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I wanted to celebrate the inherent majesty and magic of the natural world. The elements are simple. Trees, sky, flowers and grass. Yet we can create an image filled with energy, implied movement, light and beauty through careful consideration of framing, perspective, and the interplay of shapes, lines, and colours.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
During our Advanced Photographer Magazine / 'Samsung Shoots : Urban' day we had a series of 'themes' to shoot. This is one of the shots under consideration for the 'Old and new' category.
This was taken with a Samsung NX1 that I'd borrowed for the day, more of my photos from the event here : www.flickr.com/photos/darrellg/sets/72157649716198171
My Website : Twtter : Facebook
"Philosopher teaches virtue by certain abstract considerations, but I only bid you follow the footing of them that have gone before you." Philip Sidney
"Философ учит добродетели с помощью отвлеченных понятий, я же призываю вас идти по следам тех, кто прошел прежде вас." Филип Сидни
A few more scans from a weekend in 1992 in Thuringia, at the time of the rebuilding of the Saalebahn. Looking through the trees on the right it is possible to see the crossover in place where the train has moved over from one side of the trackbed to the other.
On consideration this may simply be a Works train for the engineers.
1916 LIVERPOOL MEMORIAL TO HEROES OF THE TITANIC MARINE ENGINE ROOM
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
Amber Flowers is an international model who travels the world making art and co-creating magic. A yoga teacher and contortionist, Amber brings a unique and dynamic skillset to her work. Model Credit: Amber Flowers (@ambersflowers)
© all rights reserved
Please take your time... and enjoy it large on black
Laos is blessed with some of Asia’s nicest rivers, and many of them are mellow. Children spent the day at school, and by the afternoon they were doing the chores required of them…building a fire for the kitchen, sweeping the leaves into a pile, or caring for the young siblings strapped to their back …young boys and girls from the age of seven or eight attentive to the baby’s every need. Amongst this was the laughter of children playing in the river. But sometimes they skip their days at school, going fishing and collecting snails from the river, or using long bamboo poles to knock crickets from the trees. They eat the crickets live or drop them into bottles and take them home for lunch or dinner.
Photo taken nearby the Tad Lo waterfall near the little town Kieng Than Lei - Laos. This lovely girl were playing at the riverside with her big brothers. Her bigger brothers spend most of their days not at school, but fishing and collecting snails from the river. School is important for ethnic minority kids, they should attend and complete primary education in order to overcome rural/urban, ethnic in the area of literacy and education. But it isn't that easy. The reason to skip school are the family economic considerations, involvement in family maintenance and subsistence tasks, the lack of perceived benefits from education. While poverty and lack of access are issues. In addition to these, ethnic minority kids have to face further barriers to education, including the distance from school facilities, their extreme poverty, and additional cultural barriers and the lack of fluency in the national language, Lao. The ethnic kids speak their own language. About 32% of all Laotians are related to Ethnic groups. Totally 160 ethnic groups and speak 82 distinct living languages.
...an old lady washing her clothes in the river gave us a beautiful smile; the Laos people are so friendly. Kids have a great time running on the rampart, swimming in the Sexet river at the Tad Lo waterfall, taking boat rides along the river and playing. A bit futher south men washing their elephants in the river. Lao seems a bit like heaven, the laughter is often & sincere, the rivers are cool and clean and not a speck of modern civilization in sight. In my perspective it is some of the best Laos can offer.
A few considerations, both on the practice and on the "place" of these four jhāna. In order to develop them successively, it is of prime importance that the will for the unconditioned should completely occupy the mind. Only then will its advance not be obstructed. Only then, when each single jhāna has been wholly apprehended, can one he aware of what that jhāna still retains that is "compounded," that is "conditioned," and thus find a way that leads still further.
When contemplating the phenomena proper to each jhāna in their appearance and development, the ascetic must confront them without inclination, without interest, without ties, without being attached, with his mind not limited by them, and he must apprehend "There is a higher liberty"; and by developing his experience he will, in fact, see: "There is."
