactions that can be elicited from a simple image be it a photograph, painting, etching or whatever has always fascinated me. Take the image above, it came about because when I took the decision yesterday to go for the 365 (actually, it's 366 because 2012 is a leap year, hmm, talk about bad timing!) I was stuck indoors with rain coming down outside like a storm of spears, so my options for producing my very first 366 shot were extremely limited. Then I got to thinking about earlier that morning when I awoke to my 7.00am alarm trilling away beside me. I'd rolled over onto my back with the hope in my heart that it was going to be a lovely, light filled morning, instead, the rain was battering the loft windows against a brightening canopy of dull grey cloud. For the next 20 mins or so I just lay there watching for the rain to stop and waiting for the light to come...which was very therapeutic, to be honest. So, using that moment as my inspiration I set the scene up, switched off the side lights and used the spotlight above my bed as the main source of light...thank god I bought a remote release with an extension cord, there was no way I could get into bed before the 10 second delay was up. After six or more attempts I finally captured an image that was close to my original idea, which you now see above. (Just in case anyone thinks I sleep in a tomb, my bedroom is in reality very bright, airy and minimalist, the walls are a lovely sandy, terracotta-ish orange with 'Stone cream' ceiling and cream carpet, with lots of natural wood furniture..hmmm...I think I'm overcompensating, better stop now!)

The really interesting part of the whole process was, as I said earlier, people's reactions to the final image. When my mother saw it she freaked, "Oh, my god, that's terrible! You look dead! You could be on your death bed at a wake! Take it down! etc, etc", others have remarked similar things including, "You doing a vampire thing here or what?"...all very interesting to hear. I agree with their observations, it'd be disingenuous of me if I didn't, but it could also have spiritual connotations, too, even the title lends itself to that interpretation. Personally, and for all its potentially dark and morbid vibe, I think it's quite an apt and positive image for the time of year, after all this is the 'dark time', the time when the sun is at its lowest, when night and shadows rule and death seems ever present but, out of that darkness comes light and life, the cycle continues, we change and grow.

The main reason I finally bit the 366 bullet is because of the lack of photography I did last year due to naff weather, illness, work etc. My thinking here is that by being under the self-imposed constraints of producing an image for 366 then I'll not only be maximising time with my camera but also I'll be pushing myself, my skills and my imagination out of their comfort zones when I can't get into the countryside or up on to the hills etc. Some people have themes for their 365(6) but with me it'll be whatever catches my eye, imagination or what I can squeeze into the time I have, 'spontaneous' and 'contrived' will be my bywords. It'll be interesting to see how long this 366 lasts, probably a week knowing me...and hopefully without as much writing as I've done for this one...or "utter twaddle" as some well-meaning friends have put it! :-)

Oh yes, excuse the dark and contrasty images I'm posting of late but I'm thoroughly enjoying being unleashed upon CS5 and Photo Tools 2.6 (awesome set of filters!), I'm finally getting to create images similar to the ones I did in the Ye Olde Days when I used Tri-X and FP4 film.

...and this looks better in L (which is where my mother would love to consign the image above, "It's horrible, our Anthony!")....mothers, eh!

Jonathan Hodgson combines his skills not only as a great artist but applies these talents to creating functional and custom arrows and some of which are art pieces.

His custom-made arrows are created to suit the archer's bow, draw length and draw weight in lbs, and the type of archery they do, and personal preferences for colours and styles, etc.

His art arrows are built with Form in mind more than Function.

Detail Shot Of Arrow And Glove

They still work, but they're made more for display and as an expression of his art and craft, with inspiration from various historic or fantasy cultures, and so look good on the wall or a custom-built stand.

He also repairs and restores arrows for archers and collectors, in traditional and modern materials.

The materials he uses for the shafts are mainly woods: including cedar, Scots pine, spruce, and ash in particular.. but I also now uses cherry, maple, iroko, hazel, walnut, and others for some arrows.

Preparing The Arrow Shaft

He hand carves and shapes the neck of each arrow, so that it grips the string tightly for use, and will occasionally reinforce it with a sliver of horn or similar material if it's for a powerful bow.

Any artwork, embellishments, motifs, designs, archer initials, numbers for competition etc are drawn on by hand in Indian ink and/ or acrylic paint which was amazing to see in the flesh.

