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From my set entitled “Black Creek Pioneer Village”
www.flickr.com/photos/21861018@N00/sets/72157611538656614/
In my collection entitled "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.
The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.
The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.
The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.
The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.
It is operated by the Toronto and Region Conservation Authority.
Assistant Chief Officer Lynne Potts MBE hosted a fundraising conference in Manchester on Wednesday, 21 March 2018.
The conference was entitled “Staying Strong in Tough Times” and speakers from various fields talked about overcoming challenging situations.
Chief Constable Ian Hopkins QPM spoke about his experiences around the Manchester Arena attack and also about wellbeing in the workplace.
In October 2016, Lynne received the unexpected and devastating news that she had secondary breast cancer, which had spread to her spine. At that moment life did not seem worth living and she could not see a future.
Fourteen months and thanks to world-class medical and surgical care delivered in Greater Manchester she is back leading a normal and full life.
Lynne launched the Windmill Fundraising Campaign to help the hospitals where she was treated.
Lynne said: “My outlook on life has changed and I am determined to ensure others learn from my experiences. Throughout our lives we will all have tough times. I am convinced, however, that we all have it in ourselves to meet adversity head on, beat it and survive. We just need to understand more about ourselves and how we can help others.
“This unique conference explored how individuals have got through times of adversity; it examined the latest academic theory on how to build personal resilience and most importantly left people with tools and techniques which they can usefully use on a day to day basis to help you get through when times get tough.”
To find out more about Greater Manchester Police please visit
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
West 13th Street, NYC
by navema
The controversial documentarian turned artist Mr. Brainwash launched a massively hyped pop art exhibition earlier this year in New York City. Based on the response, the artist re-opened the show entitled ICONS REMIX on Mother’s Day, May 9 2010, and he presented several new art pieces.
The original ICONS show ran from February 14th – March 31st, 2010
Los Angeles based French street artist, Mr. Brainwash (aka Thierry Guetta), celebrated his first solo show in New York with ICONS. Mr. Brainwash is the alter-ego of French immigrant Thierry Guetta, who now lives in Los Angeles. His preoccupation with street art and graffiti led him to years filming the people behind the work, and eventually he became an artist too.
This body of work is the result of traveling throughout Europe and the United States as the subject of Banksy's documentary, Exit Through the Gift Shop. This documentary about the process secretly premiered at the Sundance Film Festival in January of 2010. It wasn’t listed in the program, but quickly became the hottest ticket at the festival. Featuring famed street artists like Banksy, Ron English, Borf and Shepard Fairey, the viewer is able to watch the famous fiends at work. One of the most memorable scenes is of Banksy installing an inflatable replica of a Guantanamo torture victim right next to a roller coaster in The Happiest Place On Earth — Disneyland.
Being a trusted accomplice of Banksy is no small feat — and accomplice is perhaps a better word than friend, given that Banksy described Guetta as “maybe just someone with mental problems who happened to have a camera.”
Since his entrance onto the contemporary art scene in 2008 with his Los Angles show “Life is Beautiful”, Mr. Brainwash (Guetta) has raised a lot of questions, namely ‘is he for real?’ Guetta began to follow the exploits street artists’ Shepard Fairey and Banksy with a digital video camera, but soon Banksy turned the camera on Guetta, encouraging him to create his own persona, which is the end product of Exit Through the Gift Shop, the documentary being billed as ‘the world’s first street art disaster movie’. Critics and gallerists alike have written him off as a hack, or simply a regurgitation of Banksy and Shepard Fairey’s existing work.
Held in a two story converted gallery space, at 415 West 13th Street, the show featured pop portraits, prints, and engaging large scale sculptures. An enormous multi-level space packed with jumbo canvases and installations, including a life-size horse made from tire treads. In the middle of the upper level was a pink-splattered can of paint so big you could hold a party inside it. Combining pop art sensibilities with graffiti culture, Mr. Brainwash’s relentless riffing on celebrity culture is at once familiar and colorful. He recasts Angelina Jolie as Marilyn Monroe, smothers a 7′ can of spray-paint with Louis Vuitton’s famous monogram, and recreated Jimi Hendrix on a canvas covered in crushed records. At the back of the room, almost hidden in the dark, was a classic NYC cab sealed inside life-sized Matchbox packaging.
The feeling of the show? A Warholian art revival with walls filled up with dozens of replicant Madonna images, as in Warhol's Campbell's Soup series, so much so that it could be difficult to say if the whole thing is just a joke or Mr. Brainwash really believes he is 'an original'. To underline his artistic personality, though, all the silkscreens were colored with spray paint or had some additional details.
Regardless of sentiment, Guetta’s work draws a crowd. Without endorsing or refuting his credibility as an artist, Brainwash certainly fulfilled the exhibitions’ namesake. Under his nom de guerre, Guetta created or reproduced images that are easily identifiable; the subjects are no longer individuals, but rather logos in our collective cultural memory.
For more about the artist, visit: www.mrbrainwash.com
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
Entitle : "german retreating from bellervood with machine gun"
Rather an assault by German troops (in a training camp?). A nice example of german postcard copy by Americans and re-use with other legend. The quality of those cards is often bad quality. I never saw this view on the original german postcard.
2 soldiers carry a machine gun on the left and the soldier at the right owns alone a Wex flamethrower. A classic view to have in a flamethrower collection.
I had spotted it for a long time but I was not sure that it was a flamethrower because of the quality of the card but on Thomas Wictor's profile I was able to have the confirmation.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
St Edmundsbury Cathedral (formally entitled the Cathedral Church of St James) is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds. Originating in the 11th century, it was rebuilt in the 12th and 16th centuries as a parish church and became a cathedral in 1914; it has been considerably enlarged in recent decades.
A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. Anselm was also responsible for building the abbey gate tower, known today as the Norman Tower, alongside St James's, which also served as the church's belfry and it continues in this function to the present day.
