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From my set entitled “Mandevilla”
www.flickr.com/photos/21861018@N00/sets/72157607213952426/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Mandevilla
Mandevilla, sometimes also called Dipladenia,[1] is a genus of plants. It consists of about 100 species, mostly tropical and subtropical flowering vines belonging to the family Apocynaceae, the Periwinkle family.
Mandevilla is native to Central and South America and many Mandevillas come originally from the Organ Mountains forests near Rio de Janeiro in Brazil. The genus was named after Henry Mandeville (1773-1861), a British diplomat and gardener.[1]
Mandevillas develop spectacular flowers in warm climates. The flowers come in a variety of colours, including white, pink, yellow, and red. As climbers, Mandevillas can be trained against a wall or trellis to provide a leafy green and often flowering picture of beauty. They have a tendency to attract insects like mealybugs and scales.
While Mandevilla scabra is sometimes as an additive to the psychedelic drink Ayahuasca, there is no evidence that it is psychoactive in its own right.[2] It is, however, considered to be toxic.[3]
St Mary The Virgin
Church of England
Nativity
This window entitled 'Nativity', was designed by John Piper and made by David Wasley. It was given to Iffley Church in 1995 by Myfanwy Piper in memory of her husband.
The idea was taken from an Elizabethan wall painting in Shulbrede Priory in Sussex.
The Latin words put into the mouths of the birds are:
COCK - Christus natus est (Christ is born),
GOOSE - Quando? Quando? (When? When?),
CROW - In hac nocte (On this night),
OWL - Ubi? Ubi? (Where? where?),
LAMB - Bethlehem! Bethlehem!
The sounds of the Latin words resemble the noises made by the animals and birds. Underneath is a line from Christopher Smart: "Let man and beast appear before him and magnify his name together."
The window has a dual motif. There are the birds and the lamb proclaiming the birth of Christ, and there is the Tree of Life round which they are grouped. The idea that on the night of Christ's Nativity birds and animals gained the power of speech was a widespread medieval legend. The Tree of Life is referred to in the Book of Genesis but also in the Book of Revelation: "On either side of the river there stood a Tree of Life which yielded twelve crops of fruit, one for each month of the year. The leaves of the trees serve for the healing of the nations, and every accursed thing shall disappear."
Alternatively it may be seen as a window of the Creation. It has an immediate appeal through the passionate intensity of its colours, the slight touch of humour and the joy it expresses in the natural world.
...Momoyo Torimitsu’s gigantic inflatable bunnies, entitled “Somehow I don’t feel comfortable”, are a reflection of contemporary social angst and modern popular iconography. As a reflection of this, two bunnies slump in corners facing each other in a sad, lonely, manner—entirely filled with air, erect and purposeful, but also in a space that such an erectness almost does not fit, both emotionally and physically. The bunnies are those you would find on the end of a vendor’s stick at a church fair or in an Easter basket—yes the stereotypical inflatable—but in their position they reflect a predetermined fatalization to their Art Historical predecessor, Jeff Koons’ stainless steel rabbit and more recent puppy, much less attribute a nod to Oldenberg—resolute in their Pop animation and appropriation. Drawings of these and other Torimitsu bunnies were featured in issue #15 of zingmagazine...
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
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 Laurence Reading.Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1642 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundreds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluniac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
This cat entitled 'The Tiger who came to Knowsley' based on the two Amur Tigers at the local safari park. The title is a play on the one by Judith Kerr 'The Tiger who came to tea'. This particular cat sculpture is located on platform four, Huyton Station.
As part of the 'Knowsley Borough of Culture 2022' event, the Council have introduced The Owl and the Pussy Cat trail within the borough due to the links it has with Edward Lear who wrote the original poem. Apparently there are about 50 sculpture's doted about. For further information, see: www.cultureknowsley.co.uk/the-owl-and-the-pussy-cat-trail/ 22nd June 2022.
Copyright: Doug Birmingham
This piece will be included in a solo exhibit entitled “Find Your Wings” at Art Star Gallery in Philadelphia in August:
For her solo exhibition at Art Star Gallery in Philadelphia, Amy focuses in on the 5th line of the 6 line artist statement she has used and lived by for the past decade:
Grow Flowers
Ride a Bike
Love an Animal
Learn Something New
Find Your Wings
Make Art of it All
Find You Wings: New Painting by Amy Rice
"In the past few years I have had the joy of witnessing the dramatic change that can happen in an individual when they discover and embrace their personal calling or passion. From artists living with disabilities that overcame great obstacles and through their art have become the voice of a new movement, to friends that have decided 30 is not too old to take up an instrument and end up living their rock star dream, to my siblings who have ecstatically embraced and completely kick ass at their rolls as parents. This series of new work, “Find Your Wings” celebrates the beauty of discovering that which makes one soar." –Amy Rice
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
This Christmas bauble, entitled "Holly" depicting a sprig of holly with red berries 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.
"Holly" is going to a friend of mine, who like me, is an ex-pat from Britain and we both miss things like holly at Christmas time. His Christmas baubles always feature things from home like snowflakes and winter scenes. This year there was an injection of red for his tree.
He and his wife are expecting in April, and the sex of the child is a surprise, so they received a miniature bauble beaded in netural yellow sequins with gold stars (photos will be uploaded later) for the baby.
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, the shaded red ones in the berries, and the irridescent green highlights in the leaves which are 8mm. 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, green and black sequins all use silver pins, The red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this 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.
This is a rare paleontology book, entitled "Fossils of Korea". It was published in 1987 in Pyongyang by the North Koreans. I obtained a reproduction of the trilobites chapter by borrowing a copy from the Library of Congress (Washington D.C.). Last time I checked, eight American libraries reported owning this book.
Kim Tok-Song [Kim Deog-Sun]. 1987. Trilobita. pp. 8-65, 168-176, pls. 8-26 in: Fossils of Korea 1. Pyongyang, North Korea. Science Encyclopedia Publishing House. 193 pp. 96 pls. [in Korean]
North Korean paleontology literature is difficult to obtain. Only a couple fossil books like this are available. Cited articles about North Korean trilobites are in journals that apparently don't exist in non-North Korean libraries.
North Korea is the # 1 loser country in the world. This book well illustrates that - there's fake information in the trilobites chapter! How pathetic does one have to be in order to falsify info. about fossil trilobites?