The demon of identification and of satisfaction raises its head here also. It must be anticipated and conquered. Every feeling of enjoyment or of satisfaction that may arise upon the realization of each jhāna is immediately seen as a possible bond for the mind and is to be rejected.
One must apply here the general Buddhist principle that all enjoyment through attachment is lethal, be it either of the "heavens" or of nirvāna itself, since "a fire lighted with sandalwood burns no less fiercely than any other fire." The action must be neutral, absolutely purified and naked. As in the Carmelite symbolism of the ascent of the mountain, the path that does not become lost, which leads straight up to the summit, is that to which are attributed the words: nada, nada, nada -"nothing, nothing, nothing." The difference is that in the Ariyan path of awakening there is found no equivalent to the crisis that Saint John of the Cross called the "dark night of the soul."
In the texts the impersonality of the action is evident also from the fact that the four jhāna are given as phases of a development from within, phases that occur normally as a result of the fundamental direction that one's own being has taken, without "volitional" intervention in a strict personal sense. In the four jhāna, as in the later experiences, one must never think: "It is I who am about to achieve this jhāna," or: "It is I who have now achieved this jhāna." or "It is I who am surmounting this jhana." On the contrary, the mind, having rightly been set in motion, should lead from one to the other. Any intervention by the normal personal consciousness would only arrest the process and lead back to the point of departure, in the same way as Narcissus, at the moment of gazing at his image, prepared his own end.
The Mahayana saying, "there exist the road and the going, but not he who goes," seems not out of place here. We can also remember the Taoist maxim: "To achieve intentionally the absence of intentions."
--------
Julius Evola: The Doctrine of Awakening - Part II., Chapter 5. - The Four Jhāna : The "Irradiant Contemplations" (excerpt)
--------
image: Ornamental Gateway (Pailou) from Han Dynasty (202 BCE - 220 CE) across a street lined with small shops - Hanzhong, China, 1875
So after careful consideration Ive decided to leave flickr. This isn't one of the things were I say "I'm leaving cause the community is falling apart" .I'm leaving because I'm ready to do diferrent things. I want to learn how to edit more, focus on my basketball and on school. I will stay on Youtube and upload every now and then. Thank you to all of those who have inspired me.
the barred owl has again been hunting in the daytime this past few days .. I'm surprised as with the snow melt I know there are mice and voles out there .. (we caught some mice in the garage) ..she was very co-operative with me during our photo shoot today .. this is uncropped ...
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
... thought, thinking, consideration, contemplation, deliberation, pondering, meditation, musing, rumination, cogitation...
A little girl in Gouta in the east of #Damascus who was happy when it rained and she used an umbrella that she got from her brother. Her brother found the umbrella in one of the destroyed, collapsed buildings in the city that completely destroyed by Assad and his allies (Russia and Iran).
Gouta has been under the same situation since 2012. The cities in it are besieged and now Assad and allies are continuing their strategy of forcing people, who stayed even when the cities are under bombing, to be forcefully displaced and moved to Idlib in the north. Iranian projects have been established in the past three years to rebuild the destroyed and the empty cities with no consideration that people who fled would come back again in the future. Finally, I would like to mention that Assad and allies were eager to bomb and get rid of the real estate records in these targeted cities.
Douma, Eastern Gouta on 2/12/2016
When it comes to these Holgaramas, form is probably my most important consideration. It is the desire to break out of the standard four sided rectangle that encourages me to make multiple frames in a mishmash like this. So whenever I set up to do one of these, before I even make the first frame the question I am asking and answering is what shape am I going to aim for? And of course, that question is at least partially answered by figuring out what my concept/subject is going to be, because the shape of the frame should be formed deliberately to support the content of the image, otherwise making odd shaped stitches ventures into the realm of gimmickry. That is when you are making weird shape stitches just for the sake of making weird shaped stitches.
I mention all this because part of me wishes I had exposed one more frame that included more of the falls itself, but adding that extra frame to the top middle would have changed the shape of the whole stitch into more of a blob instead of a rough pano and my subject here was the ice-encrusted bowl at the base of the falls, not the falls itself, per se. That and the otherworldly appearance these falls take on in the ice. So I was aiming for content of both the concrete and abstract nature - ice encrusted bowl and otherworldly feeling/appearance.
