View allAll Photos Tagged Discretization
In Papua New Guinea, there are more than more than 850 discrete spoken languages, and until recently, none of them were written down. Even today, adult literacy sits at less than 62%. In a historically nonliterate society with more than 7000 diverse cultural groups, one of the most popular means of education has been through costume, song, and dance.
This is one reason sing sings so important.
For the story, please visit: www.ursulasweeklywanders.com/travel/feathers-fur-and-face...
An interesting day in the skies. Clear to start and then building quite quickly into small discrete little cells. Got about 3 minutes of heavy rain from this one.
In Papua New Guinea, there are more than more than 850 discrete spoken languages, and until recently, none of them were written down. Even today, adult literacy sits at less than 62%. In a historically nonliterate society with more than 7000 diverse cultural groups, one of the most popular means of education has been through costume, song, and dance.
One of the elders from Paiya Village makes his way through the jungle to check up on us.
For the story, please visit: www.ursulasweeklywanders.com/travel/feathers-fur-and-face...
Although he was brave and strong, Lord Enguerrand chose to escape discretely from the horror that was emerging from a pile of various metallic weapons.
L'océan et le lac
Les vagues profondes de l’océan emportent les idées sombres, aussi sûrement qu’elles éloignent les navires des ports qui les enchaînaient. Leur bienveillante puissance ne laisse aucune place à la tristesse, emportée comme un fétu de paille dans la sarabande joyeuse des eaux de cobalt et d’outremer… Bientôt, le rythme obsédant des ressacs éloigne la torpeur morbide du chagrin et remplit le cœur d’un agréable sentiment d’apaisement… l’inlassable et joyeux ballet des mouettes a raison des chagrins les plus tenaces. Provisoirement, certes, mais quel bienheureux soulagement...
Lincoln Memorial
The Lincoln Memorial is an American national monument built to honor the 16th President of the United States, Abraham Lincoln. It is located on the western end of the National Mall in Washington, D.C., across from the Washington Monument. The architect was Henry Bacon; the designer of the primary statue – Abraham Lincoln, 1920 – was Daniel Chester French; the Lincoln statue was carved by the Piccirilli Brothers; and the painter of the interior murals was Jules Guerin. Dedicated in 1922, it is one of several monuments built to honor an American president. It has always been a major tourist attraction and since the 1930s has been a symbolic center focused on race relations.
The building is in the form of a Greek Doric temple and contains a large seated sculpture of Abraham Lincoln and inscriptions of two well-known speeches by Lincoln, The Gettysburg Address and his Second Inaugural Address. The memorial has been the site of many famous speeches, including Martin Luther King's "I Have a Dream" speech, delivered on August 28, 1963, during the rally at the end of the March on Washington for Jobs and Freedom.
Like other monuments on the National Mall – including the nearby Vietnam Veterans Memorial, Korean War Veterans Memorial, and National World War II Memorial – the memorial is administered by the National Park Service under its National Mall and Memorial Parks group. It has been listed on the National Register of Historic Places since October 15, 1966. It is open to the public 24 hours a day. In 2007, it was ranked seventh on the List of America's Favorite Architecture by the American Institute of Architects. Approximately 6 million people visit the memorial annually.
Above the colonnade, inscribed on the frieze, are the names of the 36 states in the Union at the time of Lincoln's death and the dates in which they entered the Union. Their names are separated by double wreath medallions in bas-relief. The cornice is composed of a carved scroll regularly interspersed with projecting lions' heads and ornamented with palmetto cresting along the upper edge. Above this on the attic frieze are inscribed the names of the 48 states present at the time of the Memorial's dedication. A bit higher is a garland joined by ribbons and palm leaves, supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow.
The Memorial is anchored in a concrete foundation, 44 to 66 feet (13 to 20 m) in depth, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, and is encompassed by a 187-by-257-foot (57 by 78 m) rectangular granite retaining wall measuring 14 feet (4.3 m) in height.
Leading up to the shrine on the east side are the main steps. Beginning at the edge of the Reflecting Pool, the steps rise to the Lincoln Memorial Circle roadway surrounding the edifice, then to the main portal, intermittently spaced with a series of platforms. Flanking the steps as they approach the entrance are two buttresses each crowned with an 11-foot (3.4 m) tall tripod carved from pink Tennessee marble by the Piccirilli Brothers.
Interior
The area where the statue stands is 60 feet wide, 74 feet long, and 60 feet high. The interior of the Memorial is divided into three chambers by two rows of Ionic columns. These columns, four in each row, are 50 feet (15 m) tall and 5.5 feet (1.7 m) in diameter at their base. The north and south side chambers contain carved inscriptions of Lincoln's second inaugural address and his Gettysburg Address. Bordering these inscriptions are pilasters ornamented with fasces, eagles, and wreaths. The inscriptions and adjoining ornamentation were done by Evelyn Beatrice Longman.
The exterior of the Memorial echoes a classic Greek temple and features Yule marble from Colorado. The structure measures 189.7 by 118.5 feet (57.8 by 36.1 m) and is 99 feet (30 m) tall. It is surrounded by a peristyle of 36 fluted Doric columns, one for each of the 36 states in the Union at the time of Lincoln's death, and two columns in-antis at the entrance behind the colonnade. The columns stand 44 feet (13 m) tall with a base diameter of 7.5 feet (2.3 m). Each column is built from 12 drums including the capital. The columns, like the exterior walls and facades, are inclined slightly toward the building's interior. This is to compensate for perspective distortions which would otherwise make the memorial appear to bulge out at the top when compared with the bottom, a common feature of Ancient Greek architecture.
