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I know it's hardly original but I had to get a shot of this place as it really is one of the wonders in Britain, if not the world.
Created for Rubys Treasure Challenge 59
Baby My Own
Cow ~My Own
Everything else ~Freebies
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Port Fairy/Belfast.
Like nearby Portland Port Fairy was settled by whites before New South Wales created a settlement district in that region near the SA border. Sealers and whalers had visited this bay from the early 1800s with voyages from Van Diemen’s Land or from America. Captain Wishart of the whaling ship called the Fairy named the bay Port Fairy in 1828 after he had sheltered here during a raging storm. Temporary whaling and sealing camps were set up here from around 1830, including camps by the Mills brothers of Launceston who began as sealers and then progressed to being whalers. The bay is situated at the mouth of the Moyne River adjacent to Griffiths Island, now a sanctuary for Shearwater or Muttonbirds or Puffinus tenuirostiris as they are officially known. John Griffiths had established a whaling station on the island in 1835. Permanent white settlement began at Port Fairy from 1843 when James Atkinson had a Special Survey undertaken by the NSW government. At £1 per acre he purchased 5,120 acres. Further inland near Koroit and Tower Hill William Rutledge also purchased 5,120 acres through a Special Survey. A condition of the Special Survey was the establishment of a town and encouragement of settlers. Atkinson, who was born in Ireland, named his town Belfast to attract poor Irish settlers. William Rutledge of Koroit was also an Irishman and he sponsored Irish immigrants to lease his lands. Rutledge established a wool and trading company in Port Fairy with his business partners. Atkinson also leased land to Irish immigrants to grow potatoes as they had back in Ireland.
Once Portland became an official settlement area of NSW in 1840 similar conditions had to apply to the Port Fairy district. Governor Gipps in Sydney declared the Portland Bay District open for pastoral leases in 1839 and Commissioner LaTrobe was put in charge of the Portland and Port Phillip Bay districts as pastoralists flooded in to take up lands. But it took three more years before Port Fairy became official with Atkinson’s Special Survey in 1843. Atkinson’s town was Belfast but the government port and jetty here was known as Port Fairy from around 1843. In fact the town of Belfast was only changed to Port Fairy by Act of Parliament in 1887. Once Atkinson purchased his land he leased some sections to Charles Mills of Launceston who became the first permanent white farmer and he also leased all town blocks in Belfast. It was not until 1887 that the Atkinson estate allowed the leased town blocks to be sold as freehold. Atkinson was not liked by the townspeople and it is for that reason that they petitioned the government to eradicate his town name of Belfast in 1887! (Despite the leasehold on all town blocks the town grew very quickly and by 1857 it had a population of 2,190.)
Charles Mills took up around 400 acres for £52 a year rent along the lagoon near the mouth of the Moyne River which he called Picanini Ponds. This occurred in 1844. He soon changed the name of his property to Woodbine. His fine two-storey residence called Woodbine was erected in 1847 once he had obtained a 31-year lease of the farm from Atkinson. He subleased some of his land to his brother-in-law, a ticket of leave man from Van Diemen’s Land, named James Glare. Charles Mill’s brother John Mills lived in Belfast at 40 Gipps Street. He captained whaling and later trading ships along the coast. Whaling finished in Port Fairy in 1848 the last year that a whale was caught near the town. Atkinson also leased the rest of his rural land to tenant farmers who only obtained freehold from the late 1870s onwards. But there was plenty more fertile land near Port Fairy. In 1852 the new Victorian government (Victoria was created as a new colony in 1851) resumed pastoral leases around Port Fairy and subdivided and sold 8,000 acres mainly in 100 or 200-acre farms. Most of those who took up the land were dairy farmers, wheat farmers or potato growers. The town of Belfast continued to grow and today it has over 50 heritage-listed buildings with many dating from the 1840s and 1850s. Although Atkinson only gave leasehold in Belfast he donated land for the Anglican and Catholic churches, the first school at the rear of the Anglican Church, the library and the meeting hall.
Buildings to look for in Port Fairy:
•Walk begins if you choose at 44 James St. Site of former Wesleyan Methodist Church (1855) in a distinctive Greek/Georgian style melange. Next door is the wooden parsonage 1899. The bluestone Sunday School was built 1870 and also used as a town school. This land donated by James Atkinson from his special survey.
