Photo showing Werner Jauk (AT) (musical theoretician and practitioner in Graz), who delivered a special lecture entitled "Music and Media Arts on the mediatizing of music and sound" at "Ars Electronica Music Day".

Credit: Florian Voggeneder

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 “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

From my set entitled “Iris”

en.wikipedia.org/wiki/Iris_(plant)

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Iris_(plant)

Iris is a genus of between 200-300 species of flowering plants with showy flowers which takes its name from the Greek word for a rainbow, referring to the wide variety of flower colors found among the many species. As well as being the scientific name, Iris is also very widely used as a common name and refers to all Iris species as well as some closely related genera.

The genus is widely distributed throughout the north temperate zone. Their habitats are considerably varied, ranging from cold regions into the grassy slopes, meadowlands, stream banks of Europe, the Middle East and northern Africa, Asia and across North America.

They are perennial herbs, growing from creeping rhizomes (rhizomatous irises), or, in drier climates, from bulbs (bulbous irises). They have long, erect, flowering stems, which may be simple or branched, solid or hollow, and flattened or have a circular cross-section. The rhizomatous species usually have 3-10 basal, sword-shaped leaves growing in dense clumps. The bulbous species have cylindrical basal leaves.

The inflorescences are fan-shaped and contain one or more symmetrical, six-lobed flowers. These grow on a pedicel or lack a footstalk. The three sepals, which are spreading or droop downwards, are referred to as falls. They expand from their narrow base into a broader limb (= expanded portion), often adorned with veining, lines or dots. The three, sometimes reduced, petals stand upright, partly behind the sepal bases. They are called standards. Some smaller iris species have all six lobes pointing straight outwards. The sepals and the petals differ from each other. They are united at their base into a floral tube that lies above the ovary. The styles divide towards the apex into petaloid branches (see pollination, below).

The iris flower is of special interest as an example of the relation between flowering plants and pollinating insects. The shape of the flower and the position of the pollen-receiving and stigmatic surfaces on the outer petals form a landing-stage for a flying insect, which in probing the perianth for nectar, will first come in contact of perianth, three with the stigmatic stamens in one whorl surface which is borne and an ovary formed of three carpels. The shelf-like transverse projection on the inner whorl under side of the stamens, which is beneath the over-arching style arm below the stigma, so that the insect comes in contact with its pollen-covered surface only after passing the stigma, while in backing out of the flower it will come in contact only with the non-receptive lower face of the stigma. Thus, an insect bearing pollen from one flower, will in entering a second, deposit the pollen on the stigma, while in backing out of a flower, the pollen which it bears will not be rubbed off on the stigma of the same flower!

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.

This remarkable sculpture, entitled 'Iron-Bowl' (the famous Alabama Vs. Auburn annual matchup) stands on the campus of the United States Sports Academy in nearby Daphne, Alabama...it is one of several sports sculptures on campus by Alabama artist Bruce Larsen who transforms discarded scrap into powerful, compelling works of art...he has received world-wide recognition for his work and is also a prominent special effects artist for major motion pictures...

Paying homage to 'the boys of Autumn' from 5 to 50 who bring extra excitement to Autumn on football fields from backyard flag football to frenzied college stadiums to the pros on our HD flat screens, America loves its chance to cheer for brilliant plays and stunning upsets and that timeless thrill of victory...all under a deep blue Fall sky! The traditional rivalries, the legendary coaches and Hall of Fame players, the cheerleaders and mascots all carry over to each new generation and have sparked a million game day fire-up-the-grill get togethers and tailgate parties...and sold about a trillion team logo T-shirts and such...and winning seasons are still talked about wistfully 40 years later...this is something of substance and magic; this is football season!

Every fan loves bragging rights and as a diehard Alabama Crimson Tide fan, I'm proud of their 6-0 season so far...ROLL TIDE!!! : )

This installation entitled “Unlimited Talk and Text” challenges us to face the reality of the times we live in. A 10ft (3m) paper mâchéd tree sculpted with pages from found phone books is reincarnated again to its natural posture reminding us of the past we once lived in while at the same time reminding us of the future that is ahead of us. The phonebook is no longer a necessity as technology advances us into a paperless society putting this species of ‘staple household items’ on the endangered list while the process of making these books also leads to putting species of trees, forests, habitats etc. on the endangered list as well.

ift.tt/1WJdAHY Dubai based group @wearesosmusic are getting ready to release their second single entitled "something outta nothing"!! Excited to see this one guys!! #TheyRunDxb #Music #Dubai #Talent #mydubai #howweflex #EmergingTalent #nike #justdoit #zambia #england #southafrica #nigeria #sbtv #grimedaily #grmdaily #bangradio #radio1 #bbc #linkuptv

School of Pharmacy, Hajvery University has organized a very knowledge worthy and successful one day scientific conference entitled “International Conference on Pharmaceutics and Neuropharmacology” on 24th April 2013 in collaboration with Department of Clinical Neuroscience, University of Cambridge, UK and Pakistan Pharmacist Association. Funding body for this entire event was PPQP, National Talent Pool, Ministry of Education and Training, Government of Pakistan. In this conference, Hajvery University has brought together not only pharmacist community of Pakistan but also doctors. It has provided a platform to them to interact with each other for amelioration of health status of people. Two international and twenty national speakers has shared their original research work and their personal experiences with audience. International speakers from university of Cambridge, UK (Dr. Sohail Ejaz) and University of Eastern Philipine (Prof. Dr. Gerry Armor Camer) and national speakers from Hajvery University Lahore, University of Punjab Lahore, UVAS Lahore, University of Lahore, Shaukat Khanum Memorial Cancer Hospital and Research Center Lahore, University of South Asia Lahore, Lahore College for Women University Lahore, Bhauddin Zakria University Multan and Islamia University Bahawalpur have presented their papers which is a record number of presenters, presenting their research work in a single day conference. A handsome number of participants from medical and health field have attended and highly appreciated the event management and Hajvery University in their remarks. This was an enormous International Conference in which Pharmaceutical industries were invited for the exhibition to promote their products and new research inventions which has contributed towards the awareness of community. Hajvery University (HU) is one of the leading Universities in Pakistan. HU is Chartered by Govt. Of Pakistan, Accredited by Higher Education Commission of Pakistan (HEC) and rated W category. HU is a progressive, Student Centric University, focused on offering rigorous, market driven courses in Business, Fashion, Engineering, Computer sciences, Textile Design, Media Studies, Economics, Commerce, Pharmacy & English For details: Web: www.hup.edu.pk, UAN: 042-111-777-007 Email: info@hup.edu.pk

These are the pieces from my first solo show, entitled “The Ghost of the You Haunted Me..." held at Rotofugi Gallery in Chicago, IL on Sept 7, 2012.

This body of work is the culmination of many of the elements found in my custom toy work within my Forest of Sorrows narrative and I have strived to create a cohesive storyline that ties together many of the concepts and themes seen over the past couple of years.