The Memorial is filled with symbolism: the 36 columns represent the states in the union at the time of Lincoln's death, the 48 stone festoons on the attic above the columns represent the 48 states in 1922. Above each of the inscriptions is a 60-by-12-foot (18.3 by 3.7 m) mural painted by Jules Guerin graphically portraying governing principles evident in Lincoln's life. On the south wall mural, Freedom, Liberty, Immortality, Justice, and the Law are pictured, while the north wall portrays Unity, Fraternity, and Charity. Both scenes contain a background of cypress trees, the emblem of Eternity. The murals were crafted with a special mixture of paint which included elements of kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture conditions.
The ceiling of the Memorial, 60 feet (18 m) above the floor, is composed of bronze girders, ornamented with laurel and oak leaves. Between the girders are panels of Alabama marble, saturated with paraffin to increase their translucency. Despite the increased light from this device, Bacon and French felt the statue required even more light. They decided upon an artificial lighting system in which a louvered lighting panel would be set in the ceiling with metal slats to conceal the great floodlights. Custodians could adjust the lights from a control room, varying them according to the outside light. Funds for this expensive system were appropriated by Congress in 1926, and in 1929, seven years after the dedication, the statue was properly lighted. Since that time, only one major alteration has taken place in the Memorial's design. This was the addition of an elevator within the structure to aid handicapped visitors, which was installed in the mid-1970s
Statue
Lying between the north and south chambers is the central hall containing the solitary figure of Lincoln sitting in contemplation. The statue was carved by the Piccirilli Brothers under the supervision of the sculptor, Daniel Chester French, and took four years to complete. The statue, originally intended to be only 10 feet (3.0 m) tall, was, on further consideration, enlarged so that it finally stood 19 feet (5.8 m) tall from head to foot, the scale being such that if Lincoln were standing, he would be 28 feet (8.5 m) tall. The extreme width of the statue is the same as its height. The Georgia white marble sculpture weighs 175 short tons (159 t) and had to be shipped in 28 separate pieces.
The statue rests upon an oblong pedestal of Tennessee marble 10 feet (3.0 m) high, 16 feet (4.9 m) wide, and 17 feet (5.2 m) deep. Directly beneath this lies a platform of Tennessee marble about 34.5 feet (10.5 m) long, 28 feet (8.5 m) wide, and 6.5 inches (0.17 m) high. Lincoln's arms rest on representations of Roman fasces, a subtle touch that associates the statue with the Augustan (and imperial) theme (obelisk and funerary monuments) of the Washington Mall. The statue is discretely bordered by two pilasters, one on each side. Between these pilasters and above Lincoln's head stands the engraved epitaph, composed by Royal Cortissoz, shown in the box to the left.
Sculptural features
The sculpture has been at the center of two urban legends. Some have claimed that the face of General Robert E. Lee was carved onto the back of Lincoln's head, and looks back across the Potomac toward his former home, Arlington House, now within the bounds of Arlington National Cemetery. Another popular legend is that Lincoln is shown using sign language to represent his initials, with his left hand shaped to form an "A" and his right hand to form an "L", the president's initials. The National Park Service denies both legends
However, historian Gerald Prokopowicz writes that, while it is not clear that sculptor Daniel Chester French intended Lincoln's hands to be formed into sign language versions of his initials, it is possible that French did intend it, because he was familiar with American Sign Language, and he would have had a reason to do so, that is, to pay tribute to Lincoln for having signed the federal legislation giving Gallaudet University, a university for the deaf, the authority to grant college degrees. The National Geographic Society's publication, "Pinpointing the Past in Washington, D.C." states that Daniel Chester French had a son who was deaf and that the sculptor was familiar with sign language. Historian James A. Percoco has observed that, although there are no extant documents showing that French had Lincoln's hands carved to represent the letters "A" and "L" in American Sign Language, "I think you can conclude that it's reasonable to have that kind of summation about the hands."
Sacred space
As Sandage (1993) demonstrates, the Memorial has become a symbolically sacred venue especially for the Civil Rights movement. In 1939, the Daughters of the American Revolution refused to allow the African-American contralto Marian Anderson to perform before an integrated audience at the organization's Constitution Hall. At the suggestion of Eleanor Roosevelt, the wife of President Franklin D. Roosevelt, Harold L. Ickes, the Secretary of the Interior, arranged for a performance on the steps of the Lincoln Memorial on Easter Sunday of that year, to a live audience of 70,000, and a nationwide radio audience.
On August 28, 1963, the memorial grounds were the site of the March on Washington for Jobs and Freedom, which proved to be a high point of the American Civil Rights Movement. It is estimated that approximately 250,000 people came to the event, where they heard Martin Luther King, Jr., deliver his historic speech, "I Have a Dream", before the memorial honoring the president who had issued the Emancipation Proclamation 100 years earlier. King's speech, with its language of patriotism and its evocation of Lincoln's Gettysburg Address, was meant to match the symbolism of the Lincoln Memorial as a monument to national unity. The D.C. police also appreciated the location because it was surrounded on three sides by water, so that any incident could be easily contained. Twenty years later, on August 28, 1983, crowds gathered again to mark the 20th Anniversary Mobilization for Jobs, Peace and Freedom, to reflect on progress in gaining civil rights for African Americans and to commit to correcting continuing injustices. The "I Have a Dream" speech is such a part of the Lincoln Memorial story, that the spot on which King stood, on the landing eighteen steps below Lincoln's statue, was engraved in 2003 in recognition of the 40th anniversary of the event.