The example plate (plate 12 in the book) ostensibly shows Cambrian trilobites from North Korea.
Figures 1-3: Ghwaiella yemjenriensis
Figure 4: Ghwaiella cf. Ghwaiella yemjenriensis
Figure 5: Dinesus chonjuriensis
Figures 6-7: Dinesus madokensis
Figure 8: Solenoparia sp.
Figures 9, 12, 14, 16: Solenoparia triangulata
Figures 10, 15: Solenoparia sobukensis
Figures 11, 13, 19: Solenoparia nodosa tersa
Figure 17: Anomocarella(?) blackwelderi
Figure 18: Poshania cf. Poshania transversa
Figures 20, 21, 25, 26: Crepicephalina ghwairiensis
Figure 22: Crepicephalina dekchonriensis
Figures 23, 27: Olenoides asiaticus
Figure 24: Duamsannella hwanhaiensis
Figure 28: Anomocarella chinensis
The two Olenoides asiaticus figures in the plate are said to come from near Pyongyang, the capital of North Korea. In reality, these two illustrations are copied from a 1930s Japanese reference on Korean trilobites - the specimens are actually from Yongwol in South Korea. Demonstrably false locality information is also present on plate 11 in the book. It is unknown whether any of the photographed trilobites are actually from North Korea.
False fossil information and illustrations are present elsewhere in the paleontological literature, but thankfully are rare. Other examples include Vishwa Jit Gupta's work on Himalayan fossils, Mustafa Iman's work on fossil algae in Africa and the Middle East, and some of Edward Petuch's work on Cenozoic fossil seashells.
It's up to everyone to shine spotlights on scientific dishonesty.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Lamium”
www.flickr.com/photos/21861018@N00/sets/72157607217474399/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Deadnettle
Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.
The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.
The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".
Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring
Mural entitled "Balance of Similarities" by POI DAWG aka @poi_dawg for Paint Memphis, seen at 2476 Broad Avenue in Memphis, Tennessee.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
Entitled the 'Out of Nothing' series, due to myself and my model wanting to do a collaborated project literally out of nothing, or for as free as we could possibly get it.
Model - Stacey Bournes
Skirt - Charity Shop
Remaining outfit - Models Own
My second visual journal entry entitled "Technique." We were supposed to analyze our best technique. But to be honest, I did step away a little bit from that idea. I did more of an analysis on where I got my style and technique from. So, I wrote down my favorite mediums and why I think I choose them. I wrote down my biggest inspirations and included some photos. Then I started to make it more personal. I began to ask "What makes me do what I do?" I began to think about the characters I create and their stories. After looking at all of that, I came to the conclusion that I feel that the things I draw come from something more than just a "technique." I know it sounds corny, but my best technique would be using my heart. I mean that with all honesty. It sounds cliche, but that is the conclusion I came up with. I take powerful emotion and portray it in whichever way I see fit. And I call that using my heart. But it goes even deeper than that. Why do I draw? Because it gives me pure joy and happiness and fulfillment. Again, I call that using my heart.
I just have to give credit to the photos I used.
Rightmost photo: Edward Elric sketches by artist Burge Bug
Bottom right: Painting by Ayami Kojima
Other two photos: I do not know the artists, but I found them on Pinterest :)
8 1/2" X 11"
Sharpie Marker on white paper
Like so many of our youth, these days, Sole believes he's entitled to whatever he wants. He eats his food and then moves Tessa off her dish so he can eat hers too. He wants me to stop flickring and hold him every two minutes and mostly I do. He expects someone to turn the bathroom tap on for him 20 times a day ... and if he wants to use Tessa's back for a pillow he just does it.
Ah to be young again when one is so naive, innocent and cute the world is your oyster.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.y
entitled "caged bird", released 8/5
A different take on Maya Angelou's title of her famous autobiography, I Know Why The Caged Bird Sings. This caged bird, wearing headphones, is singing because it's listening to some incredible tunes.
Buy it here: www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...
An exhibition entitled, "Building a Culture of Peace for the Children of the World," opened today at the Visitor's Lobby. The exhibition celebrates the limitless potential of the individual to build peace in today's world. Betty Williams, 1977 Nobel Peace Laureate, speaking at the opening of the exhibition. 4/Feb/2004. UN Photo/Eskinder Debebe. www.unmultimedia.org/photo/
Private press book entitled 'Boke off The Revelation off Sanct Jhon the Devine Done into Englysshe by William Tyndale'. Published by the Ashendene Press, 1901.
One of 54 copies of which this is number 27. Printed in black and red upon hand made paper bearing the watermark of a horn and the initials 'C.H.S.J.H' set beneath. Text is set out in two columns to a page, with illuminated initials and summary paragraphs in red. Cover of limp green vellum with the title in gilt on the spine. With printer's device and colophon in the back.
CAGM.1991.1016.996.V4
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
Entitled "The Stanford Legacy," the totem pole chronicles the history of the Stanford family and honors their contribution to the university.
This image was taken with a Pentax 6 X 7 medium format film camera with a Super Multi-Coated Takumar/6X7 1:3.5/55mm lens using Kodak 400 T-MAX film, scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
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.
Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) 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 siddhas) 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 believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.
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 him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand 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 an immortal 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 the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two 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. The boy 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 around his neck which he was wearing, 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. Then 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.
The various descriptions on Nandi in the Hindu Religion texts include:
Some Puranas describe Nandi or Nandikeshvara as bull faced 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 Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. 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 focussed 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
3. Chamundi Hills, Mysore, Karnataka
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
WIKIPEDIA
^Instagram gimickry^
About a week ago I wrote a pretty long response to a post on Facebook about college, student entitlement, and loans. By the end I'd realized that, mostly, I'd written it myself to sort out my own feelings on the issue and put words down on the screen. This Flickr post is gonna be something like that, a piece that's really for my own benefit that I throw out on the Internet for people to look at, mostly because I'll never write it just for my own benefit, but also to force myself to stick with what I commit to, to occupy a day in my Project 365, and to update the three or four people who ever actually look at the stuff I post. :)
I've been reading Zack Arias's blog for about a month now. If you've never looked through it, go do that now (zackarias.com/blog) before you waste your time reading through my inane babbling. It's one of the most well-thought out blogs I've ever read, and I've learned a ton. There's a lot to think about.