In this story, when people pass onto the next life, those with unfinished business are taken to the Silva Dolorosa (The Forest of Sorrows) to begin a life anew, where the choices and decisions they make will determine how their lives turn out.

At the end of days as one’s life ebbs away, the Flederkanichen creatures arrive to shepherd these souls, manifested as a seed, and carry them to the Silva Dolorosa. Upon arriving, they drop the soul seeds down into the depths of the forest where the Saplings catch them, plant them in their heads waiting for them to bloom again, at which point they will plant them on the forest floor in the perfect place, so that the souls can begin their new lives.

On one particular day, with one particular soul seed dropped by the Flederkanichen, a big gust of wind blew the seed out of the hand of the Sapling assigned to it and it hit the ground, breaking the cardinal rule of the forest. It was at this moment that Locket, the geist girl was reborn in this limbo, confused and bewildered as to where she was. Frightened, she runs deep into the forest to discover who she was in her previous life, and what she was to become in the next.

Concurrently, at the moment at which Locket was born, the last guardian of the forest, the Hollow Knight, was awakened from deep slumber, tasked with ensuring the sanctity of the Silva and all of its denizens. He sets off on a quest to find Locket, only to encounter yet another new visitor to the forest - the ferocious and monstrous Blackwülf, who seems to be racing the Hollow Knight in a quest to reach Locket first.

This is the story of death, understanding, rebirth and redemption. I hope that the pieces I have created for this show will help to give an insight into this story that I have been telling.

Photos taken by Kirby Kerr.

Please contact rotofugi.com for availability.

message series entitled progress.

i just know it has to do with following the steps of Jesus.

my pastor mentioned the idea of a sky scraper in the process of being built. but i kinda thought that has been overdone. so i went with this. also thinking of doing like a loading screen, or progress bar you would see on a video game loading screen or start up on a mac.

edit* i dont know if this is what im going to use hence the istock photo not having yet been purchased but if i use it i will buy it dont worry:)

Gavin Jenkins, Tyler Jenkins,

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.

Lauren Camp’s innovative, award-winning pieces have been in major publications and exhibited in performance spaces, on movie sets, and in cultural centers and museums in the U.S. and Europe. Images of her work and the companion poetry have been featured in numerous publications, including the Santa Fean, Jazziz and World Watch, and the poetry journals Brilliant Corners and Impetus.

Her work is housed in numerous private and public collections: The Sherwin Miller Museum of Jewish Art in Tulsa, Oklahoma; St. Vincent Children’s Hospital of Indiana; and the United States Embassies in Ashgabat, Turkmenistan and Bamako, Mali, among others.

The City of Greeley, Colorado commissioned her to create four large works for the Jesus Rodarte Cultural Center. Kaiser Permanente Hospital in Panorama City, California commissioned three works that reflect the nature of the community, and the value of quality healthcare.

Her 12-year project, a series of jazz portraits entitled “The Fabric of Jazz,” toured museums in ten U.S. cities between January 2004 and September 2007. Other exhibit highlights include the invitational Fiber Art Biennial in Chieri, Italy; the NAACP Annual Meeting, and a human rights survey exhibit entitled “Roots of Racism – Ignorance and Fear.”

She has held residency positions at Working Classroom in Albuquerque, New Mexico and the New Brunswick (New Jersey) Public Schools, working with elementary and high school students from disadvantaged communities, and has mentored adults in creativity and self-expression.

In 2004, the Gaea Foundation of Washington, D.C., an organization that celebrates arts and activism, awarded her a two-month “Sea Change” Residency. The Surface Design Association provided a grant for Lauren to create “Need is a Voice,” one of the largest works in her series, “Flinch: A Study of Your Self.” This series will begin traveling to museums in February 2009.

She is a founding board member of the Southwest Jazz Orchestra, and an audio producer and on-air jazz programmer for public radio station KSFR 101.1 FM. She received first prize in poetry from the Southwest Literary Center’s 2006 New Mexico Discovery Awards, and is frequently invited to read her poems at jazz concerts.

Entitled "Good Times at Smith's Ranch," the 19th historical mural honors homesteaders Bill & Thelma Smith and their pioneering accomplishment in the community of Twentynine Palms. Bill Smith, who arrived in 1923 in his Model-T Ford, developed the haven known as Smith's Ranch. Bill and his brother, Harry, drilled a well and provided water to early homesteaders, and Bill's shower, swimming pool, and shade trees were a welcome place to cool off on hot summer days. Bill married Thelma Mead in 1930, and the ambitious pioneer couple built an ice house, a dairy, an ice cream parlor, an outdoor theater, a recreational hall, and a trailer park on their property. They had six children and were acclaimed as the first homesteaders to have children born in Twentynine Palms. The mural was funded by the Smith family children and was painted by Twentynine Palms artist Tim O'Connor on the south-facing wall of the DiAntonio building, 6298 Adobe Road, which houses Wholesale Appliance and Country Corners Florist. Dedicated: October 19, 2002.

About the Muralist

Dedication Date: March 23, 2002Location: Luckie Park Handball Courts

Artist: Tim O'Connor, Twentynine Palms, CA

Mural #19 - Good Times at Smith's Ranch

A longtime resident and former student of Twentynine Palms High School who married a native daughter, the former Pam Beller, Tim O'Connor is a versatile artist and businessman. He owns and operates O'Connor Graphics & Screenprinting with wife Pam, and they make their home with daughter Katie and son Keenan here in Twentynine Palms. O'Connor is also known for his political and editorial cartoons, some of which appear locally in The Sun Runner Magazine and The Desert Trail newspaper, along with his Fergie & Floyd cartoon strip, and for his fine graphic illustrations and pen and ink art works. O'Connor's first official mural undertaking was Twentynine Palms Mural #6, a tribute to Flying Constable Jack Cones, in January 1996. O'Connor was later commissioned to paint several subsequent murals, including four indoor murals aboard the Marine Corps Base, one for the Fantasy Springs Casino in Indio, CA, and the Johnnie Hastie Mural (#9) in Twentynine Palms in February 1998.

www.geocities.com/hkraychir/Action29PressReleases.html?11...

From my set entitled “False Lamium”

www.flickr.com/photos/21861018@N00/sets/72157607213707592/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Yellow_Archangel

Lamiastrum galeobdolon, commonly known as Yellow Archangel, is a widespread wildflower in Europe, and has been introduced elsewhere as a garden plant. It displays the zygomorphic flower morphology, opposite leaves, and square stem typical of the mint family, Lamiaceae. The flowers are soft yellow and borne in axial clusters, with a prominent 'hood' (the dorsal lobe of the corolla) similar to that of Lamium. It works well as a ground cover because it spreads easily. Caution must be taken when planting due to its invasiveness. The leaves often have variegation, showing as silver patches arranged as a wide semicircle.

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

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.

Mural entitled "Right Where I Wanna Be" by Max Sansing seen in the Wynwood Arts District of Miami, Florida.