Jonathan Painting In Fine Detail On A Custom Made Arrow

Feathers tend to be a goose, turkey, and gull-wing quills, which I shape by hand to varying degrees and lengths to suit. Feathers are lightly glued into position, before being spiral bound in a choice of threads from traditional to modern: namely silk, linen, metallic cotton, and kevlar, or a blend of the above in various colors.

Attaching The Feathers

The points are normally steel or brass machined and matched in weight to balance the arrow for use, and designed for easy removal from targets.

More elaborate or historic arrows will have hand-forged iron points, in broadhead, barbed, or armor-piercing bodkin styles. Alternatively, he now also uses hand-knapped points from semi-precious stones, including rose quartz, crystal, obsidian and opalite etc.

Checking The Arrow Head

The finished arrow is normally protected with layers of varnish lacquer, wax, or oil. Where possible, and say he is mindful to use processes and materials which are as eco friendly, and sustainable as possible.

Jonathan Checks The Arrow

Jonathan’s interest in archery and arrow-making started in his childhood.

He explained …

I grew up in Tatworth near Chard, in Somerset. Soon after I was born my parents had bought part of a large old historic former farmhouse along with an acre of rough overgrown orchard land.

My brother Tim and I loved to spend as much time as we could in what felt like this vast wilderness, and we would often make 'bow staves' from sticks, bamboo canes, and the plastic handles of fishing nets...and then the arrows from bamboo canes with cereal box card fletchings... and then mad roof slate points, broken into triangles and taped onto the ends.. a crude attempt at an arrow, but an arrow nonetheless!

I was always fascinated by the legends of Robin Hood, the Tolkien mythology, and medieval history, and my eye was always drawn to the archers, their bows and arrows in movies and books generally!

I've always had several specific passions in life, alongside archery: martial arts, animal welfare, drawing, painting, writing and creative arts, bushcraft, camping and survival skills, and love for nature and wildlife surrounding us in Somerset.

Jonathan Deep In The Wood With Bow At The Ready

These things all seem different yet very complementary.

My interest in archery and the great outdoors was always there throughout my childhood, and as a 6th Form Design Technology Student in 2002, I built a proper 3 piece takedown archery kit; a recurve bow, including 6 wooden arrows.

These were my first 'real' functional arrows and looked like the kind you could buy in sports shops. Soon after this time, I got more seriously into the pastime and soon joined Windwhistle Company of Archers, based in South Somerset near Cricket St Thomas.

Their ethos being focused on more traditional/historical kits, using mainly wood rather than plastics really appealed to me, and as the arrows you could buy ready-made were usually expensive and not very interesting to me, I decided to build my own.

Resting Place In Wood

So with the guidance and advice of some great lifelong experienced archers, including the late, great Bob Gray, I started the journey that would lead me to become a professional Fletcher, which to this day I continue from my Art Studio at The Millhouse Arts Centre in Ilminster.

It would be remiss of me not to mention my late mentor, Jim Perry, an elite military veteran, outdoors expert, and pro-Fencing Coach, based in Burnham on Sea, who really guided and inspired me to follow my dreams on all fronts, and believe in myself.

I just feel lucky every time I see a deer, fox, bird of prey, or badger etc..and firmly believe all these animals should be properly protected from those who would misguidedly or selfishly harm them. I do have some respect for the bow shooting, true hunters of the world, for example, the San, the Sami etc....but I have no time for the sport/trophy wannabe hunters we see here.

Jonathan Enjoys A Quiet Moment In Late Afternoon Sun.

I truly believe our county is the best part of the country in which to live, and one reason is the diversity of flora and fauna, of which all of us who dwell in Somerset, are temporary custodians. We should therefore respect, treasure, protect and celebrate it; and every time we step out into our local wilderness remember we are the guests, and fortunate to be a part of it.

View The Full Images And Article Here

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Visit Jonathans Facebook Page

bit.ly/3jC2swX

But it keeps some leather. Flatties at the moment but heels and then boots to folllow

...coz I ain't listening, LOL.

Stephen has been safe from my sneaky candids for a few months, but he is safe no more... the witch is back!!!