At the memorial on May 9, 1970, President Richard Nixon had a middle-of-the-night impromptu, brief meeting with protesters who, just days after the Kent State shootings, were preparing to march against the Vietnam War.
from Wikipedia
I'm really happy that I managed to photograph a butterfly with it's proboscis showing. :-)
The Essex Skipper forms discrete colonies that vary from a small number of individuals to several thousand. Where it occurs it can therefore be very common. This species is very similar in appearance to the Small Skipper and, because of this similarity, was not recognised as a separate species until 1889. The male is distinguished from the female by the sex brand on its forewings, which is a short line of specialised scent scales.
Despite its name, the Essex Skipper is now found over much of the southern half of England and it was first recorded in Wales in 2000 and in Wexford in south-east Ireland in 2006. On the British mainland it is to generally be found south of a line between Dorset and North Lincolnshire. It is believed that the increase in distribution is being assisted by the steep and grass-covered embankments that are often found on motorways and major trunk roads which acted as corridors – allowing this species to reach new locations more easily.
Photographed at Warnham Nature Reserve, Horsham, West Sussex, UK.
The Orange-tip is a true sign of spring, being one of the first species to emerge that has not overwintered as an adult. The male and female of this species are very different in appearance. The more-conspicuous male has orange tips to the forewings, that give this butterfly its name. These orange tips are absent in the female and the female is often mistaken for one of the other whites, especially the Green-veined White or Small White. This butterfly is found throughout England, Wales and Ireland, but is somewhat-local further north and especially in Scotland. In most regions this butterfly does not form discrete colonies and wanders in every direction as it flies along hedgerows and woodland margins looking for a mate, nectar sources or food plants. More northerly colonies are more compact and also more restricted in their movements.
Anecdotes urbaines : Discrètement, M.W contemplait la scène de la femme, l'amant et le mari qui arrivait pour les surprendre #montreal #mtl #bnw #bnw_captures #photography #photo #photooftheday #vty_24 #picture #picoftheday
Unusal colour for a 911, but it accually looks good imo.
When i was taking pictures of this beast, i heard a loud rev, and i'm pretty sure it was a Lambo, unfortunatly i didnt get to see the car, though i suspect it was in the car park down the road.
Hmm.....i think i may need to increase the highlights in this shot, looks a bit toned down, what do you think?
Cline River Photography, Photo by Edwina Podemski. View or purchase items from our portfolio at: www.clineriverphotography.com
About
The pounding waves claw at us, grabbing our toes like they must have done since the beginning of time.
Elephant Rock and Currumbin Rock enclose a discrete surf beach. Currumbin Alley is a popular surfing site formed on the bar of Currumbin Creek, particularly for longboards. Some properties to the south are only separated from the beach by an undeveloped public road reserve and the elevated land provides opportunities for views unusual at the coast.
Enjoy
- Canon 5D MK II
- ISO 100, f11, 0.5 seconds, 18mm.
- Canon 17-40 f/4 L Lens
- Hoya ND8
- Lee .0.9 GND
[ www.kanegledhill.com ] - [ Photography Workshops ] [ Facebook ]
Processing
- Contrast and Saturation in Lightroom 3.0.
About The Ocean
The Pacific Ocean is the largest of the Earth's oceanic divisions. It extends from the Arctic in the north to the Southern Ocean (or, depending on definition, to Antarctica) in the south, bounded by Asia and Australia in the west, and the Americas in the east.
fondazione querini stampalia, restoration of the palazzo ground floor, venice 1961-1963.
architect: carlo scarpa, 1906-1978.
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in the garden of the querini stampalia, scarpa placed an ancient well-head of the kind travellers to venice will recognise immediately. I crawled into it to bring you this photo of a strange detail at the bottom: two brass cylinders cut in half and reconnected to support the two halves of the well above a concrete base.
the modernists drew apart the individual elements of a building to establish a new relationship of discrete parts. obvious examples would be a floating roof or a free-standing lift/elevator - I am sure you can continue the list. this is what we might call the analytical aspect of the language of modern architecture. it was developed by early masters like frank lloyd wright and mies van der rohe for both formal, spatial and practical purposes. wright even called it exploding the box, meaning the box of the conventional house.
scarpa was, to a unique degree, respectful of the language of the early modern masters, its grammar and syntax, its inner order and logic, and few architects took more care to separate parts and reconnect them with both intellectual clarity and playfulness. in doing so, scarpa fixated on the gap, the separation itself, and developed the joint as a personal art form.
these jewel-like pieces in brass and steel which at once connect and keep apart are the main reason we speak of scarpa as an architect of details. there are theories of his entire oeuvre based entirely on the analysis of his joints. the fascination is well founded - you'll notice how I only managed to photograph the detail here - yet scarpa did so much else that perhaps we should allow ourselves to forget scarpa's details, if only for a moment, and look above the edge of the well to better see the complete architect.
one little thing is how the well is placed. you can see it as a circle in luis ruiz' sketch of the garden below. the venetians who lived out at sea had made an art of well design, shaping and layering the underground of every square and court to gather and filter rain water. scarpa, apparently, makes no reference to this. rather than placing it in the centre of the court as would likely have been its original position, scarpa used it as a pivot in his composition of paths and waterways along the edge of the space. what is going on?