Going through the entries one by one, I found a couple in particular that resonated. First was a critique I watched of several photographers' portfolios. Second was a recommendation to the book Visionmongers by David DuChemin. The former made me realize why my work has never gotten many hits on the interwebs. I realized that my work was really no different from all the stuff that Arias so readily tore apart. It's all over the place, and it's inconsistent. I realized a need for direction in my work if I want to be able to market myself as a vocational photographer. The latter prompted me to immediately go buy a used copy at a semilocal bookstore. It is the perfect complement to the critique. The one made me realize the flaw of my creative nondirection. Visionmongers turned around and offered a solution.
In his book, DuChemin describes considerations in deciding what one will do in his photography career. It came at perfect timing, and this morning I sat down to make some decisions. If I want to focus my Project 365, I have to choose a niche and a specific aesthetic I want to go after. Up to this point it has been about trying things. Now I need to take my learning and apply it to a particular end, or I'll never move towards a consistent portfolio that might actually earn me work.
Wildlife and landscape: I love this aesthetic. When I see it well done I want to buy it all and hang it everywhere at home. Yet while I admire those who can make it happen (see Bronco and Ball of Light on Flickr, they're incredible), it's not for me. Everyone I've ever seen in that field who has made it is now either teaching or selling stock. On one hand the end result of getting really good is to not shoot and make money telling other people how be good shooters so they can end up successfully end up in the same way the same as their instructor, namely teaching. On the other hand, those still working are spending all their time traveling around, trying to sell their work at shows and not shooting. Great work, bad business. I'm not going there.
Weddings: No.
Portraiture: I'm not really that great of a people person, and I almost never see anything in this field that looks new or different (exception: Peter Hurley is awesome). It's been done a million times, and there's no niche appeal. It seems like every photographer does it at some point, especially the cheap ones. There's no way I could distinguish myself or feel good about myself.
Photojournalism: I. Love. National. Geographic. It's the best magazine there is. For a while, I thought I'd want to pursue that sort of photography, but the more I shoot, the less I think it would work for me. My favorite way to shoot is in a controlled environment where I have the time to set up my lights and stylize. I can't do that in photojournalism. I have to give up virtually any control I have over the image and hope to heck I'm in the right place at the right time. I like photography instead of video because its a still and patient medium. Photojournalism is the opposite.
Fashion and advertising: I've wanted to do this for a while now. They are my favorite styles to look at, almost always. Karl Taylor is awesome. So is whoever gets to shoot those awesome pictures of iPhones and Macs and stuff Apple puts out. I'm so jealous. I'd give my camera for a chance to pick their brains about business. Alas, I hate fashion and consumerism. I'd never be able to connect with models or their agents or the big clothing brands. I'd also be afraid of hating myself if I had to advertise and help sell slick products by big corporations. I hate big corporations. I hate them for how they ignore the environment, for their greed, for their stupidly expensive plastic crap they make us think we need. I don't want to participate. Helping sell cheap crap to unwary consumers for the benefit of unwholesome and greedy corporations is no good. I'll wake up some day and realize that I haven't contributed to, but detracted from society. I should love my work, not hate it.
Okay, so I've spent the last half hour being all negative about the stuff I won't do. Now I should decide what I want to do from what's left over. I've come up with two options.
First, I could see myself as a food photographer. From what I see, there's a lot of demand for food photography. There aren't as many of us in that market. Oh sure, they're there, but not so many as in other areas. I love good food. My teachers like to joke about the size of my lunches. I have a connection with the market, and I know I'd love shooting it, especially if I can bring something new to the table .
Second, there's a pretty untapped market right now for Parkour. It's getting really big all over the world, including the U.S., yet there are few institutions or businesses catering to that demographic. Sure, there are a few gyms popping up (if you live in Seattle, check out Parkour Visions), and clothing brands are making pretty rubbish efforts at making specialized shoes and merchandise. The only real photographers I've seen that market for Parkour anywhere are Visive Productions and Ampisound, both based in Britain. I get that the market has a pretty DIY approach to the whole thing in general, because of course everyone makes their own videos and stuff for YouTube, some of which are really good. Yet there are publications and websites that aren't gonna trust all their media output to amateurs. I'm sure its about the same amongst skateboarders; people put out their videos to the Internet, but if a magazine's doing a story, those files won't cut it. I could step in there. It's because of Parkour that I ever started training. There's room to make it even more a part of my career. Editorial Parkour photography. That's a niche, right? :)
So, then, here are my goals going forward in Project 365:
I'm gonna set up a tabletop white seamless in my bedroom and start shooting food. I'll probably buy some props, too, and use food from PCC. I'd rather spend my money on edibles and nice cutlery than replacing my semifunctional Sigma 18-50. If that's what it takes to actually build some sort of portfolio, I'll gladly spend some money on it. We'll see what I can put out with just my one strobe and some patience. There are a few things I want to try with this experiment. Primarily, since I like advertising and fashion's contemporary lighting and feel, I want to see what might happen if I try to bring that sort of high-gloss look to food. Not that I will necessarily be able to do it with just one light, but I'll try. Because I love the square format, I'll work with that. I like framing stuff straight on, too, so my shots will be from overhead down. If I can make it happen, there might also be some black and white. I've never seen black and white food photography, probably for a reason.
I'll also try to set up a few shoots with my Parkour friends, and maybe with Parkour Visions if that works out. Tyson Cecka, one of the leaders there, has brought up doing some work at the gym. Maybe I'll take him up on that, but only after I've practiced with the editorial style for a while. I'm not really comfortable with it yet and I need practice. A brolly would be nice too. Maybe when I feel frivolous enough to throw fifty bucks at a modifier. I'm so cheap. #whatev.
Also, I need more criticism. If people really want to help me, they'll stop spewing stuff like "great capture" and "nice image" on stuff I post. Not that it happens super often, but when it does, not good. :P I'd rather hear that everything I do sucks so I'll know where to improve than have my family and friends always telling me how good it all is. I've seen the work that real talented people put out. It's a lot better than mine.
Now, if you've gotten this far, lemme just say thanks for reading and wish you a good day. I appreciate it. Now, head over to zackarias.com/blog. I guarantee it'll be much more interesting. :D
Mural entitled "Ánimo Sin Fronteras." Subject is Melchor Flores, painted by artist Miles "EL Mac" MacGregor. Corner of E. Mills Ave. and N. Stanton St., El Paso, TX. Fujifilm Instax 300 camera. Desaturated to B&W. Light streak at upper left is real, photographing into the sun.