Incidentally, this is the lovely photo he was taking at the time:

www.flickr.com/photos/coylton28/5598506691/in/photostream/

I've now been in cosmetology school for a total of 3 days. And I'm doing great!!! I am one of the quickest learners in my class! Today we learned how to give manicures and section hair for perms. I didn't do as well as I hoped on the manicure, but I'm doing awesome on the sectioning. After I went in to get my first section checked (way before the other girls) I heard my instructor tell another instructor that "Shannon's Taking Off!"

I couldn't keep the smile off my face. I wanted to jump for joy, but I didn't want to piss off any more girls.

After I got home I relaxed for awhile and got right to practicing on Kristen. I gave her a hand massage and painted her nails green with yellow tips.

As you can see, I'm extremely excited to be doing so well!

Song of the Day: The Story by Brandi Carlisle

www.ButYoureLikeReallyPretty.com

Today the Abbey serves as the parish church of Wymondham, but it started life as a Benedictine priory.

The monastery was founded in 1107 by William d'Aubigny, Chief Butler to King Henry I. William was a prominent Norfolk landowner, with estates in Wymondham and nearby New Buckenham. The d'Albini (or d'Aubigny) family originated from St. Martin d'Aubigny in Normandy. Later, the founder's son, William d'Aubigny, 1st Earl of Arundel, in 1174 founded Becket's Chapel close by in the town, to be served by two monks from the Priory.[1]

Becket's Chapel

William d'Albini's monastery was a dependency of the Benedictine monastery at St Albans, where his uncle Richard was Abbot. Wymondham Priory was relatively small, initially for some twelve Benedictine monks, but grew in influence and wealth over the coming centuries. Disputes between the Wymondham and St. Albans monks were quite common, and in 1448, following a successful petition to the king, the Pope granted Wymondham the right to become an Abbey in its own right. A notable abbot was Thomas Walsingham. The monastery church was completed by about 1130, and originally was dedicated to the Virgin Mary. Later, following the murder of Saint Thomas Becket in 1170, Becket's name was added to the dedication. A modern iconpanel by the late Rev. David Hunter is on display in the church and tells the story of Thomas's life in pictures. In 1174, the founder's son, also called William d'Aubigny, established a chapel in the town dedicated to Becket and served by two monks from the priory. The church was originally cruciform in shape, with a central tower and twin west towers. When it was built, stone from Caen in Normandy was shipped specially across the English channel to face the walls. The central tower was rebuilt in about 1376 by a tall octagonal tower (now ruined), which held the monks' bells. In 1447, work on a much taller single west tower began. This replaced the original Norman towers and held the townspeople's bells. From the start, the church had been divided between monks' and townspeople's areas, with the nave and north aisle serving as parish church for the town (as it still is). This, too, was from time to time the cause of disputes which occasionally erupted into lawlessness, though the Vicar of Wymondham was appointed by the Abbot.

King Henry VIII's Dissolution of the Monasteries brought about the closure of Wymondham Abbey, which was surrendered to the King in 1538. The monks had, apparently willingly, already signed the Oath of Supremacy, and were given generous pensions - Elisha Ferrers, the last Abbot, became Vicar of Wymondham (the fine 16th century sedilia on the south side of the chancel is said to be his memorial). The years following the dissolution saw the gradual demolition of the monastic buildings for re-use of the stone. The eastern end of the church (blocked off from the nave by a solid wall since about 1385) was destroyed, leaving the present church (at 70 m.) only about half its original length. Repairs to the church were carried out following Queen Elizabeth I's visit in 1573 (date and initials may be seen on exterior stonework).

Notable features of the church are the twin towers (a landmark for miles around), the Norman nave, the splendid 15th century angel roof in the nave and fine north aisle roof. The church is also remarkable for its high quality fittings such as the 1783 organ by James Davis [2] and 1810 chamber organ [3] (also by James Davis) and the splendid gilded reredos or altar screen,[4] one of the largest works of Sir Ninian Comper. This was dedicated in 1921 as a war memorial, though the gilding was not finished until 1934. Note also the early Tudor terracotta sedilia (see above), the Georgian candelabrum and Royal Arms of George II, the carved medieval font with modern gilded font cover, and many smaller features such as angels, musicians and figures carved on the roof timbers and corbels. The west tower houses a peal of 10 bells, re-cast and re-hung in 1967. Hung in the bell tower are six well-preserved 18th century hatchments.

but of an unfamiliar type--to me. It does not seem to be Cornus florida. It also isn't "Kousa", to my eye. Blooming in a courtyard at the Clark Kerr Campus of UC Berkeley.