john ruskin, the greatest writer on venetian architecture ever to sail its streets, made the highly emotional point that buildings cannot be restored without being destroyed, and that - as with people - there is no coming back from the dead. ruskin added, with a 19th century sense of the uncanny, that restoration even leaves us with a false version or double of the lost house.
historically, restorations have entailed the partial or, on occasion, the complete demolition of the original structure as in this frightening photo here on flickr of zettervall's infamous, destructive restoration of lund cathedral. it shows how far 19th century architects went in redefining mediaeval europe by replacing its ancient fabric with new construction. (I never could make myself explain to american tourists that our monuments are often no older than theirs).
ruskin had witnessed this first hand in a venice which was physically falling apart after a longer period of decline and the final defeat of the venetian republic at the hands of french troops in 1797. in the following decades, many palazzi had been abandoned and torn down while others suffered fates like that of the lund cathedral. to ruskin, these should rather have been left to die.
aspects of carlo scarpa's mature work and of his writings reveal that he accepted many of the categories and demands made on architecture in general and venetian architecture in particular by ruskin. yet ruskin's profound pessimism concerning the afterlife of old buildings must have been unbearable to scarpa who as an aspiring venetian master had to come to terms with the teachings of his british precursor.
the complexity of scarpa's answer to ruskin is bewildering, but the way he placed the well-head in a modernist composition of stones new and found allows us to grasp his confidence that buildings and their parts may live on if they are reused, reassembled and reinterpreted by a later and equal culture. the boldness of scarpa within the increasingly museum-like venice cannot be overstated.
there is a catch, though, that the age of individualism could not guarantee the culture of the individual architect or client, but that was never scarpa's problem; he had plenty, and the layers of history, of time, of old and new, came to life under his hands, put together and clearly separated by his jewel-like joints in steel and brass.
Keep your rental your sanctuary while enjoying role-play community living with these discrete scripted signs.
Dedicated to Anna STA, with many thanks for her supportive comments, as this flower's soft color and texture fits with the very discrete way she administers the groups Nature World, Flower & Blossom Group and Friends Forever!
French postcard by Editions du Globe, Paris, no. 168. Photo: Studio Harcourt.
Discretely beautiful and charming Simone Valère (1923-2010) was primarily a famous French stage actress, but she also appeared in more than forty films from 1941 to 1993. She often worked together with her husband, Jean Desailly.
Simone Valère was born Simone Jeannine Gondolf in 1923 in Paris, France. Her parents divorced and she spent a large part of her youth with an aunt in Arnouville. At the age of 17, she made her first film appearance in Premier rendez-vous/Her First Affair (Henri Decoin, 1941) starring Daniëlle Darrieux. In 1942, Simone made her stage debut at the théâtre Hébertot in Paris in the play 'Mademoiselle Bourrat'. The play is situated in a village called 'Valère and she takes this as her stage name. Simone Valère met Jean Desailly on the set of the film Le Voyageur de la Toussaint (Louis Daquin, 1943), while he was working for the Comédie-Française and married to Nicole Desailly (pseudonym of Ginette Nicolas). They started to live together in 1950 on tour in Brazil. 48 years later, they married in Paris.
Simone Valère and Jean Desailly participated in the theatrical revival of the post-war period as part of the Renaud-Barrault company. There she performed in plays by Shakespeare, Kafka, Marivaux, Giraudoux, Molière, Ionesco, and she starred in the operetta 'Vie Parisien' by Offenbach. Later she and Desailly founded the company Valère-Desailly. With Madeleine Renaud and Jean-Louis Barrault, they were one of the most famous couples in French theatre. Simone Valère and Jean Desailly performed 450 times their favorite play, 'L'Amour fou ou la first surprise', by André Roussin. Valère also worked for the cinema in such films as La revanche de Roger la Honte/The Revenge of Roger (André Cayatte, 1946), and Violetas imperiales/Imperial violets (Richard Pottier, 1952) with Luis Mariano and Carmen Sevilla. She played the princess in the Faust adaptation La Beauté du diable/Beauty of the Devil (René Clair, 1950) with Gérard Philipe and Michel Simon. Other highlights were Le Franciscain de Bourges/Franciscan of Bourges (Claude Autant-Lara, 1968), starring Hardy Krüger, and L'Assassinat de Trotsky/The Assassination of Trotsky (Joseph Losey, 1972) starring Richard Burton and Alain Delon. Her last film was She made her last screen appearance in Équipe de nuit/Night Shift (Claude d'Anna, 1988. She was married to Jean Desailly till his death in 2008. Simone Valère died in 2010 in Roinville-sous-Dourdan, Essonne, France. She was 87.
Sources: Wikipedia (English and French) and IMDb.
And, please check out our blog European Film Star Postcards.
Cline River Photography, Photo by Edwina Podemski.
View or purchase items from our portfolio at: www.clineriverphotography.com
This delicious heavy knit is designed for discrete confinement. It's designed to look like you've got your hands in your pockets but the sleeves are inside! When buttoned to the bottom the hem is nice and narrow to restrict walking and that hood is designed to force you to look down if you want to see at all; look straight and all you see is the lovely wool!
[Pheidole Westwood 1839: 1,160+†7 spp]
Pheidole (from φειδωλός) is a hyperdiverse and polymorphic genus, abundant in the Neotropics and in many other areas of the world. While there are other genera with discrete worker castes, none have radiated to the extent of Pheidole. Wilson's 2003 treatment of the New World spp and other more recent taxophylogenetic studies have brought some clarity to defining the boundaries of many spp. Still, much work remains before it can be claimed that Pheidole has few new spp to be described and that the taxonomy of this group is definitively complete.