Chicago native Max Sansing is a painter, muralist and graphic design artist whose bold, personal work has been displayed in art galleries and at special events in Chicago, New York and elsewhere. Sansing was raised on Chicago’s South Side, in the Avalon Park community. His parents were artists, and he came to love painting at an early age. Sansing taught himself oil painting and later completed his formal training at the American Academy of Art. He has expanded his talents into creating murals across Chicago and translating art into electronic media as a graphic design artist.

Representatives of the Churches of the Porvoo Communion gathered in Porto, Portugal, between 10 and 12 October 2019 for a consultation entitled ‘The Voice of the Church in the Public Square’. The consultation took place at the Seminário de Vilar in Porto where delegates were made welcome by the Rt Revd Jorge Pina Cabral and the Lusitanian Catholic Apostolic Evangelical Church. The relationship of communion between our churches was grounded and made visible in our gathering together for prayer, celebration of the Eucharist, debates and fellowship. Bishop Sifredo Teixeira from the Methodist Church and Bishop Armando Esteves Domingues from the Roman Catholic Church participated in the conference on one afternoon and brought greetings from their churches.

The consultation took place shortly after the death of the Rt Revd Dr Tore Furberg, sometime Bishop of Visby in the Church of Sweden and Lutheran Co–Chair of the conversations that led to the Porvoo Agreement. We gave thanks for his ministry and the legacy he leaves.

Throughout the consultation we heard and reflected on issues relating to the Church in the Public Square. The Most Revd Dr Michael Jackson, Archbishop of Dublin and Bishop of Glendalough, began with a paper entitled ‘Secularism: confused friend or active foe?’ He argued that secularism grew out of the European enlightenment and gave honourable voice to the political will and decision of the people. Secularism has, however, moved into a new situation and needs today to rethink its role in a post–secular age as much as religion does. He argued that a new dialogue is needed, without the language of the victory of one view over the other.

One way of being present in the public square was described by Adrian Harris, Head of Digital Communications in the Church of England, who talked about digital presence. He explained the importance of a strategy of engaging with the worldwide web and social media in a culture where people spend increasing amounts of time online, with a view to enabling people to make contact with church life at a local level. The Church’s new strategy shows how the Church can move from being pre–secular to post–secular.

Lutheran contributions from the Revd Professor Cristina Grenholm from the Church of Sweden and Dr Sven Thore Kloster from the Church of Norway posed questions about the nature of the Church’s involvement in the public square, drawing on the Lutheran doctrine of the two regimes and on practical examples of churches addressing difficult political issues either through seeking consensus or recognising diversity.

A special panel discussion dealt with European relationships with a focus on Brexit. The panel consisted of the Revd Helene Steed from the Church of Ireland, the Revd Dr Ainsley Griffiths from Church in Wales, Ms Miriam Weibye from Scottish Episcopal Church and Dr Rachel Jepson from the Church of England. The panel explained the very different views about Brexit prevalent in the UK: church communities are divided and the issue is complex. Those present agreed that relationships between churches can transcend divisions and borders.

The consultation was fortunate to hear from Mr Antonio Marujo, an experienced Portuguese journalist who gave his perspective on the public square in Portuguese society. The religious landscape of Portugal is diverse, but with a dominant Catholic Church. There were expectations among the public that the churches should make a contribution to public discourse and that the churches had to speak. Mr Marujo gave examples of where the churches had contributed in the public debate but also when the churches had declined to speak.

Ms Lena Kumlin and the Revd Dr Tomi Karttunen gave a presentation on the Church of Finland’s profound work on climate change, built on a foundation of Christian theology and ethics. The goal of the Church’s energy and climate strategy was a carbon neutral church by 2030. The Church takes into account the consequences for the environment and climate when developing its business. The Church’s environmental diploma provides an opportunity for parishes to plan their activities in an environmentally friendly way. Environmental and sustainability issues are playing an important part in Finland’s outworking of its presidency of the European Union.

The Porvoo Communion Church Leaders’ Consultation concluded with a visit to a Lusitanian parish for evening prayer followed by dinner and cultural evening. The Porvoo Contact Group expresses its gratitude to the Lusitanian Catholic Apostolic Evangelical Church, to the Rt Revd Jorge Pina Cabral, the Revd Sérgio Alves, Ms Catarina Sá Couto Mr Richard Domingues and Mr José Sequeira for making members so welcome to Seminário de Vilar and the city of Porto. The Group looks towards its 2020 meeting: a theological conference hosted by the Church of Sweden.

Participants

Church in Wales

The Revd Dr Ainsley Griffiths

Church of England

The Revd Dr William Adam (Anglican Co–Secretary)

Dr Rachel Jepson

The Revd Dr Anderson Jeremiah

Mr Adrian Harris

Church of Iceland

The Revd Dr Sigurður Árni Þorðarson

Svana Helen Björnsdóttir

Church of Ireland

The Revd Helene Steed

The Most Revd Dr Michael Jackson (Anglican Co–Chair)

Church of Norway

Dr Sven Thore Kloster

Ms Berit Hagen Agøy

Mr Christoffer Solbakken

Church of Sweden

The Revd Prof Christina Grenholm

The Revd Per Kristiansson

The Revd Dr Erik Berggren (Lutheran Co–Secretary)

Estonian Evangelical Lutheran Church

The Revd Tauno Teder

Ms Kadri Eliisabet Põder

Evangelical Lutheran Church in Denmark

The Revd Dr Thorsten Rørbæk

The Revd Christina Rygaard Christiansen

Evangelical Lutheran Church of Finland

The Rt Revd Dr Matti Repo (Lutheran Co–Chair)

Ms Lena Kumlin

M.Th. Suvi–Tuulia Vaara

The Revd Dr Tomi Karttunen

Latvian Evangelical Lutheran Church Abroad

The Very Revd Andris Abakuks

Ms Rūta Abakuks

Ms Inguna Mieze

Lusitanian Catholic Apostolic Evangelical Church – Portugal

The Rt Revd Jorge Pina Cabral

The Revd Sérgio Alves

Ms Catarina Sá Couto

Mr José Sequeira

Reformed Episcopal Church of Spain

The Revd Spencer Reece

The Revd José António Esteban

The Revd Daniel Caravaca

Scottish Episcopal Church

Ms Miriam Weibey

The Rt Revd Ian Paton

The cast of the show entitled "Sexxy" performs at Shimmer Cabaret in Westgate Las Vegas in Las Vegas Saturday, Sept. 19, 2015. Jason Ogulnik/Las Vegas Review-Journal

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.