As photographers we have lots of tools at our disposal: shutter, aperture, ISO, white balance, focal length, exposure, saturation, sharpness, hue, contrast, cloning, layering, etc. One of the best lessons that I try to impart to beginning photographers is to become aware of just how many variables you can conceivably control yourself. With our super-advanced equipment sometimes it becomes easy to just go auto too much and take a lot of these tools for granted. Well these holgaramas are a reminder then that frame shape is another tool at our disposal and one many photographers take for granted and forget that not everything has to be rectangular or square. Think about it, how many times over the last 100, 500, even 1000 frames you have made have you stopped and asked yourself, "is rectangular/square really the best shape for what I am trying to photograph?" Probably not too many times. We just do it with little regard or conscious decision. Instead of fitting our frames to our subjects, we fit our subjects to our frames. In a sense, this is a bit backwards.
Something to keep in mind and chew on with the photographic part of your brain.
So, the next time you get out try setting up some multiple-photo stitches, particular composites where the pieces are not all going to line up evenly. Break out of that rectangular cage. Just remember to start with subject matter first. Figure that out and the shape tends to follow naturally.
Outbreak
No wind serves him who addresses his voyage to no certain port. Michel de Montaigne
Next to the small fishing village of Carrasqueira lays the famous palafitic pier.
Born of the popular ingenuity takes shape and resist time. The creativity of the local fishermans unveils a curious solution to solve the problem of accessing the fishing boats during the low tide.
This is a unique place to visit and can become an unforgettable experience at sunset specially with a high tide.
Taking in consideration that this sunset was during a saturday i think we really got lucky being able to get some shots without the hordes of tourists barging in our compositions :)
With my good friends Luis Silva and Frank Leinz
I welcome you to Share my work if you like it
Take a private photo tour in the best landscapes and seascape spots in Madeira Island. Contact me for details.
Canon 5D Mark III + Canon 16-35 F4ISL
With V5 Pro Holder + Nisi CPL + Nano IR Medium GND8
With FLM Tripod CP30-L3 Pro + FLM Tripod Head CB-43FTR
@ Cais Palafítico da Carrasqueira, Alcácer do Sal, Portugal
Duarte Sol Photography
My first consideration when making an image of Beeston Lock Cottage is to try and make sure that the balance of the composition is working properly. The area around the lock lock is quite 'busy' with various items of canalside furniture - and to ignore them might easily translate into a messy photograph if they are not considered as part of the final arrangement. A further snag is the overhead wiring. Few photographers are fans of it, but it's there and it also needs to be considered so that it doesn't cut across the main part of the cottage. Finally, I felt that grainy mono suited this image because it seemed to fit in with the bleak mood that I was trying to convey in the final result.
New breath or the budding Congo
--------
Nieuwe adem of het ontluikende Congo
When conceptualising the renovation, consideration was given, among other things, to removing the colonial statues in the large rotunda from their niches. The competent heritage services pointed out to the museum that the works of art were an integral part of the protected building.
The AfricaMuseum then decided to add elements instead of taking them away. In 2015, the museum organised a competition and focused on African artists or artists of African origin to create a work of art that would counterbalance the colonial images. The jury selected Aimé Mpane, a Congolese artist, with his work Nouveau souffle ou le Congo bourgeonnant, a monumental sculpture in openwork wood that was placed in the large rotunda shortly before the museum reopened.
However, in the months following the museum's reopening, many visitors expressed their incomprehension about the preservation of the colonial images in the large rotunda. The museum's desire to convey a decolonial message was not always received by visitors, despite the explanatory texts.
A United Nations working group (Human Rights Council) visited the museum in February 2019 as part of an evaluation of the state of rights of people of African descent living in Belgium. It pointed out that the reorganisation of the museum
did not go far enough. The museum was strongly urged to abandon all colonial propaganda and to present the violence and inequalities of Belgium's colonial past clearly and clearly.