REFERENCES
E.M. Sarnat & al. 2015: Introduced Pheidole of the world.
E.P. Economo & al. 2015: Expansion and taxon cycles in Pheidole.
E.P. Economo & al. 2014: Global phylogenetics of Pheidole.
M.R. Pie & M.K. Tschá 2013: Evolution of ant worker morphology.
The phone pushes down inside so you can close the book. I have done this as a vintage event I work at doesn't like us to use our mobile phones, buy they put all the info on an App
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Ce n'est clairement pas le piaf le plus sexy de nos roselières. Néanmoins, la locustelle luscinioïde s'avère être une espèce remarquable et à haute valeur patrimoniale. Inféodée aux grandes roselières, elle connait depuis plusieurs années de grosses chutes d'effectifs. Son chant très particulier, une longue trille plus rapide et grave que celle de sa cousine, la locustelle tachetée, est bien souvent le seul indice de sa présence.
Locustelle luscinioïde en Baie de Somme
The very flashy, vocal, and discreet American Redstart Warbler.
La très flamboyante, et vocale, mais très discrète Paruline flamboyante.
This picture considers a simple quasi-adaptive constrained control strategy that can be used for fin, rudder, or combined fin-rudder stabilizers. The strategy estimates the parameters of a linear output disturbance model for the wave induced roll motion using roll and roll rate measurements taken before closing the control loop. This model is then used to implement a constrained predictive control strategy. The strategy can thus be adaptive with respect to changes in the sea state and sailing conditions. The work also explores the benefit of penalizing roll accelerations as well as roll angle in the associated cost.In a previous work, we have proposed the use of constrained model predictive control (MPC) to
address the control system design problem forfin and/or rudder-based stabilizers- see Perez etal. (2000) and Perez and Goodwin (2003). This approach offers a unified framework for minimizing the impact of roll motion on ship performance,handling input and output constraints and
also provides a means for implementing adaptive
strategies.In order to implement the proposed MPC strategy,
two models are necessary: a model describing the dynamic behavior of ship motion due to control action (rudder and/or fins) and a model describing the wave induced roll motion. The first model can be obtained using system identification
techniques together with tests performed in calm waters-see, for example, Zhou et al. (1994). This model should be updated for different ship speeds. The wave induced roll motion can be modelled using a second order shaping filter, which is then
used to predict the wave induced roll motion in the MPC Formulation. This model cannot be es timated before hand since it depends on the sea state and sailing conditions (speed and encounter angle.) Adaptation is necessary.
The purpose of this paper is twofold. First, to propose a simple way to estimate the parameters of the wave-induced roll model; and thus, extend our previous work. Second, to incorporate a penalty on the roll acceleration in the associated cost. The effect of roll acceleration on ship performance has long been recognized in the naval
environment (Warhurst, 1969). Nonetheless, direct roll acceleration reduction has often been omitted from
stabilizer control system design in literature and
reported practical implementations. is shown in Figure 1. Because the control will be ultimately implemented on a computer, we will adopt a discrete-time framework to describe the models and control system design problem.
In many business organizations, there is still much confusion about the role of strategic brand development and brand management and who within the organization should lead it.
Brand strategy and brand management is too important to be left to marketing people. That’s my spin on the famous David Packard quote (as in Hewlett Packard) about marketing being too important an activity to the well-being of a business enterprise to be left in the hands of marketing people alone.
Business leaders have notoriously looked at marketing with a critical eye. Marketing is not a “hard discipline” like engineering, sales and finance. Business leaders love quantified activities that facilitate a predictable return. Marketing doesn’t provide predictable returns. And in today’s social media, permission and privacy driven world, marketing is even more suspect by consumers. Customers want real, authentic connections and engagement to brands, not more marketing and selling. Brand strategy and brand management is not a sub-discipline of marketing. As brand strategy and brand management becomes more essential for marketplace success, enlightened business leaders have moved it further away (and upstream) from the core competencies within marketing organizations. Yet for many organizations, brand strategy and brand management is an activity mostly managed within the marketing discipline. Consequently everybody in the marketing profession does “branding” these days. Branding gets bundled into a plethora of tactical marketing activities like PR, advertising, social media, sales promotion, packaging and marketing communications. Brand strategy and brand management is not marketing, advertising or communications. This by no means diminishes the essential role of marketing for creating awareness and demand. Brand strategy and brand management is not about creating awareness, it’s about guiding the quality and relevance of organizational behavior in serving a specific group of customers/consumers. It’s a more sacred and strategic process defining the who, the what, and why an organization or a product exists in the first place – beyond money making. Brand strategy and brand management is about the soul of the thing–the intangible, the unseen, the meaning rather than the physical. Brands make promises to people. Break the sacred promise and no amount of clever marketing will rebuild lost trust. Just ask Netflix or Tropicana what can happen to your business when the bonds of trust breaks. The value of brands lies in the perception customers have in their minds about what makes a brand matter to them. To matter nowadays, requires brands build deeply rooted emotional connections and never fail to deliver on the promise. The discipline of brand strategy and brand management is centered in creating a set of unchanging, universal principles that guides the behavior of organizations and the products they bring to the marketplace over the life of the enterprise. It’s not about informing the next advertising campaign. Brand strategy and brand management