Entitled "Good Times at Smith's Ranch," the 19th historical mural honors homesteaders Bill & Thelma Smith and their pioneering accomplishment in the community of Twentynine Palms. Bill Smith, who arrived in 1923 in his Model-T Ford, developed the haven known as Smith's Ranch. Bill and his brother, Harry, drilled a well and provided water to early homesteaders, and Bill's shower, swimming pool, and shade trees were a welcome place to cool off on hot summer days. Bill married Thelma Mead in 1930, and the ambitious pioneer couple built an ice house, a dairy, an ice cream parlor, an outdoor theater, a recreational hall, and a trailer park on their property. They had six children and were acclaimed as the first homesteaders to have children born in Twentynine Palms. The mural was funded by the Smith family children and was painted by Twentynine Palms artist Tim O'Connor on the south-facing wall of the DiAntonio building, 6298 Adobe Road, which houses Wholesale Appliance and Country Corners Florist. Dedicated: October 19, 2002.

About the Muralist

Dedication Date: March 23, 2002Location: Luckie Park Handball Courts

Artist: Tim O'Connor, Twentynine Palms, CA

Mural #19 - Good Times at Smith's Ranch

A longtime resident and former student of Twentynine Palms High School who married a native daughter, the former Pam Beller, Tim O'Connor is a versatile artist and businessman. He owns and operates O'Connor Graphics & Screenprinting with wife Pam, and they make their home with daughter Katie and son Keenan here in Twentynine Palms. O'Connor is also known for his political and editorial cartoons, some of which appear locally in The Sun Runner Magazine and The Desert Trail newspaper, along with his Fergie & Floyd cartoon strip, and for his fine graphic illustrations and pen and ink art works. O'Connor's first official mural undertaking was Twentynine Palms Mural #6, a tribute to Flying Constable Jack Cones, in January 1996. O'Connor was later commissioned to paint several subsequent murals, including four indoor murals aboard the Marine Corps Base, one for the Fantasy Springs Casino in Indio, CA, and the Johnnie Hastie Mural (#9) in Twentynine Palms in February 1998.

www.geocities.com/hkraychir/Action29PressReleases.html?11...

Die Werke von Willem de Rooij kreisen um Fragen nach Repräsentation und Bedeutung. Seit den frühen 1990er-Jahren arbeitet der niederländische Künstler in unterschiedlichen Medien wie Installation, Fotografie und Film. Für seine Ausstellung „Entitled“ im MMK 2 des MMK Museum für Moderne Kunst Frankfurt am Main hat er Werke und Werkgruppen aus frühen Schaffensphasen bis zur Gegenwart erstmals zu einer neuen, den gesamten Museumsraum umfassenden Installation vereint.

„Willem de Rooij ist mit wichtigen Werken aus seiner Kooperation mit Jeroen de Rijke in der Sammlung des MMK vertreten. Wir freuen uns, mit dieser Ausstellung das Œuvre von de Rooij noch intensiver und umfassender beleuchten zu können“, sagt Prof. Dr. Susanne Gaensheimer, Direktorin des MMK.

De Rooij studierte an der Gerrit Rietveld Akademie und an der Rijksakademie in Amsterdam. Seit 2006 lehrt er als Professor für Bildende Künste an der Städelschule in Frankfurt am Main. Von 1995 bis 2006 arbeitete er zusammen mit Jeroen de Rijke (1970–2006).

Bei dieser Ausstellung stehen sowohl die einzelnen Arbeiten des Künstlers im Mittelpunkt als auch ihre Anordnung in einer umfassenden Installation, die speziell für die Räume des

MMK 2 entwickelt wurde. „In der Anordnung der Werke zu einer Gesamtinstallation sieht Willem de Rooij einen wichtigen Teil seiner Arbeit als Künstler. Der Raum – ob privat, öffentlich, institutionell oder sozial – ist dabei zentral. Der Raum zwischen den einzelnen Werken und die Aussichten auf den städtischen Umraum schaffen eine Beziehung zwischen dem Werk und dem Betrachter, zwischen dem Museum und der Stadt.“, sagt Klaus Görner, Kurator der Ausstellung.

Durch die bewusste Einbindung von Zwischenräumen und Fensteröffnungen stellt die Installation im MMK 2 Verbindungen zwischen dem Innenraum und der äußeren Umgebung her. Die Präsentation ist dabei nicht als Parcours oder Abfolge aufgebaut, sondern als ein Gefüge verschiedener Zonen, die sich gegenseitig durchdringen und über Blickachsen miteinander verknüpft sind. Dadurch deckt die Installation Referenzen innerhalb de Rooijs Œuvre auf.

Pressemitteilung MMK

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.

.... Entitled 'Victory'

Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. 'Men digging ice' by Herbert Ponting (1870-1935).

Date: c.1911

Our Catalogue Reference: COPY 1/562/94

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.

This is an extract from a notice listing persons entitled to seats in the transept of Carlow Cathedral in 1926-1927.

The notice is divided into three sections; persons who are entitled to (1) single seats (2) family seats and (3) those who inherit a right to a seat on gallery or transept.

The notice also lists some rules:

1. The right to enter on this Transept belongs to all those who contributed Fifteen Pounds Sterling or upwards to the building of this Cathedral, or who, having a right to a seat on the Front Gallery of the Old Chapel, have contributed to this building Ten Pounds Sterling

2. The above right descends to the right heirs only of present and future occupiers, but not to their children, relations, or legatees, when forming distinct or separate families

3. No person can possess a property in this Transept, or claim any particular place or seat therein nor can transfer, sell, bequeath, or otherwise dispose of his or her title to occupy such seat or place

4. The right of individuals to enter upon this Transept extends to the members of their respective families dwelling in their house, not including servants, lodgers, or persons in their employment not bound by indenture

5. The Bishop for the time being, and he only, can at all times to come, grant to any individual or family a right like the above original right, to enter upon this Transept, on payment to the Parish Treasurer or Fifteen Pounds Sterling

6. The Bishop may at all times grant a rigtht for One Year to a place in this Transept, whether to a family or to an individual, on the payment by the former of One Guinea and a Half, and by the latter of One Guinea

7. Strangers, not introduced by a person entitled to the above, shall pay on entering this Transept Six Pence to the Beadle, who will show such Stranger to a seat.

Item held by the Delany Archive: www.delanyarchive.ie. Code: DAS/801.

Our images are copyright. Please contact us in advance for permission if you wish to reproduce images (including on other websites): delanyarchive@carlowcollege.ie.

Entitled: Watering the Park

This creation is entitled “Monster Mash at the Haunted Mansion.” This was the first time I forayed into the world of minifigures and admittedly had a ball transforming them into classic vampires, werewolves, mummies, the Headless Horseman, Frankenstein, the Creature from the Black Lagoon, the Grim Reaper, Freddy Krueger, witches and all variety of zombies inspired by the ever-popular “Walking Dead” series. Of course, no haunted mansion would be complete without a haunted cemetery and haunted gazebo. As Halloween will be here before you know it; it is the perfect time to join the “Monster Mash at the Haunted Mansion.” Have fun!