The St. Peter Parish Church in Loboc is the second oldest church in the country. The Loboc Children's Choir has won numerous competitions both local and international, most notably festival competition in Barcelona, Spain entitled "Europe and its Songs", last September 17-21, 2003.
Loboc is a 5th class municipality in the province of Bohol, Philippines. It is mere 24 km away from Tagbilaran City, the provincial capital of Bohol. According to the 2000 census, it has a population of 15,734 people in 2,738 households.
Loboc is known for its floating restaurants along the scenic and winding Loboc River. Tourists also come to see the tarsier, a small nocturnal animal with large eyes. It is one of the world's smallest primates. Unfortunately, the tarsiers here are kept in an inadequate cage, and better be observed in the Tarsier Sanctuary in Corella.
In 1596, the Jesuit Fr. Juan de Torres came to Loboc from Baclayon to found the second oldest Christian settlement in the Island. After the traumatic Moro raid on Baclayon on October 26, 1600, the Jesuit Missionaries decided to move the center of their missionary activities to the inland village of Loboc. By 1602, Loboc became a Parish, making it the oldest in the Island. To the Jesuits, Loboc was the Residencia Boholana, where their local superior resided. It remained so until the middle of the 18th century when the exigencies of the times forced to them to move once more to Baclayon.
Around 1604, the Jesuits established a Seminario-Collegio or boarding school for native boys. This school laid the foundation of the musical culture of the town. At present, the name Loboc is synonymous with musical acumen, a fact recognized by all the people of Bohol.
The church of Loboc is one of the most beautiful in the entire province. Its history makes it the most interesting. The first stone church was built in 1602. It was destroyed by fire in 1638 and rebuilt beside the site of the older one. This is the Loboc Church presently standing, a fine example of the Jesuit colonial architecture of the 18th century.
Upon the expulsion of the Jesuits in 1768, the Augustinian Recollects took over and they proceeded to renovate the unfinished structure. They were responsible for the free-standing bell tower, the arcade facade, the mortuary chapel, the heavy stone buttresses and the unique three-storey convento built into the fabric of the Jesuit-built church of the 17th century.
Two saintly figures lived and were buried in Loboc church: Fr. Alonso Humanes, S.J. whose gravesite became the object of pilgrimages after his death in 1633, and the remarkable native boy, Miguel Ayatumo, a student of the Seminario Colegio, who died in the odor of sanctity at the tender age of sixteen in 1609. Contemporary Jesuit records speak glowingly of this Aloysius Gonzaga of Bohol.
Loboc Church contains a lot of interesting treasures. Among these are the decorative stone carvings and friezes on the exterior walls; a relief of St. Ignatius in polychrome stucco intriguingly hidden behind the main altar, seven ancient retablos from both the Jesuit and Recollect periods; ceiling murals done in the 1920’s by the Cebuano artists Rey Farncia and Canuto Avila, one depicting the miracle of Our Lady of Guadalupe, the town’s secondary patron, during the great flood of 1876; carved wooden cornices and decorative corbels shaped as gargoyles or mythical animals; and the unique three-story convent, perhaps the only one of its kind in the country.
Much of the early history of Bohol was made around the charming town and church of Loboc. It would not be an understatement to say that to know Loboc is to understand the entire drama of Bohol history. At present, Loboc church is deteriorating, ignored by tourists and visitors and continually threatened by the annual flood that has already robbed it of its ancient records and other priceless relics.
Loboc is truly Bohol’s forgotten and neglected soul.
(source: Museo de Loboc, St. Peter the Apostle Parish, Loboc, Bohol)
Our latest piece entitled 'Busy being lazy' came about as we were taking part in a battle on stencil forum Cut n Spray and the theme for the battle was 'lazy'. Since this is a theme that is close to my heart i thought i'd try to muster the necessary effort to take part. The theme could be interpreted however you liked as long as there was a stencil on the final design.
After sitting around thinking/playing Black Ops for a while inspiration finally struck. From there it was a question of motivation and logistics. Thankfully i managed to save myself from terminal apathy and get myself to the hardware shop to buy the necessary bits and pieces. Working with plywood is quite fun although perhaps i should have got something slightly thicker than 4mm as problems started to arise when i was knocking the nails in as some of them would go straight through the wood. After a little trial and error i managed to get all the nails in and then came the thread...
Threading the nails was certainly something of a challenge (especially considering my earlier problems with anchoring the nails properly) but after the appropriate amount of swearing I finally managed to get it all attached properly. Now i just need somewhere good to get it installed and transport it there safely...
Hopefully we'll be in with a chance of winning the competition with 'Busy being lazy' as surely it's a truly inspirational piece? I'll keep you updated as to the outcome...
Cheers
id-iom
On display at an exhibition at the N.C. Museum of Art in Raleigh, entitled "Rolling Sculpture: Art Deco Cars from the 1930s and ’40s". On loan from a collection in Suffolk, Virginia.
The Chrysler Airflow was designed using wind tunnel testing to provide improved aerodynamics, and incorporated an array of novel design concepts that were advanced for that time but that subsequently became widely used throughout the industry. Although it was an innovative technological success in that sense, it was a commercial failure. Its main problem seems to have been that Depression-era customers did not like what, in that day, seemed like an unusual appearance.
The Airflow was first produced in 1934 as standard Chrysler, Chrysler Imperial, and DeSoto Division models. It had an in-line eight-cylinder engine, and was available as either a 2-door coupe or a 4-door sedan. Production continued through 1937 for Chrysler (through 1936 for DeSoto), with various body style changes being made each year in an effort to make the car more appealing to customers. So a car that was advanced for its day survived through only 4 model years due to resistance from the car-buying public.
The Airflow in the photograph is a 1935 Chrysler Imperial 2-door coupe. It has the standard 115 hp in-line 8-cylinder engine, and was capable of 95 mph. A total of about 8,000 Airflows were produced in 1935 by Chrysler and DeSoto, but only about 200 of them were Chrysler Imperial coupes. The car in the photo is one of only 10 that survive out of the 200.