is a top down discipline. The principles that guide the strategy and management of a brand have to be driven by the leadership of the organization. Brand leadership begins with business leadership. Business strategy informs brand strategy which, in turn, informs marketing tactics. When marketing organizations (or worse their advertising agencies) attempt to define and lead brand strategy, it becomes more marketing. Consumers / customers loathe marketing. Marketing now gets in the way of real engagement with a brand. Marketing needs to be baked into brand strategy, not the other way around. Business leaders must drive brand strategy. Leaders determine the higher purpose, vision and values of the business enterprise, not their marketing organizations. Consequently, when leaders have clarity on “why” their brand exists, it’s much easier and more effective to weave the elements of brand strategy into the fabric of the organizational culture and guide the behavior of the organization at every customer touch point in the value chain. Brand strategy and brand management is internal, marketing is external. Brand strategy informs everyone within the organization why they exist and matter to people, what values they share, what markets they serve, what products they innovate and bring to market, what processes they use, and what experiences they are to create for customers and the community at large. Without this solid foundation firmly established, marketing organizations (and their agency partners) have nothing to go on – no map, no guidance, and no discipline – an aimless ship adrift without a rudder. Brand strategy and brand management is the rudder that steers the ship. This today's picture continues to have to make do with fewer resources to accomplish more
objectives. Competition for scare resources is an annual statistic challenge. To work without an effective formal strategy is to sail without a rudder :) A rudder is a primary control surface used to steer a ship, boat, submarine, hovercraft, aircraft, or other conveyance that moves through a fluid medium (generally air or water). On an aircraft the rudder is used primarily to counter adverse yaw and p-factor and is not the primary control used to turn the airplane. A rudder operates by redirecting the fluid past the hull (watercraft) or fuselage, thus imparting a turning or yawing motion to the craft. In basic form, a rudder is a flat plane or sheet of material attached with hinges to the craft's stern, tail, or after end. Often rudders are shaped so as to minimize hydrodynamic or aerodynamic drag. On simple watercraft, a tiller—essentially, a stick or pole acting as a lever arm—may be attached to the top of the rudder to allow it to be turned by a helmsman. In larger vessels, cables, pushrods, or hydraulics may be used to link rudders to steering wheels. In typical aircraft, the rudder is operated by pedals via mechanical linkages or hydraulics.
Chinese naval developments occurred far earlier than similar western technology.
The first recorded use of rudder technology in the West was in 1180. Chinese pottery models of sophisticated slung axial rudders (enabling the rudder to be lifted in shallow waters) dating from the 1st century have been found. Early rudder technology (c 100 AD) also included the easier to use balanced rudder (where part of the blade was in front of the steering post), first adopted by England in 1843 – some 1700 years later. In another naval development, fenestrated rudders were common on Chinese ships by the 13th century which were not introduced to the west until 1901. Fenestration is the adding of holes to the rudder where it does not affect the steering, yet make the rudder easy to turn. This innovation finally enabled European torpedo boats to use their rudders while traveling at high speed (about 30 knots).Junks employed stern-mounted rudders centuries before their adoption in the West for the simple reason that Western hull forms, with their pointed sterns, obviated a centreline steering system until technical developments in Scandinavia created the first, iron mounted, pintle and gudgeon 'barn door' western examples in the early 12th century CE. A second reason for this slow development was that the side rudders in use were, contrary to a lot of very ill-informed opinion, extremely efficient.[17] Thus the junk rudder's origin, form and construction was completely different in that it was the development of a centrally mounted stern steering oar, examples of which can also be seen in Middle Kingdom (c.2050-1800 BCE) Egyptian river vessels. It was an innovation which permitted the steering of large ships and due to its design allowed height adjustment according to the depth of the water and to avoid serious damage should the junk ground. A sizable junk can have a rudder that needed up to twenty members of the crew to control in strong weather. In addition to using the sail plan to balance the junk and take the strain off the hard to operate and mechanically weakly attached rudder, some junks were also equipped with leeboards or dagger boards. The world's oldest known depiction of a stern-mounted rudder can be seen on a pottery model of a junk dating from before the 1st century AD,though some scholars think this may be a steering oar - a possible interpretation given that the model is of a river boat that was probably towed or poled. From sometime in the 13th to 15th centuries, many junks began incorporating "fenestrated" rudders (rudders with large diamond-shaped holes in them), probably adopted to lessen the force needed to direct the steering of the rudder. The rudder is reported to be the strongest part of the junk. In the Tiangong Kaiwu "Exploitation of the Works of Nature" (1637), Song Yingxing wrote, "The rudder-post is made of elm, or else of langmu or of zhumu." The Ming author also applauds the strength of the langmu wood as "if one could use a single silk thread to hoist a thousand jun or sustain the weight of a mountain landslide."
Generally, a rudder is "part of the steering apparatus of a boat or ship that is fastened outside the hull", that is denoting all different types of oars, paddles, and rudders.[1] More specifically, the steering gear of ancient vessels can be classified into side-rudders and stern-mounted rudders, depending on their location on the ship. A third term, steering oar, can denote both types. In a Mediterranean context, side-rudders are more specifically called quarter-rudders as the later term designates more exactly the place where the rudder was mounted. Stern-mounted rudders are uniformly suspended at the back of the ship in a central position.