Tinted postcard photograph entitled Old Brompton, Inner Lines and Trinity Church comprising a view of Holy Trinity parish church, Military Road (later Maxwell Road) and Inner Lines, looking north-north-east, showing in fore and right middle grounds and right distance path leading through avenue of trees and in left middle ground Military Road (later Maxwell Road), church and spire. The buildings at the left side of the picture are the Conway Hall and Trinity Church School buildings.

In December 1868, by permission of the Secretary for War a portion of the inner line of fortifications, adjoining Fort Amherst, Chatham, was been set apart as a recreation ground for the use of the officers connected with the garrison. The avenue of trees was part of this Victorian park which included carriage drives and tennis courts.

Droog Design was founded in 1993 by Gijs Bakker and Renny Ramakers. They started off by putting together design presentations reflecting a clear spirit of the times. In 1996 they extended their sphere of activities by initiating experimental projects and one year later Droog received its first commission from a company. In 2003 Droog B.V. was set up alongside the Droog Design Foundation, for the production and distribution of the Droog product collection. Since the end of 2004, the Droog headquarters, droog@home, has been situated in Amsterdam, combining a shop, an exhibition room, a library and a kitchen where design dinners are cooked.

In 1999 an exhibition on Droog Design was presented at Fundación Joan Miró in Barcelona, followed by a retrospective exhibition in 2006/2007 at the Museum of Arts & Design in New York City entitled Simply Droog: 10 + 3 years of creating innovation and discussion. In 2004 a book was published on Droog Design, entitled Simply Droog: 10 + 1 years of creating innovation and discussion. In 2009, expand its operation to North America with a new flagship store in New York City's SoHo District.

Entitled, In a Series I wanted to look at the structure of the violin and investigate its meaning to me. By taking it apart I was able to strip it back to basics and use each section to express a different memory and emotion.

Mural entitled "X Marks the Milky Way" by Renee Roberts installed as part of the Big Walls Project on the west wall and door of the garage of the building at 1130 South Michigan Avenue in the Wabash Arts Corridor of Chicago, Illinois.

The coffee style table is entitled “The Bridge Table” and it is constructed from Cocobolo (Dalbergia retusa) and CNC machined 6061 brushed aluminum. The table measures 53.65” side to side, 15.75” front to back, and 20.75” height. The wood is coated with 5 coats of Watco oil modified with a phenolic resin and the aluminum is coated with a clear high gloss industrial acrylic coating. The sides are joined to the top with hand cut dovetails in a specifically designed pattern to add strength to the joint of the two book matched edge glued boards forming the top and sides and for the patterns visual appeal. The aluminum cross brace is tenoned through the sides and is wedge with Cocobolo wedges in slots cut into the aluminum, which are pre-bent. The machined aluminum feet are actually levelers which can be adjusted to account for uneven floors.

The design was formulated from viewing bridges from a distance particularly the George Washington Bridge from the upper floors of Columbia Presbyterian Hospital in Manhattan. The materials were chosen for the contrast of hardened metal and natural wood as well as the color difference between the lighter and cooler brushed aluminum and the darker warmer Cocobolo. The other reason for the combination is contrast between the uniform color of the aluminum against the strikingly varied Cocobolo. The single board of Cocobolo chosen for the project is old growth which had been cut for more then 25 years minimizing our impact on the current logging market for this species. Because of the elaborate grain pattern of the wood, which we wanted to capitalize on, we re-sawed the board and book matched the sides and top. The top and sides were joined to create a sense of continuity allowing the grain to flow from these elements.

Painting number 8 of 14 commissioned by Norwich Cathedral and entitled 'The Passion of Edith Cavell: The Way of the Cross', painted by Brian Whelan.

This painting is called 'VIII. Arrest' and it hangs with the other 13 painting inside the cathedral.

'On Aug. 5th. 1915 ... officers of the Secret Police ... presented themselves ... at the Institute Berkendael, rue da la Culture, No. 149 and there proceeded to a search.... Miss Cavell and her assistant, Miss Wilkins, were arrested ... and bought to police station B. After examination by Lieut. Bergan, Miss Wilkins was released. Miss Cavell was detained'. (Official German account of Edith's arrest).

Edith Cavell was born at Swardeston, near Norwich on 4th. December 1865. The eldest child of the vicar of St. Mary's church, she was schooled at home by her father along with her two younger sisters and brother until she was 16. The opportunities for young women of her background were very few, but Edith was determined through Christian service to make a difference. She wrote "Someday, somehow I am going to do something useful. I don't know what it will be, I only know it will be something for people".

Edith trained to be a nurse at the Royal London Hospital in London's East End from 1896 to 98. Her great opportunity came when in 1907 she was invited by Belgium's leading surgeon, Antoine Depage, to become the founding director of the first professional nurse's training school in Belgium.

Each summer Edith came back to Norfolk for a holiday. In August 1914 she was with her widowed mother in her College Road, Norwich, home when news came of the threat of the German invasion of neutral Belgium. Edith immediately travelled back to Brussels to be with her nurses, and they cared for casualties regardless of national origin.

Although the German occupiers of Brussels threatened death to anyone assisting allied soldiers, in early 1915 Edith became part of a underground network that enabled those caught behind enemy lines to escape from Belgium. She later admitted that she had helped around 200 allied soldiers even while she was nursing German soldiers in the clinic.

Eventually Edith and the underground group were all arrested and imprisoned. She found her ten week in solitary confinement in St. Gilles prison in Brussels 'a great mercy', a time of healing, peace and calm after the constant anxiety and stress of her work. Edith was tried along with 34 others and found guilty of treason. On the afternoon of 11th. October 1915, she learned that she and a resistance colleague would be executed by firing squad the next morning.

Edith faced her death with calm courage. "I have no fear or shrinking. I have seen death so often it is not strange or fearful to me". As a Christian and as a nurse, she had committed herself to the service of others, conscious that this might cost her everything, even the sacrifice of her own life. As Christ had done from the cross, she prayed for the forgiveness of those who would kill her, "I expected my sentence and I believe it was just. But this I would say, standing as I do in view of God and eternity, I realise that patriotism is not enough. I must have no hatred or bitterness towards anybody". Edith's words were a rejection of the patriotic hatred that drove the war, and they are words that speak to us just as powerfully and directly today.

Edith's body was returned to England in May 1919. After a state funeral at Westminster Abbey, she was brought back to Norfolk and it the presence of thousands was buried in Life's Green, the former monastic cemetery outside Norwich Cathedral. Public donations were used in accordance with her express wishes to open rest homes for nurses, work that continues today under the Cavell Nurses Trust.

Looks like a reflection, but it's not.