Following these comments and at the invitation of the AfricaMuseum, Aimé Mpane proposed placing a second statue in the large rotunda. This work of art, also in
openwork wood, represents the skull of Chief Lusinga. The statue refers to the raid by the Belgian officer Émile Storms on the village of Lusinga in 1884. During this expedition,
the chief's head was chopped off and then taken to Belgium. Until 1964, this skull was in the KMMA and was then transferred to the Royal Belgian Institute of Natural Sciences. The two wooden statues face each other and refer on the one hand to the death and violence of the past (Skull of Lusinga), and on the other hand to the dignity and promises for the future (Nouveau souffle ou le Congo bourgeonnant).
Source: Text translated from Dutch
and
www.africamuseum.be/en/about_us/history_renovation
------------------
Bij het conceptualiseren van de renovatie werd onder andere overwogen om de koloniale beelden in de grote rotonde uit hun nissen te halen. De bevoegde diensten voor Onroerend
Erfgoed wezen het museum erop dat de kunstwerken integraal deel uitmaakten van het beschermde gebouw, ook al stonden er bij de opening van het museum in 1910 slechts twee van deze beelden.
Het AfricaMuseum heeft dan beslist elementen toe te voegen in plaats van weg te nemen. In 2015 organiseerde het museum een wedstrijd en richtte zich daarbij op Afrikaanse kunstenaars of kunstenaars van Afrikaanse oorsprong om een kunstwerk te creëren dat een tegenwicht zou bieden aan de koloniale beelden. De jury selecteerde Aimé Mpane, een Congolese kunstenaar, met zijn werk Nouveau souffle ou le Congo bourgeonnant, een monumentaal beeld in
opengewerkt hout dat kort voor de heropening van het museum in de grote rotonde werd geplaatst.
In de maanden na de heropening van het museum gaven veel bezoekers echter uiting aan hun onbegrip over het behoud van de koloniale beelden in de grote rotonde. De wil van het museum om een dekoloniale boodschap te brengen, werd door de bezoekers niet altijd opgevangen, ondanks de verklarende teksten.
Een werkgroep van de Verenigde Naties (Human Rights Council) bezocht het museum in februari 2019 in het kader van een evaluatie van de toestand van de rechten van mensen van Afrikaanse afkomst die in België wonen. Hij wees erop dat de reorganisatie van het museum niet ver genoeg ging. Het museum werd sterk aangespoord om alle koloniale propaganda achterwege te laten en het geweld en de ongelijkheden van het Belgische koloniale verleden
klaar en duidelijk voor te stellen.
Naar aanleiding van deze opmerkingen en op uitnodiging van het AfricaMuseum stelde Aimé Mpane voor om een tweede beeld in de grote rotonde te plaatsen. Dit kunstwerk, ook in
opengewerkt hout, stelt de schedel van chef Lusinga voor. Het beeld verwijst naar de raid van de Belgische officier Émile Storms op het dorp van Lusinga in 1884. Tijdens deze expeditie werd het hoofd van de chef afgehakt en nadien naar België meegenomen. Tot 1964 bevond deze schedel zich in het KMMA en werd daarna overgedragen aan het Koninklijk Belgisch Instituut voor Natuurwetenschappen.
De twee houten beelden staan tegenover elkaar en verwijzen enerzijds naar de dood en het geweld van het verleden (Schedel van Lusinga), en anderzijds naar de waardigheid en de beloften voor de toekomst (Nouveau souffle ou le Congo bourgeonnant).
Bron: www.africamuseum.be/sites/default/files/media/press/doc/D...