This church was largely rebuilt, starting in 1503, in the Perpendicular style by John Wastell, a master mason who also worked on King's College, Cambridge. Further alterations to the building were undertaken in the 18th and 19th centuries, notably a new chancel and a hammerbeam roof by George Gilbert Scott. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James's Church was made the cathedral. In 1959 Benjamin Britten wrote the Fanfare for St Edmundsbury for a "Pageant of Magna Carta" held in the cathedral grounds.
From 1959 onwards there was renewed building work designed to transform the former parish church into a cathedral building. Between 1959 and 1970, the Victorian chancel was demolished and replaced with a new quire, a cloister was added on the west side; also transepts, a Lady chapel and a side chapel dedicated to St Edmund were built. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre were which were opened in 1990, built by Dykes Bower's successor, Alan Rome.[1] Work started on a Gothic revival style tower in 2000; funded by the Millennium Commission, the Stephen Dykes Bower Trust and others, the Millennium Tower was designed by Hugh Matthew, an associate of Dykes Bower. The 150 foot (46 metre) structure was built from 600,000 bricks and faced with Barnack and Clipsham stone. Its completion was officially celebrated on 22 July 2005.Further additions are the Chapel of the Transfiguration and the East Cloister, both completed in 2009, and the Crypt Treasury in 2012.
Interior
The font was designed in 1870 by George Gilbert Scott, constructed on a medieval shaft, with a cover by Frank Ernest Howard of Oxford. The decoration was added in 1960. A painting, "The Martyrdom of St Edmund" by Brian Whelan hangs in the Lady Chapel.[7] A sculpture by Elizabeth Fink entitled Crucifixion stands by the Treasury steps. Stained glass in the cathedral includes the medieval Susanna Window which has Flemish glass in the lower section and English glass at the top. The west window depicts the Last Judgement and dates from about 1900.
In addition to guided tours of the cathedral itself, visitors can view changing exhibits of art in the Edmund Gallery, and an exhibit of historic and religious regalia and artefacts in the Cathedral Treasures display.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
From my set entitled “Pulmonaria”
en.wikipedia.org/wiki/Pulmonaria
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Pulmonaria
The lungworts are the genus Pulmonaria of flowering plants in the family Boraginaceae, native to Europe and western Asia, with one species (P. mollissima) east to central Asia. According to various estimates there may be between 10 and 18 Pulmonaria species found in the wild, but the taxonomy of this genus is very confusing.
The scientific name Pulmonaria is derived from Latin pulmo (the lung). In the times of sympathetic magic, the spotted oval leaves of P. officinalis were thought to symbolize diseased, ulcerated lungs, and so were used to treat pulmonary infections. The common name in many languages also refers to lungs, as in English "lungwort" and German "Lungenkraut". In some East European languages, the common name is derived from a word for honey, e.g. Russian "medunitza" and Polish "miodunka".
English colloquial names include Lungwort, Soldiers and Sailors, Spotted dog, Joseph and Mary, Jerusalem Cowslip, Bethlehem Sage.
Lungworts are perennial herbs that form clumps or rosettes. They are covered in hairs of varied length and stiffness, and sometimes also bear glands. The underground parts consist of a slowly creeping rhizome with adventitious roots. Flowering stems are unbranched, rough, covered with bristly hairs, usually not exceeding 25–30cm, with a few exceptions (P. mollis, P. vallarsae). The stems are usually upright, or slightly spreading.
The leaves are arranged in rosettes. The blades are usually large, from narrowly lanceolate to oval, with the base ranging from heart shaped to very gradually narrowing, and can have a sharply pointed or blunt tip. Leaf margin is always entire, but in some species and forms can be rather wavy. Basal leaves are carried on stalks that can be short or longer than the leave blade in various species. Stem leaves are smaller and often narrower, and are unstalked or clasping the stem. All leaves are covered with hairs that are usually bristly, or occasionally soft. The leaves are often prominently spotted in black and blue, or sometimes in pale green, or unspotted.
The inflorescence is a terminal scorpioid cyme, with bracts. Lungwort flowers are heterostylous, with two distinct forms of flower within each species; those with short stamens and long styles ("pin" flowers) and those with long stamens and short styles ("thrum" flowers), with the former usually being larger and more showy. The calyx is hairy, 5-lobed, tubular or funnel-shaped, enlarging as the fruit ripens. The corolla is funnel-shaped and consists of a long, cylindrical tube and a limb with five shallow lobes. Within the corolla throat, five tufts of hairs alternate with the stamens to form a ring. The colour of corolla varies from purple, violet or blue to shades of pink and red, or sometimes white. The colour of the flower in bud is often pink, which then changes as the flower matures. The stamens and style are included within the corolla and not protruding.
The nutlets are smooth, egg-shaped, brownish, up to 4.5 mm long and 3 mm wide, each containing a single seed. Up to four nutlets per flower are produced, ripening mostly in summer.
Pulmonaria species are used as food plants by the larvae of some Lepidoptera species including Coleophora pulmonariella which feeds exclusively on P. saccharata.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
International Fleet Review (Trafalgar 200) onboard HMS Ocean.Pictured is an Apache coming in to land onboard HMS Ocean
Royal Navy Celebrate Trafalgar Bicentennial Year
In this Trafalgar bicentennial year, the Royal Navy will be at the heart of the SeaBritain 2005 programme and will be marking the occasion with a series of major public events in June/July and October. The programme is entitled ‘Trafalgar 200 Past Glories – Future Horizons’
The summer events in Portsmouth begin with the International Fleet Review in the Solent on 28th June. Some 35 nations will be in attendance, representing every continent. This will be the largest international gathering of vessels to be reviewed by Her Majesty the Queen and will include warships, tall ships, merchant ships and yachts – over 160 vessels in total. Her Majesty the Queen, The Lord High Admiral, will be reviewing The Fleet from HMS ENDURANCE and witnessing a steam past and sail past of 300 warships, tall ships and private yachts. There will also be a contemporary element of informality to this event given by the focus on youth. Over the period of the review around 3000 young people will have been afloat. In the evening there will be a Son et Lumière illustration of an early 19th century sea battle with state of the art lighting, pyrotechnics and sound effects, with big screen displays on land. This memorable and historic evening will finish with a spectacular fireworks display and lighting up of the Fleet. On the following day an International Drumhead Ceremony on Southsea Common will provide a more reflective occasion during which veterans of all maritime conflicts will commemorate the personal sacrifice of war. These events will all receive extensive TV and radio coverage.