•Walk back to the next intersection on the corner James/Bank Streets where you will see the Caledonian Inn (1844)- oldest licensed hotel in Victoria but now a motel; continue down Bank Street towards the sea.
•At the next corner of your left is Barkley St. Walk down here if you want and see the Anglican Church with its fine encircling stonewall. It opened 1856 replacing an earlier wattle and daub church built 1847.
•Next you will see the former Council Chambers with the clock in the pediment. Once also used as a Post Office. Almost next door is the Star of the West Hotel (1856) built for a black West Indian.
•Then turn right into Sackville St. Immediately on your left are the classical style old Lecture Hall (1889) and the Library (former Mechanics Institute 1865.) There are many fine buildings in this the main shopping strip.
•At the intersection with Cox St. are three old fine looking bank style buildings on each corner. The bank on the right in bluestone was the Australasian Bank erected in 1857, one of the earliest banks in Port Fairy. Seacombe House (1847) was built as the Stag Hotel. On the nearest corner is the former Post Office, 1881.
• Then turn left into Cox St and beyond the first street on your left is a former bank built in 1870. Now the Municipal offices. Next door is Emoh Cottage 1840, added to 1885, the former home of William Rutledge the owner of the Koroit Special Survey. The façade is grand but narrow. It is now a Youth Hostel.
•Continue towards the sea and turn right in Gipps St. First on your left is Captain John Mills’s cottage from 1850s at the rear of the later home from 1880s. Whilst here walk down to the waterfront to enjoy the Moyne River wharfs. Almost on the next corner is the Court House in bluestone from 1860.
•Now turn right into Campbell St but glance left and on the other corner is the former Merrijig Inn (1841), once the social and political centre of early Belfast.
•At the second street on your right up Campbell is Sackville St. Turn into Sackville St. and on your right is Motts Cottage built 1845, 1860 and 1890. Once home to two early sailors. The single storey front part is clearly the 1845 cottage. The two-storey part added to the rear was erected in 1860.
•On the next corner of Sackville/Cox Streets the walk ends. If you want to see the grand Presbyterian Church and manse go to 29-33 Albert St.( the main highway). It was built in 1854 to replace the 1843 Scots church. Romantic Talara (1855) is on Princes Highway which we saw earlier and the Catholic Church (1859).
Tower Hill.
The road into Koroit will allow us to look down in the crater of Tower Hill yet another of the volcanic features of Australia Felix. The crater is a maar crater believed to have been formed about 30,000 years ago. Maars are formed when hot lava comes into contact with cold ground water resulting in many explosions hurling rock, scoria and volcanic ash into the air. Most of the material falls around the rim of the crater creating layers of volcanic tuff - rock, scoria and stones – which create a broad, relatively flat volcanic crater. They are not associated with lava flows. Maar caters like Tower Hill are broad with an almost level crater floor as the magna or lava would have cooled as soon as it came into contact with cool ground water. Later activity in the maar crater led to several smaller volcanic cones (scoria cones) appearing in the crater floor. The soils are fertile and there was thick vegetation on Tower Hill but this was cleared by early settlers. The crater edges were denuded. But in 1892 this scenic area was declared as Victoria’s first National Park. It is now home to many emus, kangaroos, echidnas etc. Replanting of the crater slopes began in 1981 using a detailed painting by Eugene von Guerard in 1855 to determine which species were originally growing here! The crater itself is 4 kms long and 80 metres high. The Koroitgundidj people ran an information centre.
created bu fernando giglado
from a 40cm square of fur paper mc with white unryu from origami shop.
the paper is a little hard to work by i like the result with the fur style
Created for Brenda’s Bounty ~ Challenge #21
EXPLORE Worthy, Challenge #5 - COLORS OF AUTUMN.
Also Created for The StockYard Autumn/Fall Challenge
Layer Mask with thanks to Skeletal Mess
Leaf ~ ~Brenda-Starr~
Leaves ~ My own image
~ #334 / 365 ~
Here is a tutorial that I created in Adobe Illustrator. In the tutorial we use some Illustrator basics, as well as some warping and other effects to create this retro looking badge/banner logo design
If you would like to learn how to make this retro badge you can head over to my blog: Create a clean retro badge in Adobe Illustrator
My friend let me take some portraits of him for photography class. This is my favorite one of them. Enjoy!
a still shot from a video project i shot earlier this year
Một công ty của Campuchia vừa đưa ra thị trường loại xe ô tô Angkor EV 2013 chạy bằng điện với giá 5.000 USD làm nhiều người “sốc”. Trước đó, Ấn Độ còn đưa ra một loại xe còn “khủng” hơn với giá chỉ có 2.000 USD.