Persdossier – AfricaMuseum; Een stap Dichter naar de dekolonisatie | 27 februari 2020
Here is a brief consideration of my working aims and methods. Firstly, composition is of high importance. I wish the canvas to be as nearly as possible a complete integration of forms and background, having positive and negative shape equivocality. This fundamental derives from Cézanne and the early Cubist considerations regarding the picture plane in itself being an arrangement of lines, shapes and colors without representational approaches to subject matter. To this end, I work with line, tone, color and planes. With line and shaped shards I begin to develop the structure of the surface. No preconceived idea of expectation comes into play at the outset of the process. I start out boldly with a few lines intersecting each other. Soon thereafter I begin to recognize some kind of boxed in forms starting to arise. At this point I will begin laying in planes or shards of tone and color. I almost always begin a picture at the top and work my way down fractionally. It's a process somewhat like completing a page of writing, in that case, left to write or right to left. I like to jump around periodically and move my focus of interest to a remote part of the composition so as not to encourage my progressions looking too logical or what the viewer might expect to see. I want a solid abstract structure firstly. Then I want to solidify some more recognizable references in as enigmatic a way as possible. For example, here, I cannot explain how the animal references emerged other than that they came about through an unexpected converge of linear and planar elements during the process. In summary, the process of my pictures always remains a mystery to me, a kind of puzzle fitting of geometric and abstract shapes which only resolves to completion over time.
Really, so many things to keep in mind when trying to make a good photograph.
Naturally one must deal with the exposure requirements...appropriate shutter speed, desired depth of Field, balanced lighting...in other words, getting the shot.
But then more subjective things come in to play. Composition is so important, and choices need to be made during processing. This photo is a selected example. In this case, the image was composed and cropped to precisely 8 x 10 format...so that it could be framed if desired. Beyond that, it was cropped so that it conformed exactly with the 'rule of thirds'. The head of the bee is precisely at the intersection of the upper right horizontal and vertical thirds point.
That is quite arbitrary, of course, but given that it has been an accepted compositional preference for many many years, it is always a good starting point, if there are no other more pressing considerations.
The Nashville, Chattanooga, and St. Louis Railroad Depot, constructed in 1917, is a locally significant example of standardized, functional railroad architecture in Sparta, Tennessee. The depot is associated with a pattern of railroad growth and monopoly that shaped economic and settlement trends in the southeast during the early twentieth century. Between 1902 and 1921, the Louisville and Nashville Railroad, the parent company of the Nashville, Chattanooga, and St. Louis, expanded its miles of track from 3,327 to 5,041 miles, representing an increase of 57%. Some of this new construction took place in White County as the railroad extended its 1884 Bon Air spur line to the new coal towns of Clifty, DeRossett, and Ravenscroft, near the border between White and Cumberland counties, in an attempt to better exploit coal and mineral ores. As historian Maury Klein observed in his study of the Louisville and Nashville, "it is significant that none of the new trackage tried to extend the L & N's territory but rather sought to exploit the existing territory more fully. What might be called a more mature phase of interterritorial strategy had arisen and was flourishing...[in the] cultivation of the sources of coal and ore traffic." (pp. 397-98)
White County was a significant producer of raw materials, especially coal and timber products, during the early twentieth century. After the coal company built an underground shaft at Bon Air in 1902, that single mine produced an average daily tonnage of 350 tons for the next twenty years. The adjacent Eastland Mine also opened in 1902 and produced an average of 350 tons daily for the next thirty years. Demand for raw materials increased even more dramatically during the First World War and great amounts of Cumberland Plateau coal and timber was shipped out of Sparta. White County walnut was especially in demand for use in gun stocks, first in orders from Allied nations and then, in late 1917 and 1918, for the U.S. Army.
Due to the increased traffic and demand for railroad services, the company in 1917 decided to replace the original frame Sparta depot, which housed only an office and freight room, with a new much larger brick depot. The new depot reflected the importance of the railroad, and the county's coal mines, to the economic life of Sparta. As the town's "gateway", it symbolized local prosperity and confidence at the height of the wartime boom in demand for raw materials. Moreover, the depot served Sparta itself as the town's major contact point between the national corporate economy and the local market economy.