The summer events will conclude with one of the largest outdoor events in Europe, a spectacular 4 day International Festival of the Sea in Portsmouth Naval Base, where ships from the International Fleet Review will be open to the public and hundreds of classic and working boats will be on view. Open from 10AM to10 PM, from 30 June to 3 July, the emphasis will be on fun for all, with hundreds of musicians, artists and entertainers providing a unique, lively, somewhat “marinated” and very exciting atmosphere. A range of dramatic live displays will showcase the Armed Forces of today and the future on every day of the festival.
October will see Trafalgar Night dinners in and around HMS Victory. On Sunday 23 October events will move to London with a morning Sea Cadet parade in Trafalgar Square, a national service of commemoration at St Paul’s at 3PM. Trafalgar Square will be the incomparable and inevitable culmination with a spectacular maritime experience with an entirely original celebration of our maritime heritage – Past, Present and Future – something the nation can remember for the next one hundred years.
Royal Navy Celebrate Trafalgar Bicentennial Year
In this Trafalgar bicentennial year, the Royal Navy will be at the heart of the SeaBritain 2005 programme and will be marking the occasion with a series of major public events in June/July and October. The programme is entitled ‘Trafalgar 200 Past Glories – Future Horizons’
The summer events in Portsmouth begin with the International Fleet Review in the Solent on 28th June. Some 35 nations will be in attendance, representing every continent. This will be the largest international gathering of vessels to be reviewed by Her Majesty the Queen and will include warships, tall ships, merchant ships and yachts – over 160 vessels in total. Her Majesty the Queen, The Lord High Admiral, will be reviewing The Fleet from HMS ENDURANCE and witnessing a steam past and sail past of 300 warships, tall ships and private yachts. There will also be a contemporary element of informality to this event given by the focus on youth. Over the period of the review around 3000 young people will have been afloat. In the evening there will be a Son et Lumière illustration of an early 19th century sea battle with state of the art lighting, pyrotechnics and sound effects, with big screen displays on land. This memorable and historic evening will finish with a spectacular fireworks display and lighting up of the Fleet. On the following day an International Drumhead Ceremony on Southsea Common will provide a more reflective occasion during which veterans of all maritime conflicts will commemorate the personal sacrifice of war. These events will all receive extensive TV and radio coverage.
The summer events will conclude with one of the largest outdoor events in Europe, a spectacular 4 day International Festival of the Sea in Portsmouth Naval Base, where ships from the International Fleet Review will be open to the public and hundreds of classic and working boats will be on view. Open from 10AM to10 PM, from 30 June to 3 July, the emphasis will be on fun for all, with hundreds of musicians, artists and entertainers providing a unique, lively, somewhat “marinated” and very exciting atmosphere. A range of dramatic live displays will showcase the Armed Forces of today and the future on every day of the festival.
October will see Trafalgar Night dinners in and around HMS Victory. On Sunday 23 October events will move to London with a morning Sea Cadet parade in Trafalgar Square, a national service of commemoration at St Paul’s at 3PM. Trafalgar Square will be the incomparable and inevitable culmination with a spectacular maritime experience with an entirely original celebration of our maritime heritage – Past, Present and Future – something the nation can remember for the next one hundred years.
Royal Navy Celebrate Trafalgar Bicentennial Year
In this Trafalgar bicentennial year, the Royal Navy will be at the heart of the SeaBritain 2005 programme and will be marking the occasion with a series of major public events in June/July and October. The programme is entitled ‘Trafalgar 200 Past Glories – Future Horizons’
The summer events in Portsmouth begin with the International Fleet Review in the Solent on 28th June. Some 35 nations will be in attendance, representing every continent. This will be the largest international gathering of vessels to be reviewed by Her Majesty the Queen and will include warships, tall ships, merchant ships and yachts – over 160 vessels in total. Her Majesty the Queen, The Lord High Admiral, will be reviewing The Fleet from HMS ENDURANCE and witnessing a steam past and sail past of 300 warships, tall ships and private yachts. There will also be a contemporary element of informality to this event given by the focus on youth. Over the period of the review around 3000 young people will have been afloat. In the evening there will be a Son et Lumière illustration of an early 19th century sea battle with state of the art lighting, pyrotechnics and sound effects, with big screen displays on land. This memorable and historic evening will finish with a spectacular fireworks display and lighting up of the Fleet. On the following day an International Drumhead Ceremony on Southsea Common will provide a more reflective occasion during which veterans of all maritime conflicts will commemorate the personal sacrifice of war. These events will all receive extensive TV and radio coverage.
The summer events will conclude with one of the largest outdoor events in Europe, a spectacular 4 day International Festival of the Sea in Portsmouth Naval Base, where ships from the International Fleet Review will be open to the public and hundreds of classic and working boats will be on view. Open from 10AM to10 PM, from 30 June to 3 July, the emphasis will be on fun for all, with hundreds of musicians, artists and entertainers providing a unique, lively, somewhat “marinated” and very exciting atmosphere. A range of dramatic live displays will showcase the Armed Forces of today and the future on every day of the festival.
October will see Trafalgar Night dinners in and around HMS Victory. On Sunday 23 October events will move to London with a morning Sea Cadet parade in Trafalgar Square, a national service of commemoration at St Paul’s at 3PM. Trafalgar Square will be the incomparable and inevitable culmination with a spectacular maritime experience with an entirely original celebration of our maritime heritage – Past, Present and Future – something the nation can remember for the next one hundred years.
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Mural entitled "Inhale Exhale" by David Heo aka @davheo seen in the Clifton Avenue Street Art Gallery in the Uptown area of Chicago, Illinois.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Mural entitled “Arianrhod” by Robin Munro aka @_dreadgod_ located at 3500 Delgany Street in the RiNo area of Denver, Colorado.