This scented rambling rose from 1901 features large clusters of bright pink dainty blooms with brightly polished green foliage. This rose can put on growth of 20ft in one season which makes it ideal for rambling up trees barns or buildings. The rose was named for the grand daughter of the founder of the nursery firm Jackson & Perkins.

www.rosesscotland.co.uk/ramblingrose.html

From my set entitled “Roses”

www.flickr.com/photos/21861018@N00/sets/72157607214064416/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Rose

A rose is a perennial flowering shrub or vine of the genus Rosa, within the family Rosaceae, that contains over 100 species. The species form a group of erect shrubs, and climbing or trailing plants, with stems that are often armed with sharp thorns. Most are native to Asia, with smaller numbers of species native to Europe, North America, and northwest Africa. Natives, cultivars and hybrids are all widely grown for their beauty and fragrance. [1]

The leaves are alternate and pinnately compound, with sharply toothed oval-shaped leaflets. The plants fleshy edible fruit is called a rose hip. Rose plants range in size from tiny, miniature roses, to climbers that can reach 20 metres in height. Species from different parts of the world easily hybridize, which has given rise to the many types of garden roses.

The name originates from Latin rosa, borrowed through Oscan from colonial Greek in southern Italy: rhodon (Aeolic form: wrodon), from Aramaic wurrdā, from Assyrian wurtinnu, from Old Iranian *warda (cf. Armenian vard, Avestan warda, Sogdian ward, Parthian wâr).[2][3]

Attar of rose is the steam-extracted essential oil from rose flowers that has been used in perfumes for centuries. Rose water, made from the rose oil, is widely used in Asian and Middle Eastern cuisine. Rose hips are occasionally made into jam, jelly, and marmalade, or are brewed for tea, primarily for their high Vitamin C content. They are also pressed and filtered to make rose hip syrup. Rose hips are also used to produce Rose hip seed oil, which is used in skin products.

The leaves of most species are 5–15 centimetres long, pinnate, with (3–) 5–9 (–13) leaflets and basal stipules; the leaflets usually have a serrated margin, and often a few small prickles on the underside of the stem. The vast majority of roses are deciduous, but a few (particularly in Southeast Asia) are evergreen or nearly so.

The flowers of most species roses have five petals, with the exception of Rosa sericea, which usually has only four. Each petal is divided into two distinct lobes and is usually white or pink, though in a few species yellow or red. Beneath the petals are five sepals (or in the case of some Rosa sericea, four). These may be long enough to be visible when viewed from above and appear as green points alternating with the rounded petals. The ovary is inferior, developing below the petals and sepals.

The aggregate fruit of the rose is a berry-like structure called a rose hip. Rose species that produce open-faced flowers are attractive to pollinating bees and other insects, thus more apt to produce hips. Many of the domestic cultivars are so tightly petalled that they do not provide access for pollination. The hips of most species are red, but a few (e.g. Rosa pimpinellifolia) have dark purple to black hips. Each hip comprises an outer fleshy layer, the hypanthium, which contains 5–160 "seeds" (technically dry single-seeded fruits called achenes) embedded in a matrix of fine, but stiff, hairs. Rose hips of some species, especially the Dog Rose (Rosa canina) and Rugosa Rose (Rosa rugosa), are very rich in vitamin C, among the richest sources of any plant. The hips are eaten by fruit-eating birds such as thrushes and waxwings, which then disperse the seeds in their droppings. Some birds, particularly finches, also eat the seeds.

While the sharp objects along a rose stem are commonly called "thorns", they are actually prickles — outgrowths of the epidermis (the outer layer of tissue of the stem). True thorns, as produced by e.g. Citrus or Pyracantha, are modified stems, which always originate at a node and which have nodes and internodes along the length of the thorn itself. Rose prickles are typically sickle-shaped hooks, which aid the rose in hanging onto other vegetation when growing over it. Some species such as Rosa rugosa and R. pimpinellifolia have densely packed straight spines, probably an adaptation to reduce browsing by animals, but also possibly an adaptation to trap wind-blown sand and so reduce erosion and protect their roots (both of these species grow naturally on coastal sand dunes). Despite the presence of prickles, roses are frequently browsed by deer. A few species of roses only have vestigial prickles that have no points.

Roses are popular garden shrubs, as well as the most popular and commonly sold florists' flowers. In addition to their great economic importance as a florists crop, roses are also of great value to the perfume industry.

Many thousands of rose hybrids and cultivars have been bred and selected for garden use; most are double-flowered with many or all of the stamens having mutated into additional petals. As long ago as 1840 a collection numbering over one thousand different cultivars, varieties and species was possible when a rosarium was planted by Loddiges nursery for Abney Park Cemetery, an early Victorian garden cemetery and arboretum in England.

Twentieth-century rose breeders generally emphasized size and colour, producing large, attractive blooms with little or no scent. Many wild and "old-fashioned" roses, by contrast, have a strong sweet scent.

Roses thrive in temperate climates, though certain species and cultivars can flourish in sub-tropical and even tropical climates, especially when grafted onto appropriate rootstock.

Rose pruning, sometimes regarded as a horticultural art form, is largely dependent on the type of rose to be pruned, the reason for pruning, and the time of year it is at the time of the desired pruning.

Most Old Garden Roses of strict European heritage (albas, damasks, gallicas, etc.) are shrubs that bloom once yearly, in late spring or early summer, on two-year-old (or older) canes. As such, their pruning requirements are quite minimal, and are overall similar to any other analogous shrub, such as lilac or forsythia. Generally, only old, spindly canes should be pruned away, to make room for new canes. One-year-old canes should never be pruned because doing so will remove next year's flower buds. The shrubs can also be pruned back lightly, immediately after the blooms fade, to reduce the overall height or width of the plant. In general, pruning requirements for OGRs are much less laborious and regimented than for Modern hybrids.

Modern hybrids, including the hybrid teas, floribundas, grandifloras, modern miniatures, and English roses, have a complex genetic background that almost always includes China roses (R. chinensis). China roses were evergrowing, everblooming roses from humid subtropical regions that bloomed constantly on any new vegetative growth produced during the growing season. Their modern hybrid descendants exhibit similar habits: Unlike Old Garden Roses, modern hybrids bloom continuously (until stopped by frost) on any new canes produced during the growing season. They therefore require pruning away of any spent flowering stem, in order to divert the plant's energy into producing new growth and thence new flowers.

Additionally, Modern Hybrids planted in cold-winter climates will almost universally require a "hard" annual pruning (reducing all canes to 8"–12" in height) in early spring. Again, because of their complex China rose background, Modern Hybrids are typically not as cold-hardy as European OGRs, and low winter temperatures often desiccate or kill exposed canes. In spring, if left unpruned, these damanged canes will often die back all the way to the shrub's root zone, resulting in a weakened, disfigured plant. The annual "hard" pruning of hybrid teas, floribundas, etc. should generally be done in early spring; most gardeners coincide this pruning with the blooming of forsythia shrubs. Canes should be cut about 1/2" above a vegetative bud (identifiable as a point on a cane where a leaf once grew).

For both Old Garden Roses and Modern Hybrids, any weak, damaged or diseased growth should be pruned away completely, regardless of the time of year. Any pruning of any rose should also be done so that the cut is made at a forty five degree angle above a vegetative bud. This helps the pruned stem callus over more quickly, and also mitigates moisture buildup over the cut, which can lead to disease problems.