The Nashville, Chattanooga, and St. Louis Railroad Depot also embodies a trend in early twentieth century railroad architecture that balanced the cost-saving strategies of the railroads against the demands of a more sophisticated local community. The design achieved economy, functionalism and comfort under one roof. The waiting rooms accommodated more passenger traffic on the line, while the spacious freight room and loading platforms handled the increased volume of timber, mineral, and agricultural products being shipped out of the county. Although a standardized design lay at the heart of the depot's plan, its roof line and minimal Craftsman-style exterior detailing reflected the use of minor architectural features and varying roof shapes to give uniqueness to the building. Particularly distinctive were the wide, overhanging, unbracketed roof eaves. The square bay window of the business office also helped to add variety to the form while the functionally-placed windows on east and west elevations, along with the decorative band of bricks, added rhythm to the building's appearance.
The Nashville, Chattanooga, and St. Louis Railroad Depot is associated with and physically represents the peak of railroad influence in White County during the early twentieth century. Even after a period of decline due to the popularity of the automobile and the building of the Memphis to Bristol Highway, this small-town depot has survived and was added to the National Register of Historic Places (NRHP) on December 7, 1992. All of the information above (and a bit more) was found on the original documents submitted for listing consideration and can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/9ea0e226-5cd8-49c3-9e5...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
After much consideration and a review of Florida Raptors at cbop.audubon.org/about/florida-raptors, I was thinking this is a red-tailed hawk. But, no. Given the sharp downturn of the beak, and by comparing it to Audubon images online, and as directed by a knowledgeable ELCC member, this is certainly a SNAIL KITE (www.audubon.org/field-guide/bird/snail-kite)!
Photographed 20 years ago in 2004 at the Grassy Waters Preserve (grassywaters.org/) where I was a naturalist guide for a brief time. I took visitors out into the everglades in a canoe and along the boardwalks, explaining the natural flora and fauna as we went.
I was armed only with a Nikon D70 camera; the inset is the original file from which I created (extracted?) the enlarged copy. It's amazing how image-processing for the consumer has progressed in two decades.
I can't say I understand the artifacts in the background, or those showing through the tree limbs... it could be an effect of the Topaz Gigapixel upsizing the image 4x, or the use of Topaz' Photo AI, but I like it!
Photo captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography. On the Snow Lakes Trail and on the way to the Core Enchantments. Alpine Lakes Wilderness. Stuart Mountain Range. Central Cascades Range. Okanogan-Wenatchee National Forest. Chelan County, Washington. Late October 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-125 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 6200 K * Film Plug-In: Kodak E100G Vibrant
© Leanne Boulton, All Rights Reserved
Candid eye contact street portrait from Glasgow, Scotland. Pausing for him to look up from his phone and see my lens I captured this fabulous expression. The spring sunlight was stunning and I just loved the look here, like he was weighing me up. Wishing you all a fabulous weekend ahead. Keep those shutter buttons clicking!
The begonia stands for caution and consideration, as well as good communication between different parties. It is commonly given as a gift when paying back a favour. All these meanings come from its association with Michel Bégon, a French diplomat and politician who lived in the Antilles during the late 17th century.
"A little consideration, a little thought for others, makes all the difference." -- Eeyore
(Winnie the Pooh)
A specific, creative struggle is going on at the moment.
It's true. I admit. It is a panging question.
What's next?
How does artistic progression occur without redundancy?
Does this happen to you?
Creating images is so very important to me. It feeds both my wants and needs of expression and communication. I believe that when you are shy or introverted, in particular, photography offers a voice; a presence with proof that all, sometimes socially awkward, inconveniently timid, and the often meek can be not only heard but expressive. Photography gifts this not only to myself but to many others.
Without the use of words, an image can resonate with another human like nothing spoken. Images gift the viewer an opportunity to interpret a soulful message specific to their needs. A communicative conduit through which the viewer receives precisely the emotion that at he/she needs or wants. Be it sadness, peacefulness, happiness, positivity, negativity, love, etc ... Isn't that amazing?
Think about it.
I do.
It's huge.
As 2019 begins, I wish to transform my photography fetish and move forward into sharing a more stimulating and creative forum. I am not a goal-oriented human, but perhaps it is time to structure a few things. I am struggling to make headway in the creative direction that my heart wishes to travel. It is frustrating.
I want to try something new; such as, write a novel and or a book of poetry, teach a class, offer online workshops, hold a photography retreat, open a studio, and more.