Arianrhod is the Celtic goddess of air, reincarnation, full moons, time, karma and retribution.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
A plenary session entitled «Major Sports Events as a Favourable Business Investment and Sustainable Development Stimulus: Maximizing Economic, Social and Environmental Legacy of the 2014 Sochi Games » has taken place in the framework of the X Investment Forum in Sochi. In the course of the event, representatives of federal, regional and city authorities as well as heads of the “Sochi 2014” partner companies discussed the Games’ legacy for Russia as well as viewed major sports events as a catalyst for developing the investment potential of the regions, and as a platform for their sustainable development.
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie
Valparaiso, Ind. 1/23 1906
This entitles Geo. Fossel
to a Life Membership in the Practical Department
of the Valparaiso College and Business Institute
H. B. BROWN
This does not exempt the bearer from the regular Term Certificate.
Date: 1906
Source Type: Obsolete Scrip
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: The Northern Indiana Normal School and Business Institute, which operated from 1873 through 1900, later to be renamed Valparaiso College in 1900, and then renamed again as Valparaiso University in 1906, issued scrip as a form of remuneration.
Copyright 2018. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
From my set entitled “Smokebush”
www.flickr.com/photos/21861018@N00/sets/72157607213776358/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Smoketree or Smoke bush (Cotinus) is a genus of two species of flowering plants in the family Anacardiaceae, closely related to the sumacs (Rhus). They are large shrubs or small trees, native to the warm temperate Northern Hemisphere. The leaves are deciduous, alternate, simple oval shape, 3-13 cm long. The flowers are clustered in a large open terminal panicles 15-30 cm long with a fluffy grayish-buff appearance resembling a cloud of smoke over the plant, from which the name derives. The fruit is a small drupe with a single seed. Often classified in Rhus in the past, they are distinguished by the leaves being simple (not pinnate) and the 'smoke-like' fluffy flower heads.
The American Smoketree (Cotinus obovatus, syn. Rhus cotinoides) is native to the southeastern United States, from Tennessee south to Alabama and west to eastern Texas. It is a larger plant, frequently becoming a small tree up to 10-12 m tall and with a trunk up to 25 cm diameter. The leaves are also larger, 6-13 cm long; it also has varied but very bright fall color, usually brighter than the Eurasian species. The flower heads are usually sparser than in C. coggygria.
The smoketrees, particularly C. coggygria, are popular garden shrubs. Several bronze or purple-leaved cultivars of C. coggygria have been selected, with warm pink inflorescences set against purple-black foliage; the commonest in commerce are 'Notcutt's Variety' and 'Royal Purple'. When brought into cultivation together, the two species will form hybrids; some garden cultivars are of this parentage.
Cultivation is best in dry, infertile soils, which keeps the growth habit more compact and also improves the autumn colour; when planted in fertile soil, they become large, coarse and also tend to be short-lived, succumbing to verticillium wilt disease. Both species can be coppiced in early spring, to produce first-year shoots up to 2 m tall with large handsome leaves, but no "smoke".
Entitled "Piss" (Čůrající postavy). Also known as "Streams." Interactive fountain. These statues were created in 2004 by Czech artist sculptor David Cerny and are said to be writing quotations from Czech literature in the fountain. Visitors may send text messages to them to write on demand. It seems these statues have had too much Czech beer!
P1250253a
This exhibition, entitled 'Nah Poeh Meng' (Along The Continuous Path) is permanently displayed at the Poeh Cultural Center and Museum in Pojoaque, New Mexico. Pojoaque Pueblo is one of the six Tewa-speaking Rio Grande Pueblos. The museum is devoted to the arts and culture of the Puebloan peoples, especially the Tewas in the northern part of the state.
The Nah Poeh Meng display is divided into six rooms with each room based upon both a temporal and seasonal theme. The figurative sculptures are the work of Pueblo artist Roxanne Swentzell and the painted murals are by Marcellus Medina.
Detail of a beautiful painting entitled ‘Christ Blessing, Surrounded by a Donor and His Family’. Attributed to Ludgar tom Ring the Younger, c.1575-80. In the centre piece is Christ depicted alongside an unknown Westphalian family. To the left and right of this are two portraits, one of a man, the other of a woman (not included here). This painting may have been commissioned on the marriage of a member of the family included, with the groom and bride being depicted to the side of the piece.
The portrait of the man: www.flickr.com/photos/20631910@N03/3665176573/in/photostr...
The portrait of the woman: www.flickr.com/photos/20631910@N03/3665224317/
The flowers strewn on the table before Christ represent love, commitment, faith and possibly fertility. The family’s Protestant faith is indicated, particularly with the texts above the figures. The texts in question are from the Gospel of St John and from Psalms which are taken from Martin Luther’s translation of the Bible into Low German.
The painting is included in the European Paintings collection in the Metropolitan Museum of Art, NY. Photography is permitted.
From my set entitled “Black Creek Pioneer Village”
www.flickr.com/photos/21861018@N00/sets/72157611538656614/
In my collection entitled "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.
The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.
The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.
The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.
The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.
It is operated by the Toronto and Region Conservation Authority.
Miro's Chicago
Also entitled: "The Sun, The Moon and One Star", 1967
Installed: 1981
Joan Miró (1893-1983)
Brunswick Plaza
West of 60 West Washington Street
(between Dearborn and Clark Streets)
Her shape and pose reminiscent of the famous Minoan snake goddess figurine from Crete, Miro’s Chicago is a 39-foot / 12 meter tall stylized female form fashioned from concrete over a metallic armature, ceramic tile, and bronze, on a travertine stone base.
Placed in a small plaza between the Chicago Temple Building and the Cook County Administration Building, the statue is often overlooked in favor of Picasso's sculpture in Daley Center Plaza on the opposite side of the street.