As can be seen in the photo, the Museum signage refers to this car as a "Model C-2". (Chrysler's terminology in 1935 would have referred to it as a SERIES C-2.) At that time, Chrysler assigned a new Series number to a production car each time there was some meaningful change in its design. Here are the Series numbers that Chrysler assigned to the various cars in its 1935 fleet:
Standard Chrysler Airflow: Series C-1
Chrysler Imperial Airflow: Series C-2
Chrysler Imperial Custom Airflow: Series C-3 or C-W
In 1935, Chrysler also produced the Airstream, a traditional (non-aerodynamic) car design for the era, eschewing the advanced concepts of the Airflow but much preferred by the public. Airstream was manufactured with the following Series numbers in 1935:
Standard Chrysler Airstream: Series CZ or C-6
Chrysler Airstream Deluxe: Series CZ or C-6
1935 Airstream sales far surpassed Airflow sales, by a factor of about 4.
One final observation. The N.C. Museum of Art is an art museum, not an auto museum. It is presenting an art exhibit using vintage cars as its medium. Some of the vehicles in the exhibit would, in my opinion, legitimately qualify as art: they were artistically designed for appearance and produced in modest numbers (often only a few concept cars), with price tags that would be prohibitive for all but a small number of Depression-era Americans. By contrast, the Chrysler Airflow was designed for efficiency and for mass market sales; the car in the photo had a sale price of $1,475 in 1935 dollars (equivalent to about $25,600 in 2016 dollars) -- which may have been within reach for many Americans. If the museum curator sees "art deco" in this car, it was placed there for engineering, not artistic, reasons.
Woodcut entitled John Tabor's Ride, an illustration in John Ross Browne's 'Etchings of a whaling cruise: with notes of a sojourn on the island of Zanzibar; and a brief history of the whale fishery, in its past and present condition' (1846).
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEgal~5~5~66948~1...
© The University of Edinburgh Library
Mural entitled "Infinitieth" by Corey aka @coreymadethis for Paint Memphis, seen at 2 Neely Street in Memphis, Tennessee.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
Description: This is a stereoview entitled 'Paul Brown at Peter Eadingtons Mill, near Alnwick.' A young man is shown posing on stepping stones.
Date: c. 1890's.
This is a stereoview from a larger collection held at Northumberland Archives. The collection, referenced NRO 09703 consists of stereoviews of Northumberland, mostly capturing the landscape of the Alnwick area.
Stereoviews became popular in the mid 1800’s. They create the illusion of depth. When viewed through a stereoscope the viewer can see what appears to be a 3D image. This is achieved through two separate photographs of the same subject being produced, both slightly different from each other. Once placed side by side and viewed by the left and right eye the brain then interprets these as being one image, creating the illusion of depth.
Our Catalogue Reference: NRO 09703/14
This image is from the collections of Northumberland Archives. Feel free to share it within the spirit of the Commons.
Please follow the link to view this item and many more on our online catalogue.
The 2015 UMASH Annual Forum entitled "Growing Agricultural Education: Embracing Health and Safety" was held at the Davies Center on the University of Wisconsin - Eau Claire campus on May 28, 2015. The forum was co-sponsored by the the Upper Midwest Agricultural Safety and Health Center (UMASH), the College of Nursing and Health Sciences at the University of Wisconsin - Eau Claire, the Southern Minnesota Center of Agriculture and South Central College and MN West Community and Technical College, the National Farm Medicine Center in Marshfield WI, and the Migrant Clinician's Network.
The forum included presentations highlighting existing efforts to address agricultural health and safety in educational programs, a panel discussion and a series of small group discussions focused on agricultural health and safety education and outreach. Fifty-five attendees from diverse backgrounds including healthcare, occupational health and safety, education, research, government, media, communications, immigrant services and human resources participated in the forum. The interactive format provided attendees many opportunities to network and take part in discussions with different attendees throughout the day.
Read the event summary, download the presentation slides and resources at umash.umn.edu/annualforum/
The exhibition of National Széchényi Library entitled The Buda workshop of the CORVINA LIBRARY will be open from November 6, 2018 until February 9, 2019.
The Corvina Library
The Corvina Library was King Matthias Hunyadi’s royal library founded on the Italian model. The size of the library is not known exactly; it may have contained approximately 2,000 volumes. At that time this was a significant collection, and only the Vatican Library was bigger than the library of King Matthias. The approximately 220 surviving corvinas are currently kept in libraries in Hungary and across Europe and North America. It was due to the high-level reception of Renaissance and Humanism that this unique decorative royal library could be created in late medieval Hungary. On the pages of the codices, the most important readings of humanists, boosting the spiritual and ethical revival of antiquity, as well as an array of visual forms to accompany them arrived in Hungary.
The Buda workshop
The exhibition aims at exploring a so far hidden, less emphasized aspect of King Matthias Hunyadi’s library. Rarely is it discussed that, in addition to ordering splendid Italian codices, similarly precious and decorative manuscripts were made in the royal court as well. The aim of the exhibition is to explore and present this systematic and grandiose endeavor, serving the formation of a royal library in the court of Buda.
Achievements
The high level of the operation of the workshop is indicated by the fact that it was found out about unique codices, which have so far been considered to be unanimously Italian-made pieces, that they actually have the origin of Buda. One such example is the corvina including the history of Hungary by Pietro Ranzano, so far thought to have been made in Naples by researchers. We can present in a much more sophisticated manner how and to what extent creators of the Royal Library had relied on the collections of a former generation of scholar high priests including Iohannes Vitéz, György Handó and Ianus Pannonius. Periodization also became more precise; now we can clearly see that the library was systematically and uniformly developed only in the last years of King Matthias’ reign. It was at that time that the library turned into how we know it today, and the codices had been provided with a uniform binding. A more sophisticated knowledge has been acquired about the structure and inner operation of the workshop, the interaction of illuminators and styles, and its development. It has been manifested that style imitation was a key element in the working method of the workshop.
Decorative codices of high priests
The Buda workshop had not only fulfilled commissions for the Royal Library; following the king’s example were high-ranking priests who also placed their orders with the workshop. Our exhibition will present several of the codices made for them. Three decorative codices once owned by Domonkos Kálmáncsehi, Grand Provost of Székesfehérvár will also be displayed: in addition to one of the most beautiful codices of the Hungarian past, the breviary kept in Budapest, visitors will be presented the high priest’s prayer book kept in Paris, as well as the breviary and missal kept in New York. These latter two codices have not been on display at any exhibition held in Hungary as far as researchers’ memory can recall.