I even start a 365 on January 1st, eyes rolling, knowing I have much more important, challenging photography things to accomplish. I have done a 365 previously, four years ago. Why revisit it? Do I find ways to procrastinate creating obstacles to reaching my true wants? Hmmm.
What is the "thing" you are struggling to uncover or explore? As we move into another year of our lives, in which we so very much want to be productive not only for ourselves but for others, what is yours?
For me, the first step is going to be clearing away the fog, the obstacles that are requiring my time which is inhibiting my ability to do the things of creative choice. Prioritize I suppose, would be most specific. Seems like a great place in which to begin.
xo
_________
Panging by Angie Lambert
There is a want
and a need
to be inspirational.
Stealthy,
a blur reveals.
Teasing with clarity
and snippets of precision,
it feeds.
What is next?
I do hear you.
Mind and body hungry,
needing less of the blur
rather than more,
the pang continues.
Maleeka cut a striking figure wandering around the back streets of Kyoto. I had passed her a couple of times before I struck up a conversation with her. It turned out she was from East London and on a short 6 day whistle stop tour of Japan. After having lived abroad for sometime now, it was nice to meet a fellow Londoner. She was easy going and keen to take part in the project. She had a wonderful East London accent.
She really got into it and took off her jacket "for full effect" - even though it was cold and windy outside. There was nowhere to pose her as we were in a narrow street with many shoppers and tourists. So I decided just to put her right in the center of the street and try to blur the background as much as possible. I also moved her into the light to try and highlight her a little more.
As well as background and light, another consideration is time. I try to be as quick as possible because the moment can soon wear off, and peoples expressions become less natural. Also I feel aware of taking people's time. So far I have found that the first or second shot usually have the best expressions.
I am not sure I have done Maleeka justice - she really was a stunning woman with a lovely oval face. We exchanged phone numbers and I have forwarded her copies of the photos. Something I have noticed with this project is that westeners are far more into it than the Japanese and Chinese I have spoken to.
This picture is my twelfth submission in the 100 strangers project. Find out more about the project and see pictures taken by other photographers at 100 Strangers Flickr Group page www.flickr.com/groups/100strangers/
This is also my twelfth submission to the Human Family Group, which can be found here: www.flickr.com/groups/thehumanfamily/
For your consideration - one (1) egg.
Single exposure, no layering or similar photoshoppery other than the usual colour and contrast correction malarkey.
Candidate for DEDPXL assignment #6 - THE EGG.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
It is the annual open air Christmas service in Turtle Crossing Park. There has been much fellowship in the consideration of God's truth. Pastor Charles Calvin now delivers the closing thoughts.
Pastor Calvin: Friends, we began at midnight* and there has been much joy as we've gathered together in the Word of God to consider this time. Now, the dawn breaks and I point you back to our opening, "Because of the tender mercy of our God, With which the Sunrise from on high will visit us, To shine upon those who sit in darkness and the shadow of death, To guide our feet into the way of peace." **
As the sun rises on us, let us go forth in the light of God's gift. What is Christmas? "For a child will be born to us, a son will be given to us; And the government will rest on His shoulders; And His name will be called Wonderful Counselor, Mighty God, Eternal Father, Prince of Peace. There will be no end to the increase of His government or of peace, On the throne of David and over his kingdom, To establish it and to uphold it with justice and righteousness From then on and forevermore. The zeal of the Lord of hosts will accomplish this." ***
When? "But when the fullness of the time came, God sent forth His Son, born of a woman, born under the Law" ****
Where? "But as for you, Bethlehem Ephrathah, Too little to be among the clans of Judah, From you One will go forth for Me to be ruler in Israel. His goings forth are from long ago, From the days of eternity." *****
How? "Behold, the virgin shall be with child and shall bear a Son, and they shall call His name Immanuel,” which translated means, “God with us.”" ******
Who? "She will bear a Son; and you shall call His name Jesus, for He will save His people from their sins.”" *******
Why? "This saying is trustworthy and deserving of full acceptance: “Christ Jesus came into the world to save sinners”—and I am the worst of them." ********
Merry Christmas, friends! Sisters Audrey and Winky will lead us in our closing song.