Maybe it is this hybrid?

www.greatplantpicks.org/plantlists/view/425

But you can chase it away if you can heat the steel till it/s red/

I'll wash it in acid next then I have a flange to weld in the center so it will take a 3/4 pipe thread and for a base for a revolve away bedside table with tilt action and counter balanced like a tower crane.

I wish I remembered enough Calculus to locate the monentsas they change according to the load and the pivoting mount. I was thinking I'd need to attach it to the table top in the lower left conder but if I can add a simple way to raise and lower the elevation I can locate it along the axis and take a vector out of the equation.

This is a rotor from my truck I had to finally do a set of brakes after driving it for more than a dozen years and putting 220k miles on top of the 80k it had when I got it.

You have to start it with a wrech but from the drivers seat not under the hood the wipers work unless it's raining and I took a short cut through the lot next door and cracked a tranny line.

I ned to suck it up and fix the truck because my neighbor who has his boat tied to my dock for the past 5 years wants me to come and get the trailer and all so he can sign it over to me legal. I did some work for him on his dock using the boat a while back then asked if I could use it again to build a neighbor a super deluxe built in seats covered area non moving and well supported redundently and stylin doc.

It's a pontoon boat and I'm going to remove the seats and install a tower crane for shooting piers down plus a jacking system at all corners to raise the boat from the lake bed enough to turn it into a non moving platform big enough to hold mt pumps and jet lines I use to drilll a hole in the lake bed amd sink the piers down until it hits the hardpan about 8 feet below the sand.

The pool's waterfall, a beautiful place in the north of Italy. It's really suggestive, but unfortunately, as many streams and rivers here in Italy, there's no fish... we discovered this just after going out there of course...

The 'Nothing to Declare but the Clothes on Our Backs' art exhibit at South Texas College's Library is authored by Phyllis Evans, David Freeman and Leila Hernandez (along with the dolls, which are student projects) and deals with border issues such as border life, immigration and more relating to the border wall. These art pieces include fabric, clothing, and photography, to name a few. These photographs capture the artwork, but in now way show how brilliant they are, so it's recommended to visit the exhibit at South Texas College's Library in the Pecan Campus in McAllen, Texas.

Note: All artwork is property of their authors.

but more snow falling now

LIFE IS BUT A DREAM

"BOAT, beneath a sunny sky

Lingering onward dreamily

In an evening of July--

Life, what is it but a dream?"

~ Lewis Carroll (1832-1898)

The Stover Canal is a canal located in Devon, England. It was opened in 1792 and served the ball clay industry until it closed in the early 1940s. Today it is derelict, but the Stover Canal Society is aiming to restore it and reopen it to navigation.

The canal was built at a time when the ball clay industry was expanding, but transport of the bulky product was difficult. James Templer (1748–1813) of Stover House, Teigngrace, saw this as an opportunity, and began to construct the canal at his own expense in January 1790. He planned to reach Bovey Tracey, passing through Jewsbridge, near Heathfield en route, and to construct a branch to Chudleigh. Having invested over £1,000 in the project, he sought an Act of Parliament which would allow him to raise more capital, but although the Act was passed on 11 June 1792, he did not invoke its powers, as the canal had already reached Ventiford, Teigngrace and he did not extend it further.

As built, the canal was 1.7 miles (2.7 km) long and included five locks. It was supplied with water from three feeders, one from Ventiford Brook, a stream which also supplies Stover Lake (now in Stover Country Park) and one from the River Bovey at Jewsbridge, both of which fed the top pound, and one from the River Teign at Fishwick, which entered the canal just below lock 4. The exit from the canal was on to the tidal Whitelake channel, and from there to the River Teign and the docks. The first three locks did not originally have side walls, but used earth banks instead, which were replaced with timber or brick walls in due course. The Graving Dock lock was only 56 ft (17 m) long, and so could take a single barge, but all the others were long enough to take two barges end to end. The first Jetty Marsh lock was much bigger, at 215 ft long and 45 ft wide (65m by 13.7m), but carries the inscription Duke of Somerset, 1841, and so it would appear that it was reconstructed as a basin, so that barges could wait in it for the tide. The Graving Dock lock is probably unique in the United Kingdom, in that it was reconstructed with a dock at its side, which could be used as a dry dock when the lock was empty. Both Jetty Marsh lock and Graving Dock lock are currently Grade 2 listed.