Almost all the corvinas kept in Hungary together
Visitors of the exhibition will have the unparalleled opportunity to look at almost all the corvinas, nearly fifty codices, kept in Hungary together.
Sensational pieces
The uniquely beautiful breviary of György Szatmári, Bishop of Pécs and one of the major patrons of late medieval Hungary, will arrive from Paris, just like the Cassianus corvina, eponymous top piece of the most beautiful style circle of the Buda workshop. During King Matthias’ reign, the presence of Greek codices in a royal library was considered to be rare even in Italy. Buda was a pioneer in this regard, too. Three unique items will arrive from the Greek codices of the Corvina Library: from Leipzig, the corvina, which was the only one to preserve the work of Purple-born Constantine VII (905‒959), Emperor of the Byzantine Empire on court ceremonial; and the so-called Mynas codex from Paris, which had been bound together – probably from Greek fragments found in the Royal Library – in Buda at the very beginning of the 16th century. Presented will be, as a real sensation, the most recently identified corvina, which had also been written in Greek, featuring works by Theologian St. Gregory. As a philological specialty, the Plutarch translation by Ianus Pannonius, known to have been well versed in Greek, will arrive from Leipzig. Milan-based Francesco da Castello was the most prominent illuminator of the Buda workshop. Visitors generally have the opportunity to look at his works made in Hungary only, but this will be the first time when the master’s productions made in Hungary and Italy will meet; two Graduals, painted at least partly by him, will arrive from Turin. Also displayed will be the so-called “Vatican Missal”, a special relic of style mixing and style imitation, characteristic of the Buda workshop.
Bibliotheca Corvina Virtualis: renewed corvina website
On the occasion of the exhibition, the renewed corvina website, Bibliotheca Corvina Virtualis will also be presented. The website will display all the corvina codices kept in Hungary in digital format.
Mural entitled "Parallel Dawn" by Chris Soria aka @chrissoria and Danielle McDonald aka @dmarie8 seen at the corner of 5th Avenue North and Dr. Martin Luther King, Jr. Street in St Petersburg, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
The photographic portfolio entitled “GLOBALIZING CONTAMINATIONS” was among the finalists at the PORTFOLIO SIFEST 2018 international award (Italy). This photography project is the result of a one-month period lived in Africa from Kenya to Tanzania. In the 1950s and 1960s, the European colonial powers gradually ceased to administer their African territories. The process of “apparent decolonization” led to the gradual departure of all the expatriate personnel of the colonizing nations: administrators, soldiers and all those who had settled in the “colony”. This process favored the creation of independent states and paved the way for new foreign influences over those of the colonial powers. Therefore, after some years living in Africa, I came to ask myself: “How has the influence, after decolonization, of European countries evolved in the face of the emancipation of African countries and the competition of new powers?”
The CSIS Energy and National Security Program released its report entitled Realizing the Potential of U.S. Unconventional Natural Gas. The report reflects a year-long effort to capture the latest understanding of the unconventional gas development picture and lays out themes and findings to facilitate a path forward. The event provided an overview of the findings from the project while allowing for a discussion of U.S. energy policy priorities for the coming year, key aspects of the unconventional gas revolution, and where the story goes from here.
Opening Panel:
U.S. Energy Policy: Priorities for the 113th Congress
Senator Ron Wyden (D-Oregon)
Chairman, Senate Energy and Natural Resources Committee
with
Senator Lisa Murkowski (R-Alaska)
Ranking member, Senate Energy and Natural Resources Committee
moderated by
Dr. John J. Hamre
President & CEO, and The Pritzker Chair, CSIS
Presentation: Findings from the Project
Sarah O. Ladislaw
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Panel 2: Where the Gas Story Takes the U.S.: Key Aspects of the Unconventional Revolution
Clay Bretches
Vice President, Exploration and Production (E&P) Business Services and Minerals, Anadarko
Mike Hosford
General Manager – Unconventional Resources, GE Oil & Gas
Fred Krupp
President, Environmental Defense Fund
moderated by
David L. Pumphrey
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Closing Remarks
Joseph W. Craver III,
President, Health and Engineering Sector, SAIC
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.
I started making a list in my diary entitled âThings I Have Been Silent About.â Under it I wrote: âFalling in Love in Tehran. Going to Parties in Tehran. Watching the Marx Brothers in Tehran. Reading Lolita in Tehran.â I wrote about repressive laws and executions, about public and political abominations. Eventually I drifted into writing about private betrayals, implicating myself and those close to me in ways I had never imagined.
--From [Things I Have Been Silent About](http://www.amazon.com/Things-Ive-Been-Silent-About/dp/1400063612)
[Azar Nafisi](http://azarnafisi.com/), author of the beloved international bestseller [Reading Lolita in Tehran](http://www.amazon.com/Reading-Lolita-Tehran-Memoir-Books/dp/081297106X), now gives us a stunning personal story of growing up in Iran, memories of her life lived in thrall to a powerful and complex mother, against the background of a countryâs political revolution. A girlâs pain over family secrets; a young womanâs discovery of the power of sensuality in literature; the price a family pays for freedom in a country beset by political upheavalâthese and other threads are woven together in this beautiful memoir, as a gifted storyteller once again transforms the way we see the world and âreminds us of why we read in the first placeâ (Newsday).
I met with and photographed [Azar Nafisi](http://azarnafisi.com/) for The Times in London she is a fantastic upbeat person....... very personable..... totally fascinating........... Im sure her new book......... [Things I Have Been Silent About](http://www.amazon.com/Things-Ive-Been-Silent-About/dp/1400063612) is well worth reading........ although I myself do not yet have a copy.
I was thinking of [Azar Nafisi](http://azarnafisi.com/) today as I was listening to reports about the jailing of another Iranian American woman........ [Roxana Saberi](http://freeroxana.net/) who has been arrested while reporting from Iran........ I have listened to her reporting many times both on the BBC and NPR ......... I felt sick when I heard she had been jailed for on trumped up charges of spying and sentenced to 8 years...... I feel the new Obama administration's attempts to engage Iran are not wrong and anyway could hardly be less successful than President Bush's attempts at manipulation through isolation............. but I did feel slightly sick that the totally unjustified incarceration of this brave individual reporter by this awful theocracy......... just might just be brushed under the carpet to allow dialogue with the oppressive ayatollahs.