🎵 O Holy Night,
The stars are brightly shining
It is the night of our dear Savior's birth
Long lay the world in sin and e'er pining
'Til He appeared and the soul felt its worth
A thrill of hope the weary world rejoices
For yonder breaks a new and glorious morn.
Fall on your knees O hear the angels voices.
O night divine O night when Christ was born
O night divine, O night, O night divine. 🎶
__________________________
*Seen here:
www.flickr.com/photos/paprihaven/50736652896/
** Luke 1:78-79
*** Isaiah 9:6-7
**** Galatians 4:4
***** Micah 5:2
****** Matthew 1:23
******* Matthew 1:21
******** 1 Timothy 1:15
"O Holy Night" - Traditional Christmas
Photo of Duckie Thot from an ad from an InStyle magazine. (Thanks to whoever has them mistakenly sent to me!)
I’ve been saving this magazine because of THIS ad, and the model that just screams: NADJA.
I think it would be a “quick snip” to customize the new Like No Other Nadja. There are other photos of Duckie where she has a crinkled loose wave to her hair that I may want to try on Nadja.
Also: someone please STOP ME from cutting my own bangs.
Admittedly a rather feeble recreation due to budgetary considerations. Rather than the act of slaying a dragon, it's more of a grimace-off and the orange beast seems to be winning.
After much consideration, I decided to purchase the Cognisys StackShot field system. This is just a snapshot of it taken with my phone. You can see the controller at the base of the tripod. Now when I want to move the camera forward and backward, I have to do so using the motor. I have only used this in the field for one morning, but so far I like it. It is nice to eliminate my least favorite part of focus stacking: turning that damn micrometer knob hundreds of times a day by hand.
© all rights reserved
Please take your time... and enjoy it large on black
Laos is blessed with some of Asia’s nicest rivers, and many of them are mellow. Children spent the day at school, and by the afternoon they were doing the chores required of them…building a fire for the kitchen, sweeping the leaves into a pile, or caring for the young siblings strapped to their back …young boys and girls from the age of seven or eight attentive to the baby’s every need. Amongst this was the laughter of children playing in the river. But sometimes they skip their days at school, going fishing and collecting snails from the river, or using long bamboo poles to knock crickets from the trees. They eat the crickets live or drop them into bottles and take them home for lunch or dinner.
Photo taken nearby the Tad Lo waterfall near the little town Kieng Than Lei - Laos. These ragged little urchins spend most of their days not at school, but fishing and collecting snails from the river. School is important for ethnic minority kids, they should attend and complete primary education in order to overcome rural/urban, ethnic in the area of literacy and education. But it isn't that easy. The reason to skip school are the family economic considerations, involvement in family maintenance and subsistence tasks, the lack of perceived benefits from education. While poverty and lack of access are issues. In addition to these, ethnic minority kids have to face further barriers to education, including the distance from school facilities, their extreme poverty, and additional cultural barriers and the lack of fluency in the national language, Lao. The ethnic kids speak their own language. About 32% of all Laotians are related to Ethnic groups. Totally 160 ethnic groups and speak 82 distinct living languages.
...an old lady washing her clothes in the river gave us a beautiful smile; the Laos people are so friendly. Kids have a great time running on the rampart, swimming in the Sexet river at the Tad Lo waterfall, taking boat rides along the river and playing. A bit futher south men washing their elephants in the river. Lao seems a bit like heaven, the laughter is often & sincere, the rivers are cool and clean and not a speck of modern civilization in sight. In my perspective it is some of the best Laos can offer.
Giving serious consideration to selling my entire collection of DC Universe Classics (around 18 full waves, plus CnC's, a few two packs, SDCC exclusives and some DCSH stuff) and my DC Direct Superman stuff too. I'm very strapped for cash and I want to move into 1/6 collecting. I haven't made up my mind as yet but I'd be interested to see if anyone has any tips on selling or even any offers.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".