Originally to be installed the same year as Picasso’s work, the plan was abandoned, due to financial issues, by the Brunswick Corporation, which commissioned the piece. It remained a small maquette for some 18 years until a committee, led by Stanley Freehlin, raised over half of the necessary funds from private donors and the City of Chicago contributed matching funds. The finished figure was unveiled on April 20, 1981, by Chicago’s first female mayor, Jane Byrne. The Art Institute of Chicago maintains Miro's plaster "Chicago" maquette from 1963: www.artic.edu/aic/collections/artwork/100666.
www.chicagopublicart.blogspot.ca/2013/09/the-sun-moon-and-one...
www.chicagoartworld.blogspot.ca/2014/01/1981-joan-miro-brunsw...
www.connectingthewindycity.com/2013/08/sun-moon-and-one-s...
THE LOOP:
Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.
A large-scale print from the series by photographer Hiroshi Sugimoto entitled 'Henry the VIII and His Six Wives'. This photograph was part of a 2012 exhibit entitled "About Face" at 'Pier 24 Photography', a private museum in San Francisco. Pier 24 is a critically acclaimed, photography collection owned by investment banker Andrew P. Pilara Jr. The collection is housed and displayed in a converted waterfront warehouse located at Pier 24 on the Embarcadero directly beneath the Bay Bridge in San Francisco.
Anne of Cleves (1515–1557) was Queen of England for only six months from January, 1540 to July, 1540 as the fourth wife of King Henry VIII. The marriage was declared never consummated, and she was not crowned queen consort. Following the annulment of their marriage, Anne was given a generous settlement by the King, and thereafter referred to as the King's Beloved Sister. She lived to see the coronation of Queen Mary I, outliving Henry's five other wives.
This image of Anne of Cleves is in fact a photograph of a waxwork made by the legendary Madame Tussaud. Sugimoto placed a black velvet cloth behind the waxwork and used a 3/4 turned and cropped framing of the “figure” akin to the first portrait photographers in the mid-nineteenth century. In so doing, he breathes photographic life into the layers of simulation and equivalence of his historic subject.
Sugimoto was born in Tokyo in 1947 and came to Los Angeles in the 70's to study photography at the Art Center College of Design. He moved to New York in 1974, and began a series of photographs of dioramas at the Museum of Natural History. From 1978, in cinemas across the USA, he photographed Theatres, screen images each made with a single exposure lasting for the duration of a film. He began photographing Seascapes in the 1980s and 1990s. His first book, Sugimoto, appeared in 1988. Recent work includes the series Sanjusangendo, Hall of Thirty-Three Bays (1995) of Buddhist statues, and portraits of the historical figures at Madame Tussaud's Museum (Wax Museums, since 1994).
This Thermal King Glass Asshole Motorist has ZERO FUCKS to give about the law or pedestrian Right-Of-Way.
I wonder if he'll feel the same way about the ticket?
Entitled A north-easterly aspect of Lyttelton from near the Oil Wharf, this is an image by a local photographer.
This photograph was stolen and published by Harcourts Group Ltd for the specific purpose of making a commercial profit or gain; namely, to promote sales of the Fitzroy Head residential subdivision.
In deliberate infringement of New Zealand’s Copyright Act, the photograph appeared in a double page advertisement of issue 506 of the Bluebook Canterbury magazine. It was also used on twelve pages of four separate web sites (one of which, Harcourts proclaim, receives more than half a million views each month).
In late 2008, Bryan John Thomson, CEO of the Riccarton, Christchurch based Harcourts Group was asked by the amateur photographer to address the matter of this theft of intellectual property. He responded with the assurance that "this matter will be addressed in the appropriate manner."
With no subsequent communication, Thomson's interpretation of an appropriate manner might appear to constitute ignoring a criminal offence punishable by substantial fines and a lengthy custodial sentence.
Perception IS NOT Reality is the title of Thomson's latest blog post. In view of the foregoing it could seem that the chief executive of the New Zealand’s largest real estate group's personal perception of legal responsibility may be overdue for a reality check.
Now an international conglomerate in an industry whose ethics are reputedly perceived by New Zealanders with less than favour, the Harcourts Group is currently part of the Leading Real Estate Companies of the World global network of nearly 700 real estate companies with 5,500 offices and 170,000 sales associates in 38 countries.
ADDENDUM
The theft of Intellectual Property breaches the Code of Ethics of the Real Estate Institute of New Zealand. In what might well be construed as an endorsement of the criminality of its members, the Institute has failed to respond to a formal complaint by the photographer.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
The sculpture entitled "Wanderers", by artist Brad Jackson from Western Australia. Part of the 2014 Sculpture by the Sea exhibition in the east of Sydney, Australia.
The artist's statement in the catalog: "The wanderers are a passing family group of travelling orbs. Their origin, destination and intentions remain unknown."
From my set entitled “The Flight Crew”
www.flickr.com/photos/21861018@N00/sets/72157607477197733/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference. Those formal photos were taken while the boys were at home…feeling relaxed and proud.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
My Uncle Bill Watson was born on March 3, 1922 in Grand Valley, Ontario. His mother was Lily Selma Watson, and his father was William Henry Watson. Before enlisting, he worked as a pharmacist’s apprentice in Mount Dennis, Ontario. He attended a Lorne Scots training program at Niagara-on-the-Lake from July to September, 1941
Bill attended #4 Wireless School in Guelph, Ontario, after which he entered service at No. 1 Manning Depot at the CNE grounds in Toronto. Upon leaving basic training, Bill attended #6 Initial Training School at the former normal school in St. James Square, Toronto. He received his officer’s commission after attending #4 Air Observation School in London Ontario (Crumlin)
Bill was chosen to become a navigator which attests to his high marks at Initial Training School. From January 3-16, 1944, Bill was posted at #1Y Depot in Halifax, and he attended #2 Air Gunner Training School in Lachine Quebec from January 16, 1944 to February 11, 1944.
Bill embarked from Halifax on March 5, 1994, and arrived at Greenoch, Scotland on March 14, 1944. From March 15, 1944 to April 18, 1944, Bill was stationed at #3 Personnel Receiving Centre in Bournemouth, Dorset where he awaited advanced postings. From April 18, 1944 to May 24, 1944, he was located at 9 Observer Aircraft Flying Unit, Llandwrog, Wales.