VN mình có thể làm được cái xe rẻ như vậy không? Tất nhiên là làm được. Người VN mình vẫn ngầm thỏa thuận với nhau rằng chúng ta thông minh nhất thế giới còn gì.
Vậy tại sao không có xe hơi siêu rẻ made in Vietnam nhỉ?
Vì mọi chuyện nó như thế này:
Một bác tên Nguyễn Văn Kinh ở TP. HCM đam mê cơ khí, công nghệ, bia, thịt chó và nhiều thứ khác bỗng một ngày đặt ra một câu hỏi rất hâm triết: “Tại sao chỉ có những người nhiều tiền mới được đi xe hơi?” và một câu hỏi còn hâm hơn nữa: “Có thể làm ra một chiếc xe hơi rẻ tiền đến cả một người nghèo cũng mua được hay không?”
Với tính chiến đấu rất cao, bác ấy lập một kế hoạch hoành tráng, thuê 5 kỹ sư mới ra trường của đại học bách khoa tạo nên cái xe 2.000 USD với đa số là linh kiện Tàu. Xe làm ra chạy ngon lành cành đào.
Vấn đề bắt đầu xuất hiện.
Một nhà báo nghe tin bác Nguyễn Văn Kinh làm ra chiếc xe siêu rẻ liền làm 4 kỳ liên tục về “Doanh nhân Kinh làm xe siêu rẻ”. Khổ nỗi loạt bài này rất ít nhắc đến các từ như “đam mê”, “liều lĩnh”, “dũng cảm”, “sáng tạo”,… mà lại có rất nhiều chi tiết như “ai cũng bảo bác ấy hâm”, “bạn bè bảo bác ấy dở hơi”, “Vợ bác ấy nói bác yêu xe hơn yêu vợ”,…
Sau đó là hàng trăm tờ báo khác lao vào xâu xé, khai thác bác Nguyễn Văn Kinh với các đề tài tương tự, có điều là với cường độ hâm hơn nhiều. Nhiều nhà báo còn khai thác đời tư của bác ấy một cách không cần thiết ví dụ như phát hiện ra bác ấy là “người dân tộc nhưng rất kinh”.
Vì bác ấy HÂM nên bác ấy vẫn đem xe ra đường thử nghiệm. Nhưng đúng ngày đó thì đùng một cái, cảnh sát giao thông tuyên bố: “Thằng cha Nguyễn Văn Kinh đó chạy thử trong sân nhà hắn thì được chứ mang xe ra đường mà chạy là chúng tôi bắt”.
Báo chí lại sôi sục ầm ầm: sao bắt, luật có cấm đâu, hâm à, dở hơi à, điên à? Cảnh sát GT trả lời: “Cái gì ra đường có nguy cơ gây nguy hiểm cho người dân là chúng tôi bắt”.
Nghe có lý không và có quen không? Nó cũng giống như giải thích của mấy bác quân đội khi cấm ông Hải ở Tây Ninh thử nghiệm máy bay trực thăng tự chế. Hay gần đây nhất là công an Thái Bình không cho ông Hòa thử nghiệm tàu ngầm vậy. Lý do rất nhân đạo, nhân văn và nhân dân: “Cái gì đưa xuống nước có thể nguy hiểm cho ngư dân là chúng tôi bắt”.
Ơ, hay nhỉ. Cái tàu ngầm này mà đưa ra biển nó cũng chỉ ra xa được 100m, lặn sâu 5-10m là cùng, chắc chẳng chết ai. Còn ngoài biển có những thứ nó ngang nhiên cắt cáp của tàu lớn, đâm vỡ tàu nhỏ, ăn cướp hải sản, bắt bớ đánh đập ngư dân sao các bác không bắt hết hốt hết đi?
Thôi quay trở về với cái xe siêu rẻ. Nó không được đưa ra thử nghiệm để sản xuất hàng loạt, tất nhiên rồi. Vì người ta luôn quan niệm làm ra cái xe hơi, cái máy bay, cái tàu ngầm phải là công việc của các bác giáo sư có mấy chục cái bằng hay của một cơ quan bí mật đó của nhà nước cơ, người dân sao làm nổi.