Lets try and engage with Iran but lets not forget [Roxana Saberi](http://freeroxana.net/).
Cheers Jez XXXXXXXXXXXXXXX
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.
Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. Pony pulling sledge, man walking by SY 'Terra Nova' in background' by Herbert Ponting (1870-1935).
Date: c.1911
Our Catalogue Reference: COPY 1/562/100
This image shows a single frame from the very short (3-4 frame) sections of nitrate film stock accessioned at The National Archives from Herbert Ponting's footage of the Antarctic. For preservation reasons copies were made of of the original nitrate negatives and these were used to produce modern black and white Kodak prints of the clips which we have scanned for the web. The quality of the resultant images is variable.
Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library.
An image from the exhibit entitled : Everything in Place
It focuses on the preparatory materials kept "at hand"—sketches, diagrams, discoveries, studies, and ephemera—both inspiring and documenting the creative process.
Artists included in the exhibition: Deborah Boardman, Judy Chicago, Virginia Eifert, Fatherless (Corey Hagberg, Jarrod Hennis, Javier Jimenez, David Menard, Greg Lang), James Garrett Faulkner, Susan Frankel, Winifred Godfrey, Shoshana Hoffman, Kate Ingold, Jessie Pixely Lacey, Julius Moessel, John Warner Norton, Olivia Petrides, James Purdy, Milton Rivera, Francois Robert, Flora Schofield, Diane Simpson, Eleanor Spiess-Ferris, Frank Trankina, Rudolph Weisenborn, Rebecca Wolfram, Mary Agnes Yerkes, Betsy Youngquist, R. Scott Long, archaeological sketch maps and journals by W. B. Nickerson and Gwyneth Gillette, and species identification drawings by Don Luce.
VIEW LARGE
"This large circular sculpture, entitled Catalyst, features pieces of dichroic glass held together by bands of stainless steel. The sculpture is supported by a base composed of Indiana limestone.
Catalyst was commissioned for Minnetrista by Virginia B. Ball to honor her husband, Edmund F. Ball. It was intended to represent partnership, a century of giving by the Ball family, their stewardship of the land, and Minnetrista as a catalyst in the community.
The completed sculpture, created by Indianapolis artist Beverley Stucker Precious, is comprised of 32,000 pounds of limestone, 17,000 pounds of stainless steel and 2,000 pounds of dichroic and plate glass. 4,400 man-hours went into the fabrication of steel for Catalyst, which is 26 feet in diameter.
WATCH a high definition documentary about the nearly year-long creation of Catalyst.
www.youtube.com/watch?v=kGR8PPxUDa0
This video is very well done.
Gorkha District (Nepali: गोरखा जिल्ला, a part of Gandaki Zone, is one of the seventy-five districts of Nepal, a landlocked country of South Asia, and connected historically with the creation of the modern country of Nepal and the name of the legendary Gurkha soldiers. The district, with Pokharithok (Gorkha), later known as Prithivi Narayan Nagarpalika as its district headquarters, covers an area of 3610 km² and has a population (2001) of 288134. It is the location of the Manakamana Temple. Also, the temples of great sage Gorakh Nath and goddess Gorakh Kali temple is located in district, after which the district got its name. Four major rivers run within and along it, they are Chepe, Daraudi, Marsyangdi and Budhi Gandaki.
ORIGIN
The major legends associated with naming of "Gorkha":
- In Nepali, ‘Kharka’ means ‘Grass Land’. This land was believed to be like meadow in Ancient period. Thus it was named Kharka and later the term Kharka got modified to Garkha and Garkha changed to Gorkha.
- In Sanskrit Scripture, ‘Gorakshaa’ means the protection of cow. Since Nepal is a country where killing a Cow is condsidered unholy and a very serious crime, the land was named Goraksha and later it became Gorkha.
- Myth holds that a Saint named Gorakhnath appeared for the first in Nepal in Gorkha. There is still a cave with his paduka (feet) and idol of him in this place which supports the myth. Thus since the city was established in the place where Sage Gorakhnath appeared, it was named ‘Gorkha’.
PLACES TO VISIT
MANAKAMA TEMPLE
The Manakamana Temple situated in the Gorkha district of Nepal is the sacred place of the Hindu Goddess Bhagwati, an incarnation of Parvati. The name Manakamana originates from two words, “mana” meaning heart and “kamana” meaning wish. Venerated since the 17th century, it is believed that Goddess Bhagawati grants the wishes of all those who make the pilgrimage to her shrine to worship her.
GORAKHNATH
It lies ten meters down the southern side of Gorkha Palace which is visited with great devotion by Brahmans and Chhetris considering it to be the holy pilgrimage Site. Great fare is organized each year on the day of Baisakh Purnima(the full moon Day of Baisakh) in Gorakhnath Cave.
GORAKHKALI TEMPLE
This Temple is located at the west side of the Gorkha Palace.
CHEPE, Daraudi, Marsyangdi and Budhi Gandaki.
GORKHA KINGDOM
About 1700 steps leads you to the top of the hill at an altitude of 3281 ft. where Newar fashioned Gorkha Palace stands firm along with forts and temple boasting on its rich History. It is at 40–50 minutes of Walking Distance far from Gorkha Bazaar. One can view Manaslu (the 8th Highest Mountain of the World), Dhaulagiri and Ganesh Mountains from the Palace Complex.
MANASLU
LIGLIGKOT
and Lakhan Thapa Gaon are popular places in Gorkha for Hiking.
DHIKE DADA
is a new attraction for public from Gorkha,Tanahun and Lamjung.
___________________________________________
GORKHA KINGDOM
This article is about the Gorkha Kingdom which later became Nepal. Gorkhā is a former kingdom in the confederation of 24 states known as Chaubisi rajya located in present-day western Nepal. The Kingdom of Gorkha extended from the Marshyangdi River in the west to the Trishuli River in the east, which separated it from the kingdoms of Lamjung and Nepal respectively. The inhabitants of Gorkha were known as Gorkhali.
SHAH DYNASTY
From the 16th century, Gorkha was ruled by the Shah dynasty. The Shahs installed themselves as rulers of Gorkha taking advantage of the confusion of an annual race held at a place called Liglig. It was the tradition of the local Ghale people to choose as their king for the year the fastest runner in the competition. In 1559, Dravya Shah attacked and captured Liglig when the inhabitants were engrossed in the race. He displaced the Ghale king and became king of Gorkha.