From May 24, 1944 until his death on July 23, 1944, Bill was part of #83 Operational Training Unit at Peplow, Shropshire. He was killed on a night training mission, when his Wellington bomber ditched in the Irish Sea, and he was buried at Blacon Cemetery, Chester on August 11, 1944
This statue entitled Montana stands seventeen-feet-high and was intended to be the personification of liberty. Sculptor Edward J. Van Landeghem was its creator. It was placed atop the capitol during construction in the December of 1900.
The stunning Montana State Capitol in Helena was constructed at a cost of $540,000 from 1899 to 1902 using the designs of Council Bluffs, Iowa architects Charles Emlen Bell and John Hackett Kent. In 1909-12 additions were placed on the east and west sides of the building under the supervision of architects Frank M. Andrews of New York and John G. Link and Charles S. Haire of Montana.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
August 11, 2011
The Daily Show’s John Stewart comments on Fox News' Megyn Kelly’s return from
maternity leave with a more liberal perspective on mandated benefits and entitlement programs.
Religious freaks abound around here. Racist, Homophobic, LOUD, obnoxious, righteous, horrifying entitled attitudes... and one of my neighbors PAINTED on their door a white cross. She also stands in her doorway and screams at people, slapping her hands against the doorframe, shouting "SHALOMM!!! SHALOMM!!" I have no idea, but it's frickin creepy and a total assault on the senses. You can hear chanting and screaming and HOWL LA LOO YAAAH!!'s all night long from large groups crammed into small apartments and sporting bibles like weaponry.
Statue entitled "Captain on the Helm" by sculptor Michael Martino located on the waterfront just south of Navy Pier in Chicago, Illinois.
Entitled ‘Memories ever.’, the verse printed on the front of this postcard reads, ‘We send this loving message / To you across the sea, / And hope you’re safe / and free from harm, / Wherever you may be’. A childish hand has penned the following message on the reverse: ‘To my Dear Da / From his little Christie wishing him soon home / Best love x x x x x x / I am going to love him a big bit when he comes home (Christy)’. The information printed on the back states, ‘All British Production / Series No 496-2’.
A new campaign highlighting robbery was launched in Bedfordshire earlier this week. Entitled ‘Stay Safe: Help put ‘Robin’ Robber’ Behind Bars…Bedfordshire Police wants to know who is committing robbery where you live…’ it is designed to reduce crime, detect crime and de-assure offenders.
Life size cut outs of ‘Robin Robber’ seen ‘behind bars’, or in this case park railings, have been put up in areas of Luton and Bedford that are popular with the public to act as a deterrent to would-be offenders who are thinking about committing crime.
Jo Hobbs, Media Relations Manager said: “We are trying something new with this campaign and using psychological warfare to de-assure criminals, but also show the public we are making a dent and reducing crime. The signs inform the public that 461 ‘robbers’ have been arrested already this year. “. The campaign also educates the public to what is defined as robbery.
A robbery is when a person uses or threatens to use force to steal. It is more serious than theft and you can be guilty of robbery even if you are just part of a group that robbed someone. Robbery carries a maximum sentence of life imprisonment. Threatening someone in order to take possessions from them is not bullying, but robbery and convictions for this offence carry a custodial sentence.
There are 10 signs in total; which have been placed in Luton and Bedford. Robin’ Robber is also being promoted on-line via the force website and all social media channels. For more information on the campaign, click here.
At Bedfordshire Police our aim is "fighting crime, protecting the public.",
We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more details about the force, visit our website www.bedfordshire.police.uk
Title / Titre :
Poems, Chiefly in the Scottish Dialect, a poem entitled “Scotch Drink” /
Poems, Chiefly in the Scottish Dialect, poème intitulé « Scotch Drink ».
Description :
The first edition of Robert Burns’ Poems, Chiefly in the Scottish Dialect was published in Kilmarnock, Scotland in 1786. Only about 600 copies were printed. The finely-bound copy now held by Library and Archives Canada was a gift from the British Government on the occasion of Canada’s centennial in 1967. Its green leather binding with gold-tooled decorations and silk endpapers was created in the 19th century by the well-known British bookbinder Robert Riviere. /
La première édition de Poems, Chiefly in the Scottish Dialect, de Robert Burns, a été publiée à Kilmarnock, en Écosse, en 1786. Seulement 600 exemplaires environ ont été imprimés. L’exemplaire finement relié que possède maintenant Bibliothèque et Archives Canada était un cadeau du gouvernement anglais à l’occasion de centenaire du Canada, en 1967. Sa reliure en cuir vert comportant des décorations or et des pages de garde en soie a été créée au 19e siècle par le célèbre relieur anglais Robert Riviere.
Creator(s) / Créateur(s) : Robert Burns
Date(s) : 1786
Reference No. / Numéro de référence : OCLC 4752176
bac-lac.on.worldcat.org/oclc/4752176
Location / Lieu : Kilmarnock, Scotland / Kilmarnock, Écosse
Credit / Mention de source :
Robert Burns. Library and Archives Canada, Kilmarnock : Printed by J. Wilson, 1786 /
Robert Burns. Bibliothèque et Archives Canada, Kilmarnock : Printed by J. Wilson, 1786
PETER CUNNINGHAM recently returned from China where he is teaching Chinese photographers and completing his STILL FILM entitled Cultural Evolution. This might seem a long journey from his first paid job as a photographer in 1973, when, for $25 he made Bruce Springsteen's first pictures at Columbia Records and later did the same for Madonna. Peter learned to be a professional photographer creating images for famous performers in music and theater, he did this for 15 years (portfolio) until the birth of MTV made the field less interesting.
At the same time he learned to remain a passionate amateur from photographer Adger Cowens who taught about seeing not objects in one's camera, but perceiving objects as the light that is bouncing off them, mixing it with your feelings and history and mythology, and and responding from your gut. Peter also learned from Henri Cartier-Bresson who he was privildged to assist in 1975. The two traveled every day for a month to New Jersey to document what HCB considered the prototypical American state. My job was to talk to everyone so Henri could concentrate on seeing. The New York Times gave Henri it's lead op-ed space on the day Bill Moyers aired the show.