Having invested most of his capital in the project, James Templer was rewarded by the success of the canal. A major contract with Josiah Wedgwood and Sons was re-established in 1798. Wedgwood remained the major recipient of the ball clay until 1815, after which trade was established with other pottery manufacturers and other ports. © Wikipedia

Route of the canal in relation to other relevant features

James' son, George Templer built the Haytor Granite Tramway to connect his granite quarries at Haytor Rocks to the canal basin at Ventiford. It opened on 16 September 1820,and for the next 40 years, the traffic in granite supplemented the ball clay trade. The canal was sold in 1829 by George Templer, along with the Stover estate and the quarries and tramway, to Edward St Maur, 11th Duke of Somerset (1775-1855).When plans to build the Moretonhampstead and South Devon Railway were proposed, his son the 12th Duke of Somerset, who by then had inherited the Stover estate, sought to sell both the canal and the trackbed of the derelict Granite Tramway to the fledgling railway company.It was duly sold for £8,000 on 4 June 1862, by which time the section above Teignbridge was effectively redundant, and so the railway company was not required to maintain it.However, the section up to Graving Dock lock was retained, so that users of the canal could still repair their barges, and it was at this point that the new dock was constructed which gave the Graving Dock lock its name. The canal was almost immediately leased to Watts, Blake and Co., a company who sank clay-pits.

The canal passed into the ownership of the Great Western Railway in 1877, but continued to be leased to Watts, Blake and Co., who paid a fixed price for its use, and were also required to maintain it. Traffic dwindled and finally ceased in 1937, but Watts, Blake and Company's latest 14-year lease did not end until 1942,and so it was not formally abandoned until March 1943. It remained in water until 1951, when one of the banks was breached, flooding a clay pit. © Wikipedia

instead of where you actually are..

the bottom picture is old.

This photo was taken at Barcelona Airport where the authorities have provided viewpoints for people to watch the aircraft coming and going.

I wanted to catch a landing as it passed overhead the people watching. At this point, close to the threshold of runway 25 Right, concrete seats have been provided for spectators. I had to use a wide angle lens to catch the aircraft as well as the viewpoint.

The wide angle lens distorts the perspective and it looks like the Lufthansa Airbus A321 is climbing but in fact it is seconds from landing. You can see the shadow of one wing on the ground. It's about 200 feet (61 metres) from the ground.

...but that's not true...

Aaron Jacquet gardien de but Standard U12 football 2018, Noah Makembo & teammates. U12 Saint-Trond vs U12 Standard. Délégué Jean Jadot.

SO...day 13 but photo taken on 11th - some days I've not really felt up tp photography so as my photographs on the 11th were so full of a few of my favourite things I'm using another of them. Shadows are something I really do enjoy, the low light in winter in the morning is a delight. Sometimes I just sit and watch, but on this day it caught my lilies.

Fathomless 7 invited me to December diary 2009 because of my shadowy work.

choosing one image for December Diary 2012: a few of my favourite things, is going to be difficult. A favourite sort of day: frosty, plenty of winter flora, sunshine - winter sunshine that is low and shimmers through trees into the house, and I am in possession of lilies.... carried away with lilies and shadows..two of my favourites things

a sudden sighting on the wall - then I got my large canvas out

Sad but true

www.ButYoureLikeReallyPretty.com

Time runs slow in Raja Ampat

Oh, I have been... TAGGED! ...this cruel deed was done by Stella!

This is how it goes. List 10 things that your friends may or may not know about you, but that are true. Tag ten people and be sure to let them know they’ve been tagged (a quick message will do). Don’t forget to link back to the person who tagged you. Post a picture in your stream with the 10 facts and list your tagged people.

1. I do not like if you create personalities by using "profiles", or lists like this one. So, if you are not able to handle profile-data as emergent - "emergent" used as the basic adjective in the theory of complexity - pieces of a (multiD) puzzle... please do not widen reading.