EXPANSION CAMPAIGN
From 1736, the Gorkhalis engaged in a campaign of expansion started by king Nara Bhupal Shah, which was continued by his son, King Prithvi Narayan Shah and grandson Prince Bahadur Shah. Over the years, they conquered huge tracts of land to the east and west of Gorkha.
Among their conquests, the most important and valuable acquisition was the wealthy Newar confederacy of Nepal Mandala centered in the Kathmandu Valley. Starting in 1745, the Gorkhalis mounted a blockade in a bid to starve the population into submission, but the inhabitants held out.
The Newars appealed to the British East India Company for help, and in 1767, it sent an expedition under Captain Kinloch which ended in failure. The three Newar capitals of Kathmandu, Lalitpur and Bhaktapur fell to the Gorkhalis between 1768 to 1769. The Gorkhali king subsequently moved his capital to Kathmandu.
In 1788, the Gorkhalis turned their attention north and invaded Tibet. They seized the border towns of Kyirong and Kuti, and forced the Tibetans to pay an annual tribute. When the Tibetans stopped paying it, the Gorkhalis invaded Tibet again in 1791 and plundered the Tashilhunpo Monastery in Shigatse. This time the Chinese army came to Tibet's defence and advanced close to Kathmandu. The alarmed Gorkhalis appealed to the British East India Company for help, but they got none. Eventually, the Gorkhalis were forced to sign a peace treaty under which they had to pay tribute to Beijing every five years.
The Gorkha dominion reached its height at the beginning of the 19th century, extending all along the Himalayan foothills from Kumaon and Garhwal in the west to Sikkim in the east. They were made to return much of the occupied territories after their defeat in the Anglo-Nepalese War (1814–1816).
GORKHA TO NEPAL
The Gorkha dominion continued to be known as Gorkha Rajya (meaning Gorkha Kingdom) until the beginning of the 20th century. Since the 1930s, the name Nepal was used to refer to the entire country as the capital was located in Kathmandu. The name Gorkha Sarkar (meaning Gorkha government) was also changed to Nepal government.
Similarly, the Gorkhali language was renamed as Nepali in 1933. The term Gorkhali in the former national anthem entitled "Shreeman Gambhir" was changed to Nepali in 1951. The government newspaper, launched in 1901, is still known as Gorkhapatra (meaning Gorkha gazette).
The Shah dynasty ruled Nepal until 2008 when it became a republic following a people's movement. Today, Gorkha District, roughly corresponding to the old kingdom, is one of the 75 administrative districts of Nepal.
GURKHAS AND GORKHAS
Not to be confused with the inhabitants of the old Gorkha Kingdom, the Gurkhas are military units in the British or the Indian army (where they are known as Gorkhas) enlisted in Nepal. Their history goes back to the Anglo-Nepalese War and the Sugauli Treaty of 1816. It allowed the British East India Company to recruit men from the Nepalese hills to serve as soldiers under contract.
The British referred to all those who enlisted as Gurkhas regardless of their ethnic heritage or geographical origin in Nepal. These Gurkhas became part of the British Indian Army after its formation.
During World War I (1914–18), more than 200.000 Gurkhas served in the British Army, suffering approximately 20.000 casualties, and receiving almost 2000 gallantry awards.
During World War II (1939–45), a total of 250.280 Gurkhas served in 40 battalions, plus eight Nepalese Army battalions, plus parachute, training, garrison, and porter units. They earned 2734 bravery awards, and suffered around 32.000 casualties in all theatres.
Following Indian independence in 1947, the Gurkha regiments were split between Britain and India.
WIKIPEDIA
Entitled Pensive, this 1875 portrait by Pierre Auguste Renoir (1841-1919) is part of the Virginia Museum of Fine Arts permanent collection and just one of many works of art donated to the museum by Mr. & Mrs. Paul Mellon. The VMFA is one of the treasures that make the Richmond area a great place to live. Works in the museum's permanent collection can be photographed, without flash. The light was rather low in this part of the museum, so I shot this at 1/8-sec, f/4.5, ISO 1600, using a polarizer to reduce glare (hand-held). Best when viewed in light box.
Four brothers Billy, 17, Charlie 15, Rafferty 13, and Laurie 12 make up The Entitled Sons. The band name is a cheeky reference to how they felt some TV viewers would describe their upbringing after seeing them on their mum, Sarah Beeny's, latest TV show.
Debuting their first song "Break" on the TV show in the local pub near Bruton, it was only a few days later that they found themselves in the iTunes top 10, ahead of the likes of Ed Sheeran, Elton John, Dua Lipa and Years & Years.
Another bog pine stump, this time entitled ‘Community roots’, the symbolic light of the candleholder representing the result of being well rooted in the community.
This is one sideways view.
It is a piece of Co Mayo bog pine. The longest root is 55 cm long to the trunk, longest width 80 cm from root tip to tip, height 25 cm and trunk diameter 7 – 9 cm.
This small tree, perhaps it was the height of a human, evidently had a struggle to grow. It came from a mountainy bog where some of the covering even today is very thin, with a complete layer of stone and rock immediately underneath. It was impossible for me to count the number of tree rings in the centre quarter or third of the diameter they were so small and indistinct, but the rest showed 30 rings (= 30 years), so it may well have grown over 40 years but presumably very bad nutrition caused it to only grew to this size. As with all bog pine it has to be over 3,500 years old (when pine died out naturally in Ireland due to climate change).
I have kept this as natural a shape as possible. The trunk was slightly higher when found but a bit had to be cut because some of the centre was rotten. It can be seen drying and in its natural state at www.flickr.com/photos/boggerwood/8853787394/ - in the centre and referred to in the text. I had a bit of a search for a suitable nightlight candle holder to fit inside the trunk, which was hollowed out; the candle holder is a ‘double sided’ one from Ikea (one way up it holds a night light, the other way a smaller diameter candle, unfortunately as of 2016 not stocked any more). The finished product was lightly oiled and subsequently finished with matt acrylic varnish.
....I seem to have been majoring in tree trunks recently from the large www.flickr.com/photos/boggerwood/9389474669/ to the tiny www.flickr.com/photos/boggerwood/9506275109/
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.