Also in 1980, Peter began studies with Bernie Glassman at the Zen Community of New York. His first public exhibitiion, "THIS IS IT? was held in the cafe sponsored by ZCNY; that little cafe evolved into The Greyston Bakery famous for cakes and cookies and for revivifying people with difficult histories. Peter's travels and friendships among Zen practitioners and teachers in Japan, Europe, The Middle East, and The United States have been a great blessing and influence on his life and work. His trip to Japan with Bernie and Peter Matthiessen to visit the ancestors of Bernie's teacher, Maezumi Roshi, resulted in the publicaton of "Nine-Headed Dragon River"; Peter has helped document the migration of Zen Buddhist practice from Japan to the West. After Maezumi Roshi's death in 1995 the practice, while retaining it's traditional form in many places, also evolved into new American/European forms. Bernie Glassman took his students into the streets or to sit meditation in Auschwitz-Birkenau and has now created The Peacemaker Community; Genpo Roshi started his Big Mind form of teaching, and throughout the West; many of the best teachers of the next genereation are women, a development that would have been inconceivable in Japan.
'In about 1980 cable tv was being launched and I was asked by an ad agency to create a series of 20 posters of people (my friends) which were displayed on the NYC subways in all 5 boroughs. I took the opportunity to take make a second more personal portrait of my models posed next to the purposeful commercial image on the postere. This series became the Black&White portion of Peter's first major exhibition in 1982 at Harkness House curated by Liz Thompson and Kathy DeShaw.
The other half of this 1982 exhibition framed color prints in combinations, and thus began the long evolution of the theatrically-scaled triptych medium Peter calls "StillFilm". Peter has exhibited still films around the world; in 2005 he showed the Still Films in Krakow, London, Paris, and Berlin. ..... the web version he calls "StillTV".
In 1989 when the Berlin Wall fell, Peter, based in New York City,began creating a Still Film he calls BLINDERS. I wondered what would replace the authoritarian structures that had ruled in the East, what systems are in place in the West that keep people well behaved and going to work day after day."
Peter continued this general theme in Berlin in 1994 with his still film WÄNDE WENDE (Walls Change) Previewing the still film's debut at The Knitting Factory, The New Yorker says about Cunningham, "These visual poems are decidedly more ambitious than his celebrity work; in the past they've consisted of essays on nature and consumerism. He shot his latest still film in Berlin, and it addresses, in a stunningly colorful fashion, how the walls that hem us in are not necessarily made of concrete."
Peter's current work in China, Cultural Revolution is based on a similar idea, that images have a kind of persuasive power was once wielded by guns. Peter imagines presenting these three shows together in their home cities: New York, Berlin, and Beijing:
Hello, My name is John Lewis Jensen, and I've been making high-end Art Knives since 1994.
This project, entitled “ALCHEMY”, is one of those projects I started many years ago (2004), but which ended up on the back burner until 2012, when I re-commenced it.
This project encompasses almost everything I’ve learned over 20+ years. It covers jewelry, sculpture, metalwork, knifemaking and machining. Specifically, techniques used are forging, machining, drilling, milling, inlays, cold connections, sanding, filing, precision measurements, trouble shooting, blade grinding, finishing, heat treating, tempering, blade sharpening, polishing, masking, etching, nitre-bluing, multi-color anodizing, stone setting, gold leafing, word work, laser engraving, etc. Materials used, include Titanium, Damascus Steel, Timascus, Fossil Ivory, Carbon Fiber, Abalone, & Super Conductor.
The 1st several dozen photos were actually posted on my old website back in May of 2005, and which I believe was the 1st knifemaking WIP ever posted on a website. Part of this project was also published in “Blades Guide to Knife Making”, Vol. 1.
Knifemaking is still a very underground art, so I set out to create the “Ultimate Behind the Scenes Look”, in hopes that by sharing the creation of one of my pieces, it helps to elevate the overall craft. I have left NOTHING out! The results are a 400+ hour, completely hand-made Art Knife, documented by over 1100 step-by-step, sequential photos, and over 20 videos, each with a full descriptive caption. I hope you enjoy!
A few simple things I ask for in return:
1.Please, do NOT flat out copy my work. If you are influenced, that’s fine, but make it your own, and please give credit where credit is due.
2.Even if my work is not your cup of tea, please be respectful.
3.If you really get something out of this, please consider making a PayPal donation to: john@jensenknives.com
Questions and comments are certainly welcome. Enjoy, and please share this project with anyone that you think might be interested in seeing it.
Finally, don’t forget to visit my website, and various social media pages…
Website: www.jensenknives.com
Facebook: www.facebook.com/JensenArtKnives
Flickr: www.flickr.com/photos/jensenstuff/sets
Pinterest: www.pinterest.com/jensenknives
Instagram: instagram.com/jensen_knives
YouTube: www.youtube.com/user/JensenKnives
Behance: www.behance.net/johnlewisjensen
Tumbler: jensenknives.tumblr.com
Deviant Art: jensenknives.deviantart.com
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
Postcard photograph entitled old Gillingham (Kent), High Street, Old Brompton c.1865 looking north-east, showing range of shops on eastern side of road, including right to left, George Sutton, chemist’s shop, Edward Hammerton, draper and silk mercer’s shop, John Saxton, baker and confectioner’s shop, Thomas Woolley, stationer and newsagent’s shop, William Gilbert Telford, outfitter’s shop, Charles Burfield, grocer’s shop, two unidentified shops, Anchor & Hope Public House, showing junction with Wood Street and range of buildings beyond, nearest is The Crown Public House. Street scene shows carriageway, street lamp, hand cart and bystanders.
This Christmas bauble, entitled "Royal Star" depicting a six pointed star in blue with gold detailing, or corresponding gold with blue detailing was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Royal Star" is going to the adult daughter of my friend who wears dangling Christmas themed earrings. My friend's daughter has an autistic son who likes vibrant colours, and it helps bring her some Christmas cheer too! Her Christmas baubles always feature images that have contrasts of colour in them. Past baubles have featured such things as a night sky with stars on one side and a daytime sky with the sun on the other, or a sailing ship sailing one way and a different ship in different livery on the other (I wish I'd photographed this last one as it was very complex and took nearly 10 hours per side).