Although Lawrence Mott in his comprehensive treatment of the history of the rudder,Timothy Runyan,the Encyclopædia Britannica, and The Concise Oxford Dictionary of English Etymology classify a steering oar as a rudder, Joseph Needham, Lefèbre des Noëttes, K.S. Tom, Chung Chee Kit, S.A.M. Adshead, John K. Fairbank, Merle Goldman, Frank Ross, and Leo Block state that the steering oar used in ancient Egypt and Rome was not a true rudder and define stern-mounted rudder used in China as the true rudder;the steering oar has the capacity to interfere with handling of the sails (limiting any potential for long ocean-going voyages) while it was fit more for small vessels on narrow, rapid-water transport; the rudder did not disturb the handling of the sails, took less energy to operate by its helmsman, was better fit for larger vessels on ocean-going travel, and first appeared in ancient China during the 1st century AD.In regards to the ancient Phoenician (1550–300 BC) use of the steering oar without a rudder in the Mediterranean, Leo Block (2003) writes: A single sail tends to turn a vessel in an upwind or downwind direction, and rudder action is required to steer a straight course. A steering oar was used at this time because the rudder had not yet been invented. With a single sail, a frequent movement of the steering oar was required to steer a straight course; this slowed down the vessel because a steering oar (or rudder) course correction acts like a brake. The second sail, located forward, could be trimmed to offset the turning tendency of the main sail and minimize the need for course corrections by the steering oar, which would have substantially improved sail performance.
The steering oar or steering board is an oversized oar or board to control the direction of a ship or other watercraft prior to the invention of the rudder. It is normally attached to the starboard side in larger vessels, though in smaller ones it is rarely, if ever, attached. Stern-mounted steering oar of an Egyptian riverboat depicted in the Tomb of Menna (c. 1422-1411 BC) Rowing oars set aside for steering appeared on large Egyptian vessels long before the time of Menes (3100 BC). In the Old Kingdom (2686 BC-2134 BC) as much as five steering oars are found on each side of passenger boats. The tiller, at first a small pin run through the stock of the steering oar, can be traced to the fifth dynasty (2504–2347 BC).Both the tiller and the introduction of an upright steering post abaft reduced the usual number of necessary steering oars to one each side.[18] Apart from side-rudders, single rudders put on the stern can be found in a number of tomb models of the time, particularly during the Middle Kingdom when tomb reliefs suggests them commonly employed in Nile navigation. The first literary reference appears in the works of the Greek historian Herodot (484-424 BC), who had spent several months in Egypt: "They make one rudder, and this is thrust through the keel", probably meaning the crotch at the end of the keel (see right pic "Tomb of Menna"). In Iran, oars mounted on the side of ships for steering are documented from the 3rd millennium BCE in artwork, wooden models, and even remnants of actual boats. Steering oar of a Roman boat, 1st century AD (RG-Museum, Cologne). Roman navigation used sexillie quarter steering oars which went in the Mediterranean through a long period of constant refinement and improvement, so that by Roman times ancient vessels reached extraordinary sizes.The strength of the steering oar lay in its combination of effectiveness, adaptability and simpleness. Roman quarter steering oar mounting systems survived mostly intact through the medieval period. By the first half of the 1st century AD, steering gear mounted on the stern were also quite common in Roman river and harbour craft as proved from reliefs and archaeological finds (Zwammderdam, Woerden 7). A tomb plaque of Hadrianic age shows a harbour tug boat in Ostia with a long stern-mounted oar for better leverage. Interestingly, the boat already featured a spritsail, adding to the mobility of the harbour vessel.[26] Further attested Roman uses of stern-mounted steering oars includes barges under tow, transport ships for wine casks, and diverse other ship types. Also, the well-known Zwammerdam find, a large river barge at the mouth of the Rhine, featured a large steering gear mounted on the stern.[30][31] According to new research, the advanced Nemi ships, the palace barges of emperor Caligula (37-41 AD), may have featured 14 m long rudders.
An Eastern Han (25–220 AD) Chinese pottery boat fit for riverine and maritime sea travel, with an anchor at the bow, a steering rudder at the stern, roofed compartments with windows and doors, and miniature sailors. An early Song Dynasty (960–1279) painting on silk of two Chinese cargo ships accompanied by a smaller boat, by Guo Zhongshu (c. 910–977 AD); notice the large sternpost-mounted rudder on the ship shown in the foreground The world's oldest known depiction of a sternpost-mounted rudder can be seen on a pottery model of a Chinese junk dating from the 1st century AD during the Han Dynasty, predating their appearance in the West by a thousand years.[7][10][33] In China, miniature models of ships that feature steering oars have been dated to the Zhou Dynasty (c. 1050–256 BC).[7] Sternpost-mounted rudders started to appear on Chinese ship models starting in the 1st century AD.[7] However, the Chinese continued to use the steering oar long after they invented the rudder, since the steering oar still had limited practical use for inland rapid-river travel.[10] One of oldest known depiction of a stern-mounted rudder in China can be seen on a 2-foot-long tomb pottery model of a junk dating from the 1st century AD, during the Han Dynasty (202 BC-220 AD).[8][34] It was discovered in Guangzhou in an archaeological excavation carried out by the Guangdong Provincial Museum and Academia Sinica of Taiwan in 1958. Within decades, several other Han Dynasty ship models featuring rudders were found in archaeological excavations. The first solid written reference to the use of a rudder without a steering oar dates to the 5th century.