Thế là cấm! Đấy, thay vì dùng “sự phá hủy sáng tạo” của ông Schumpeter thì VN mình lại sáng tạo thành “phá hủy sự sáng tạo”.
Khi được hỏi có nghiên cứu thị trường trước khi sản xuất xe 4 bánh chạy bằng động cơ hay không thì Henry Ford nói rằng: “Nếu hỏi người tiêu dùng muốn gì họ sẽ nói muốn một con ngựa chạy nhanh hơn”. May mà khi ông Ford đem xe ra chạy thử, chẳng có ai cấm. Nếu nước Mỹ cũng có tư tưởng cấm đoán này thì hẳn rằng đến năm Ngọ này họ vẫn còn cưỡi ngựa.
Và sau này khi IBM thử nghiệm bộ xi xử lý, Microsoft bán hệ điều hành, Google đưa công cụ tìm kiếm mọi thứ mà người ta cố giấu hay Facebook cho người ta cơ hội thể hiện cảm xúc cá nhân cũng chẳng ai cấm cả.
Thay vì thịt con gà ngay khi mới lớn, người ta nuôi dưỡng, khuyến khích con gà đẻ trứng vàng. Còn ở VN thì đến con chim nó mới đập cánh vài cái đã bị bóp chết bởi những dọa nạt bản quyền với truy thu thuế.
Ở đâu mà người ta để cho sự sáng tạo được tự do, ở đó sẽ có những phát minh thay đổi thế giới.
Thôi thì “hãy cứ khát khao, hãy cứ dại khờ”
Day 2 - Travel to New-York - February 2024
Manhattan's Chinatown is a neighborhood in Lower Manhattan, New York City, bordering the Lower East Side to its east, Little Italy to its north, Civic Center to its south, and Tribeca to its west. With an estimated population of 90,000 to 100,000 people, Chinatown is home to the highest concentration of Chinese people in the Western Hemisphere. Manhattan's Chinatown is also one of the oldest Chinese ethnic enclaves. The Manhattan Chinatown is one of nine Chinatown neighborhoods in New York City, as well as one of twelve in the New York metropolitan area, which contains the largest ethnic Chinese population outside of Asia, comprising an estimated 893,697 uniracial individuals as of 2017.
Vibrant Chinatown is a densely populated neighborhood that draws foodies and tourists to its many Chinese and Southeast Asian restaurants for dumplings, pork buns and hand-pulled noodles. The busy sidewalks are packed with souvenir stores, bubble tea shops, and markets selling everything from fresh and dried fish to herbs and spices. Locals hang out in leafy Columbus Park for Tai Chi, chess and mahjong.Day 2
Various pics of the day two in New-York
Diverses photos prisent en New-York le jour deux.
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Paste-up street art in London, England that says "Create or Die!" The artist is Thirsty Bstrd (Julien Surdeau), a French visual artist from Paris.
Created by Kaylee Frye for the New Babbage Oiling Festival
Visit this location at Quarry Hill Information Centre in Second Life
"I was created to re-unite with You:
To suffer terrible blindness
until these eyes are soaked in You alone
everywhere …and ever nowhere
To endure the prolonged agony of deafness
until all of Creation echoes triumphantly
with inexplicable Silence through me
To agonize bitterly without smell and taste
until your Fragrance excites a strange blossoming
rolling the Nectar of Life ever sweetly across my tongue
To be torturously paralyzed without a voice
until an unbearable urge bursts open
Intensified by every inward outward breath
Expression dances with abandon
while the ecstatic heart wildly pounds out a rhythm:
Joy explodes uninhibited out of this burning body
What was a dark ache of longing
becomes rapturous discovering
A crash of wave against wave
in an ocean of increasing Awareness
A Peace-bringer disappears only to reappear
as the Great unending Song of Life plays on"
© Ganga Fondan, 2010
Another art piece and poem out of this same profound meditation:
“When we know the Truth and understand the Truth and enter the wisdom of the Truth, we become the Truth. “ – Tulshi Sen
Live from Chang Mai Thailand tonight Mr. Sen will be discussing “Becoming a Dream Machine”. Join Here if you like.
*My creative juices have been exuberantly flowing so I'm a bit pre-occupied but I’ll catch up with everybody soon.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.