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones which are 8mm and the centrepiece of the star which is 15mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, blue and black sequins all use silver pins, The gold sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, althought as this is a fairly simple pattern working from the central pin outwards, it only took 4 hours per side. Even though this is a lesser period of time, this number of hours is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
Todos os clientes têm direito a um parecer ... e todos os Designers têm o dever de corrigir esse parecer
All clients are entitled to an opinion......and all designers are required to correct that opinion
From my set entitled “Pulmonaria”
en.wikipedia.org/wiki/Pulmonaria
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Pulmonaria
The lungworts are the genus Pulmonaria of flowering plants in the family Boraginaceae, native to Europe and western Asia, with one species (P. mollissima) east to central Asia. According to various estimates there may be between 10 and 18 Pulmonaria species found in the wild, but the taxonomy of this genus is very confusing.
The scientific name Pulmonaria is derived from Latin pulmo (the lung). In the times of sympathetic magic, the spotted oval leaves of P. officinalis were thought to symbolize diseased, ulcerated lungs, and so were used to treat pulmonary infections. The common name in many languages also refers to lungs, as in English "lungwort" and German "Lungenkraut". In some East European languages, the common name is derived from a word for honey, e.g. Russian "medunitza" and Polish "miodunka".
English colloquial names include Lungwort, Soldiers and Sailors, Spotted dog, Joseph and Mary, Jerusalem Cowslip, Bethlehem Sage.
Lungworts are perennial herbs that form clumps or rosettes. They are covered in hairs of varied length and stiffness, and sometimes also bear glands. The underground parts consist of a slowly creeping rhizome with adventitious roots. Flowering stems are unbranched, rough, covered with bristly hairs, usually not exceeding 25–30cm, with a few exceptions (P. mollis, P. vallarsae). The stems are usually upright, or slightly spreading.
The leaves are arranged in rosettes. The blades are usually large, from narrowly lanceolate to oval, with the base ranging from heart shaped to very gradually narrowing, and can have a sharply pointed or blunt tip. Leaf margin is always entire, but in some species and forms can be rather wavy. Basal leaves are carried on stalks that can be short or longer than the leave blade in various species. Stem leaves are smaller and often narrower, and are unstalked or clasping the stem. All leaves are covered with hairs that are usually bristly, or occasionally soft. The leaves are often prominently spotted in black and blue, or sometimes in pale green, or unspotted.
The inflorescence is a terminal scorpioid cyme, with bracts. Lungwort flowers are heterostylous, with two distinct forms of flower within each species; those with short stamens and long styles ("pin" flowers) and those with long stamens and short styles ("thrum" flowers), with the former usually being larger and more showy. The calyx is hairy, 5-lobed, tubular or funnel-shaped, enlarging as the fruit ripens. The corolla is funnel-shaped and consists of a long, cylindrical tube and a limb with five shallow lobes. Within the corolla throat, five tufts of hairs alternate with the stamens to form a ring. The colour of corolla varies from purple, violet or blue to shades of pink and red, or sometimes white. The colour of the flower in bud is often pink, which then changes as the flower matures. The stamens and style are included within the corolla and not protruding.
The nutlets are smooth, egg-shaped, brownish, up to 4.5 mm long and 3 mm wide, each containing a single seed. Up to four nutlets per flower are produced, ripening mostly in summer.
Pulmonaria species are used as food plants by the larvae of some Lepidoptera species including Coleophora pulmonariella which feeds exclusively on P. saccharata.
ORIGINAL ACEO entitled, "19th CENTURY FISH PEOPLE PORTRAITS No.10" (2008) by award winning American artist/animator Dean A. Kendrick. The piece is a 2.5" x 3.5" ink marker drawing/watercolor painting on heavy weight watercolor paper that is intentionally stained with a coffee wash to give it an older, worn look as if it was found in the leaky attic of an under-kept Victorian mansion.
Who are the Fish People? Where did they come from? Are they a forgotten, de-evolutionary race that flourished in the 19th century United States?
ACEO stands for "Art Cards, Editions and Originals". These popular, collectible cards are exclusively 2.5" x 3.5" in size.
These are the pieces from my first solo show, entitled “The Ghost of the You Haunted Me..." held at Rotofugi Gallery in Chicago, IL on Sept 7, 2012.
This body of work is the culmination of many of the elements found in my custom toy work within my Forest of Sorrows narrative and I have strived to create a cohesive storyline that ties together many of the concepts and themes seen over the past couple of years.
In this story, when people pass onto the next life, those with unfinished business are taken to the Silva Dolorosa (The Forest of Sorrows) to begin a life anew, where the choices and decisions they make will determine how their lives turn out.
At the end of days as one’s life ebbs away, the Flederkanichen creatures arrive to shepherd these souls, manifested as a seed, and carry them to the Silva Dolorosa. Upon arriving, they drop the soul seeds down into the depths of the forest where the Saplings catch them, plant them in their heads waiting for them to bloom again, at which point they will plant them on the forest floor in the perfect place, so that the souls can begin their new lives.
On one particular day, with one particular soul seed dropped by the Flederkanichen, a big gust of wind blew the seed out of the hand of the Sapling assigned to it and it hit the ground, breaking the cardinal rule of the forest. It was at this moment that Locket, the geist girl was reborn in this limbo, confused and bewildered as to where she was. Frightened, she runs deep into the forest to discover who she was in her previous life, and what she was to become in the next.
Concurrently, at the moment at which Locket was born, the last guardian of the forest, the Hollow Knight, was awakened from deep slumber, tasked with ensuring the sanctity of the Silva and all of its denizens. He sets off on a quest to find Locket, only to encounter yet another new visitor to the forest - the ferocious and monstrous Blackwülf, who seems to be racing the Hollow Knight in a quest to reach Locket first.
This is the story of death, understanding, rebirth and redemption. I hope that the pieces I have created for this show will help to give an insight into this story that I have been telling.
Photos taken by Kirby Kerr.
Please contact rotofugi.com for availability.