2. Sometimes I tend to be nocturnal. Sometimes my perception is nocturnal and always I feel this, I try to play piano. I love playing piano at night.

3. I love playing piano at all and listening, but also listening to nearly every type of music and nearly every genre... I love to hear and discover new sounds, but also to get happy or sad by the effect of old music. There is no piece I could tell my favorite one but I think I hear classical music most. But in this moment an electro song by "The Knife" called "Like a pen" is played.

4. If an ethical theory must be chosen by me... it would be the utilitarian one, but extended to include all sentient entities. But so many others include markable "points" to be integrated in this "meta-utilitarianism"... I love all sentience and pleasure and therefore all animals enabled for this and all others are at least interesting.

5. I was born in Rüppurr near Karlsruhe in Germany and after some weeks I had been adopted by the loveliest parents I could imagine. I learned so much and they cared about me so lovely. I never had sad thoughts about my adoption. I had parents and this is all a growing child needs, there is no need that they must be the biological ones. Furthermore it was interesting and is a part of my life. We lived in Karlsruhe and at the age of four we have moved to Nuremberg. I lived one of the most beautiful and loveliest childhoods I could imagine and by now I know even my biological parents and do visit them sometimes. I like them and there I have a fully biological sister at age of 10. She is so "alive" and I love to watch her and play with her...

6. I love to read. And often I read to much books parallel, so that one is progressing to slow... Currently I read "Urfaust" by Goethe, "Hohe Schule der Fotografie" by Feininger, "Philosophie des Sozialen" by Detel, "Chinese Calligraphy" by Tingyou and "Franz Kafka Lesebuch" (in this: Brief an den Vater). I rather do not start listing books I like.

7. Like there is no favorite book, song or even genre, there is no favorite color or number or discriminating stuff like this... but if one tells this undifferentiated, I only can reply that I am very happy with my love for all types of intentional and non-intentional qualia.

9. We scrumped a cat by feeding her and now she visits us every day... I love her and her name is "Garfield". And she is a he... but nobody cares.

10. I am really excited about my future, but happy about my past and at the most moments I am very very happy. And the matter for my excitement about future is the studies I planned to absolve. i finished school last may and start studying in half a month. I am so interested in physics and in philosophy that I cannot wait for the studies to begin. But privily I plan to study my whole life or at least as long as this is possible. Uhm well, I know first this sounds silly. Everything is linked to each other and everything is so interesting; and satisfying my desire for knowledge pleasures me so much that I see no sense in doing something different then being happy and interested only to earn money (?!). And the only thing I finally could spend my money for would be to get things, that satisfy me or pleasure me... and this is totally cyclic and nonsense, if it is possible directly. I believe there is no "sense of life", we only do exist. But this is not something sad. This is wonderful. We are able to feel and be happy, but also can get sad... we are able to sentient, feel and there must not be a sense... a "sense" is a human-made category and I do not think that it fulfills the life´s beauty and complexity if we oppress life this category and because this and point 7 I´m forced to think, what I tried to express in point 4.

I want to ad point 10,5: I believe every need, every quota or "must" is conditional. No one is absolute. We are not free as we are free... freedom is based in perspective and in each perspective this question cannot be answered in a black and white vocabulary.

10 points are not enough to reveal some truths about me without loosing structure or loosing me in endless text production... but I think short characterizations are discriminating reality, but perhaps long too... I know this is a dilemma, but exactly this shapes what "personality" is.

Lebt wohl! (freundlich und wohlwollend gemeint und nicht endgültig)

I tag Lif, feli_93, Mathan.K, A3oN°°057, Pochà♥, Aristotle Liu, Plagiador, robért0, N8sure and ???. These are all my contacts I think, so sorry, if someone do not want this, ignore it, I do not want force anybody... and do not wonder about this selection.

If there are any questions, be free and ask... I´m a open person and like contacts and try to answer what is unclear. (Oh... perhaps this is point 11 and perhaps I should have written more negative points... I´m going to think about and perhaps post a second "tagged"-image and ad 10 negative points... or more)

But I didn't get a good camera angle.

But We Will Resist...Inshallah We Will Defeat .Please see this :

www.youtube.com/watch?v=FImA9g6abuM

My sister'd dog is shy, very shy. By the end of the day I was scratching her belly but it took some time and a lot of patience.