Chinese rudders were not supported by pintle-and-gudgeon as in the Western tradition; rather, they were attached to the hull by means of wooden jaws or sockets, while typically larger ones were suspended from above by a rope tackle system so that they could be raised or lowered into the water.[36] Also, many junks incorporated "fenestrated rudders" (rudders with holes in them, supposedly allowing for better control). Detailed descriptions of Chinese junks during the Middle Ages are known from various travellers to China, such as Ibn Battuta of Tangier, Morocco and Marco Polo of Venice, Italy. The later Chinese encyclopedist Song Yingxing (1587–1666) and the 17th-century European traveler Louis Lecomte wrote of the junk design and its use of the rudder with enthusiasm and admiration. Pottery boat from Eastern Han Dynasty showing rudder Paul Johnstone and Sean McGrail state that the Chinese invented the "median, vertical and axial" sternpost-mounted rudder, and that such a kind of rudder preceded the pintle-and-gudgeon rudder found in the West by roughly a millennium.[33] However, Lawrence Mott points out that the method of mounting steering gear from the stern was well known in Mediterranean navigation by the time the practice appeared in Chinese ships.
Arab ships also used a sternpost-mounted rudder.On their ships "the rudder is controlled by two lines, each attached to a crosspiece mounted on the rudder head perpendicular to the plane of the rudder blade."The earliest evidence comes from the Ahsan al-Taqasim fi Marifat al-Aqalim ('The Best Divisions for the Classification of Regions') written by al-Muqaddasi in 985: The captain from the crow's nest carefully observes the sea. When a rock is espied, he shouts: "Starboard!" or 'Port!" Two youths, posted there, repeat the cry. The helmsman, with two ropes in his hand, when he hears the calls tugs one or the other to the right or left. If great care is not taken, the ship strikes the rocks and is wrecked.
Pintle-and-gudgeon rudder of the Hanseatic league flagship Adler von Lübeck (1567–1581), the largest ship in the world at its time. Oars mounted on the side of ships evolved into quarter rudders, which were used from antiquity until the end of the Middle Ages in Europe. As the size of ships and the height of the freeboards increased, quarter-rudders became unwieldy and were replaced by the more sturdy stern-mounted rudders with pintle and gudgeon attachment. While stern-mounted rudders were found in Europe on a wide range of vessels since Roman times, including light war galleys in Mediterranean, the oldest known depiction of a pintle-and-gudgeon rudder can be found on church carvings of Zedelgem and Winchester dating to around 1180. A ship's rudder carved in oak, 15th century, Bere Ferrers church, Devon. Heraldic badge of Cheyne and Willoughby families
Historically, the radical concept of the medieval pintle-and-gudgeon rudder did not come as a single invention into being. It presented rather a combination of ideas which each had been long around before: rudders mounted on the stern, iron hinges and the straight sternpost of northern European ships. While earlier rudders were mounted on the stern by the way of rudderposts or tackles, the iron hinges allowed for the first time to attach the rudder to the entire length of the sternpost in a really permanent fashion. However, its full potential could only to be realized after the introduction of the vertical sternpost and the full-rigged ship in the 14th century. From the age of discovery onwards, European ships with pintle-and-gudgeon rudders sailed successfully on all seven seas. Many historians' consensus considered the technology of stern-mounted rudder in Europe and Islam World, which was introduced by travelers in the Middle Ages, was transferred from China. However, Lawrence Mott in his master thesis stated that the method of attachment for rudders in the Chinese and European worlds differed from each other, leading him to doubt the spread of the Chinese system of attachment
Boat rudders may be either outboard or inboard. Outboard rudders are hung on the stern or transom. Inboard rudders are hung from a keel or skeg and are thus fully submerged beneath the hull, connected to the steering mechanism by a rudder post which comes up through the hull to deck level, often into a cockpit. Inboard keel hung rudders (which are a continuation of the aft trailing edge of the full keel) are traditionally deemed the most damage resistant rudders for off shore sailing. Better performance with faster handling characteristics can be provided by skeg hung rudders on boats with smaller fin keels. Rudder post and mast placement defines the difference between a ketch and a yawl, as these two-masted vessels are similar. Yawls are defined as having the mizzen mast abaft (i.e. "aft of") the rudder post; ketches are defined as having the mizzen mast forward of the rudder post. Small boat rudders that can be steered more or less perpendicular to the hull's longitudinal axis make effective brakes when pushed "hard over." However, terms such as "hard over," "hard to starboard," etc. signify a maximum-rate turn for larger vessels. Transom hung rudders or far aft mounted fin rudders generate greater moment and faster turning than more forward mounted keel hung rudders.
There is also the barrel type rudder where the ships screw is enclosed and can be swiveled to steer the vessel. Designers claim that this type of rudder on a smaller vessel will answer the helm faster.
Female Essex Skipper (Thymelicus lineola). The Essex Skipper forms discrete colonies that vary from a small number of individuals to several thousand. Where it occurs it can therefore be very common. This species is very similar in appearance to the Small Skipper and, because of this similarity, was not recognised as a separate species until 1889. The male is distinguished from the female by the sex brand on its forewings, which is a short line of specialised scent scales. Despite its name, the Essex Skipper is now found over much of the southern half of England and it was first recorded in Wales in 2000 and in Wexford in south-east Ireland in 2006. On the British mainland it is to generally be found south of a line between Dorset and North Lincolnshire. It is believed that the increase in distribution is being assisted by the steep and grass-covered embankments that are often found on motorways and major trunk roads which acted as corridors - allowing this species to reach new locations more easily. Photo by Nick Dobbs, Old Felixstowe, Suffolk 11-07-19
it's an enormous project to preserve as much as possible of what {barely} survived the bombs in 1944 & filling in the rest, discretely, from whatever evidence there is