For all general rose pruning (including cutting flowers for arrangements), sharp secateurs (hand-held, sickle-bladed pruners) should be used to cut any growth 1/2" or less in diameter. For canes of a thickness greater than 1/2", pole loppers or a small handsaw are generally more effective; secateurs may be damaged or broken in such instances.

Deadheading is the simple practice of manually removing any spent, faded, withered, or discoloured flowers from rose shrubs over the course of the blooming season. The purpose of deadheading is to encourage the plant to focus its energy and resources on forming new offshoots and blooms, rather than in fruit production. Deadheading may also be perfomed, if spent flowers are unsightly, for aethestic purposes. Roses are particularly responsive to deadheading.

Deadheading causes different effects on different varieties of roses. For continual blooming varieties, whether Old Garden roses or more modern hybrid varieties, deadheading allows the rose plant to continue forming new shoots, leaves, and blooms. For "once-blooming" varieties (that bloom only once each season), deadheading has the effect of causing the plant to form new green growth, even though new blooms will not form until the next blooming season.

For most rose gardeners, deadheading is used to refresh the growth of the rose plants to keep the rose plants strong, vibrant, and productive.

The rose has always been valued for its beauty and has a long history of symbolism. The ancient Greeks and Romans identified the rose with their goddesses of love referred to as Aphrodite and Venus. In Rome a wild rose would be placed on the door of a room where secret or confidential matters were discussed. The phrase sub rosa, or "under the rose", means to keep a secret — derived from this ancient Roman practice.

Early Christians identified the five petals of the rose with the five wounds of Christ. Despite this interpretation, their leaders were hesitant to adopt it because of its association with Roman excesses and pagan ritual. The red rose was eventually adopted as a symbol of the blood of the Christian martyrs. Roses also later came to be associated with the Virgin Mary.

Rose culture came into its own in Europe in the 1800s with the introduction of perpetual blooming roses from China. There are currently thousands of varieties of roses developed for bloom shape, size, fragrance and even for lack of prickles.

Roses are ancient symbols of love and beauty. The rose was sacred to a number of goddesses (including Isis and Aphrodite), and is often used as a symbol of the Virgin Mary. 'Rose' means pink or red in a variety of languages (such as Romance languages, Greek, and Polish).

The rose is the national flower of England and the United States[4], as well as being the symbol of England Rugby, and of the Rugby Football Union. It is also the provincial flower of Yorkshire and Lancashire in England (the white rose and red rose respectively) and of Alberta (the wild rose), and the state flower of four US states: Iowa and North Dakota (R. arkansana), Georgia (R. laevigata), and New York[5] (Rosa generally). Portland, Oregon counts "City of Roses" among its nicknames, and holds an annual Rose Festival.

Roses are occasionally the basis of design for rose windows, such windows comprising five or ten segments (the five petals and five sepals of a rose) or multiples thereof; however most Gothic rose windows are much more elaborate and were probably based originally on the wheel and other symbolism.

A red rose (often held in a hand) is a symbol of socialism or social democracy; it is also used as a symbol by the British and Irish Labour Parties, as well as by the French, Spanish (Spanish Socialist Workers' Party), Portuguese, Norwegian, Danish, Swedish, Finnish, Brazilian, Dutch (Partij van de Arbeid) and European socialist parties. This originated when the red rose was used as a badge by the marchers in the May 1968 street protests in Paris. White Rose was a World War II non violent resistance group in Germany.

Roses are often portrayed by artists. The French artist Pierre-Joseph Redouté produced some of the most detailed paintings of roses.

Henri Fantin-Latour was also a prolific painter of still life, particularly flowers including roses. The Rose 'Fantin-Latour' was named after the artist.

Other impressionists including Claude Monet and Paul Cézanne have paintings of roses among their works.

Rose perfumes are made from attar of roses or rose oil, which is a mixture of volatile essential oils obtained by steam distilling the crushed petals of roses. The technique originated in Persia (the word Rose itself is from Persian) then spread through Arabia and India, but nowadays about 70% to 80% of production is in the Rose Valley near Kazanluk in Bulgaria, with some production in Qamsar in Iran and Germany.[citation needed]

The Kaaba in Mecca is annually washed by the Iranian rose water from Qamsar. In Bulgaria, Iran and Germany, damask roses (Rosa damascena 'Trigintipetala') are used. In the French rose oil industry Rosa centifolia is used. The oil, pale yellow or yellow-grey in color, is sometimes called 'Rose Absolute' oil to distinguish it from diluted versions. The weight of oil extracted is about one three-thousandth to one six-thousandth of the weight of the flowers; for example, about two thousand flowers are required to produce one gram of oil.

The main constituents of attar of roses are the fragrant alcohols geraniol and l-citronellol; and rose camphor, an odourless paraffin. β-Damascenone is also a significant contributor to the scent.

Quotes

What's in a name? That which we call a rose/By any other name would smell as sweet. — William Shakespeare, Romeo and Juliet act II, sc. ii

O, my love's like a red, red rose/That's newly sprung in June — Robert Burns, A Red, Red Rose

Information appears to stew out of me naturally, like the precious ottar of roses out of the otter. Mark Twain, Roughing It

Hearts starve as well as bodies; give us bread, but give us roses. — James Oppenheim, "Bread and Roses"

Rose is a rose is a rose is a rose — Gertrude Stein, Sacred Emily (1913), a poem included in Geography and Plays.

Miro's Chicago - Plaque

Also entitled: "The Sun, The Moon and One Star", 1967

Installed: 1981

Joan Miró (1893-1983)

Brunswick Plaza

West of 60 West Washington Street

(between Dearborn and Clark Streets)

Her shape and pose reminiscent of the famous Minoan snake goddess figurine from Crete, Miro’s Chicago is a 39-foot / 12 meter tall stylized female form fashioned from concrete over a metallic armature, ceramic tile, and bronze, on a travertine stone base.

Placed in a small plaza between the Chicago Temple Building and the Cook County Administration Building, the statue is often overlooked in favor of Picasso's sculpture in Daley Center Plaza on the opposite side of the street.

Originally to be installed the same year as Picasso’s work, the plan was abandoned, due to financial issues, by the Brunswick Corporation, which commissioned the piece. It remained a small maquette for some 18 years until a committee, led by Stanley Freehlin, raised over half of the necessary funds from private donors and the City of Chicago contributed matching funds. The finished figure was unveiled on April 20, 1981, by Chicago’s first female mayor, Jane Byrne. The Art Institute of Chicago maintains Miro's plaster "Chicago" maquette from 1963: www.artic.edu/aic/collections/artwork/100666.

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THE LOOP:

Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.

Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.

Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.

Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.

In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.

Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.

Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.

The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.

ETYMOLOGY

The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.

BIRTH OF NANDI

There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.

Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.

One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.

IN HINDUISM

Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.

DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:

- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.

- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.

- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.

- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.

- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.

- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.

- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).

LEGENDS

According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.

It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.

In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.

When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".

LARGEST NANDIS IN INDIA

1. Lepakshi, Andhra Pradesh

2. Brahadishwara Temple, Tamil Nadu

4. Bull Temple, Bangalore, Karnataka

5. Rameswaram, Tamil Nadu

6. Hoysaleswara Temple, Halebidu, Karnataka

7. Shanthaleswara Temple, Halebidu, Karnataka

8. Vadakkunnathan Temple, Thrissur, Kerala

9. Virupaksha Temple, Hampi, Karnataka

10. Nandi Temple, Western Group of Temples, Khajuraho,

Madhya Pradesh

11. Kedareshvara Temple at Balligavi (Karnataka)

12. Doddabasaveshvara temple, Kurugodu Bellary dist

MISCELLANEOUS

The white color of the bull symbolizes purity and justice.

Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.

WIKIPEDIA

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.

billbarber.blogspot.com/

From my set entitled “Boats and Ships”

www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...

In my collection entitled “Transportation”

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In my photostream

www.flickr.com/photos/21861018@N00/

Imagekind link:

Reproduced from Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/North_Rhine-Westphalia

North Rhine-Westphalia (German: Nordrhein-Westfalen, usually shortened to NRW, official short form NW) is the westernmost and - in terms of population and economic output - the largest Federal State of Germany. North Rhine-Westphalia has over 18 million inhabitants, contributes about 22% of Germany's gross domestic product and comprises a land area of 34,083 km (13,158 square miles). North Rhine-Westphalia is situated in the Western part of Germany and shares borders with Belgium and the Netherlands. It has borders with the German states of Lower Saxony to the North and Northeast, Rhineland-Palatinate to the Southwest and Hesse to the Southeast.

The capital city is Düsseldorf, and the largest city is Cologne (Köln). Other major cities are Dortmund, Essen, Duisburg, Oberhausen, Aachen, Bielefeld, Bonn, Bochum, Bottrop, Bergisch Gladbach, Mönchengladbach, Mülheim, Münster, Gelsenkirchen, Krefeld, Hagen, Hamm, Herne, Iserlohn, Leverkusen, Neuss, Paderborn, Recklinghausen, Remscheid, Siegen, Solingen, Witten and Wuppertal.

The state is centred on the sprawling Rhine-Ruhr urbanised region, which contains the cities of Düsseldorf, Bonn and Cologne as well as the Ruhr Area industrial complex. The Ruhr area consists of, among others, the cities of Dortmund, Essen, Duisburg, Bochum, Gelsenkirchen and Oberhausen.

The state's area covers a maximum distance of 291 km from north to south, and 266 km from east to west.

The total length of the state's borders is 1,645 km. The following countries and states have a border with North Rhine-Westphalia:

Belgium (99 km)

The Netherlands (387 km)

Lower Saxony (583 km)

Hessen (269 km)

Rhineland Palatinate (307 km)

For many people North Rhine-Westphalia is synonymous with industrial areas and agglomerating cities. But the largest part of the state is used for agriculture (almost 52%), forests cover 25%. The southern parts of the Teutoburg Forest are located in the northeast. In the southwest, Nordrhein-Westafalen shares in a small part of the Eifel, located on the borders with Belgium and Rheinland-Pfalz. The southeast is occupied by the sparsely populated regions of Sauerland and Siegerland. The northwestern areas of the state are part of the Northern European Lowlands.

The most important rivers that run at least partially through North Rhine-Westphalia include: Rhine, Ruhr, Ems, Lippe and Weser. The Pader, which runs only through the city of Paderborn, is considered the shortest river in Germany.

The state of North Rhine-Westphalia was established by the British military administration on 25 October 1946. Originally it consisted of Westphalia and the northern parts of the Rhine Province, both formerly belonging to Prussia. In 1947 the former state of Lippe was merged with North Rhine-Westphalia, hence leading to the present borders of the state.

The design, entitled 'Everlasting Waves of Peace', comprises concentric arcs of wavelike black granite stelai or screens. These are inscribed with the names of all those who died, regardless of nationality and civilian or military status. The names are in horizontal order from left to right, and in their native alphabet according to place of origin. The series totals some 116 stones, with the text running a total length of 2,200 metres.

Source: en.wikipedia.org/wiki/Cornerstone_of_Peace

Thank you so much for your very kind testimonial

From my set entitled “Poppies”

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In my collection entitled “The Garden”

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From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Poppy

A poppy is any of a number of showy flowers, typically with one per stem, belonging to the poppy family. They include a number of attractive wildflower species with showy flowers found growing singularly or in large groups; many species are also grown in gardens. Those that are grown in gardens include large plants used in a mixed herbaceous border and small plants that are grown in rock or alpine gardens.

The flower color of poppy species include: white, pink, yellow, orange, red and blue; some have dark center markings. The species that have been cultivated for many years also include many other colors ranging from dark solid colors to soft pastel shades. The center of the flower has a whorl of stamens surrounded by a cup- or bowl-shaped collection of four to six petals. Prior to blooming, the petals are crumpled in bud, and as blooming finishes, the petals often lie flat before falling away.

Poppies have long been used as a symbol of both sleep and death: sleep because of the opium extracted from them, and death because of their (commonly) blood-red color. In Greco-Roman myths, poppies were used as offerings to the dead. Poppies are used as emblems on tombstones to symbolize eternal sleep. This aspect was used, fictionally, in The Wonderful Wizard of Oz to create magical poppy fields, dangerous because they caused those who passed through them to sleep forever.

A second meaning for the depiction and use of poppies in Greco-Roman myths is the symbolism of the bright scarlet colour as signifying the promise of resurrection after death.

The poppy of wartime remembrance is the red corn poppy, Papaver rhoeas. This poppy is a common weed in Europe and is found in many locations, including Flanders Fields. This is because the corn poppy was one of the only plants that grew on the battlefield. It thrives in disturbed soil, which was abundant on the battlefield due to intensive shelling. During the few weeks the plant blossomed, the battlefield was coloured blood red, not just from the red flower that grew in great numbers but also from the actual blood of the dead soldiers that lay scattered and untended to on the otherwise barren battlegrounds.

Thus the plant became a symbol for the dead World War I soldiers. In many Commonwealth countries and in the United States, artificial, paper or plastic versions of this poppy are worn to commemorate the sacrifice of veterans and civilians in World War I and other wars, during the weeks preceding Remembrance Day on November 11. It has been adopted as a symbol by The Royal British Legion in their Poppy Appeal.

In North America, poppies are known as Clown Shoes by the Royal Canadian Legion, who sell them each fall prior to Remembrance Day. The design of the Canadian poppy has changed recently. Formerly the poppy was red plastic with a felt lining with a green centre held on by a pin. The green was to represent the green fields of France. In 2002 the design was changed with some small controversy to a black centre. This is to reflect the actual colour of the French poppy.

In New Zealand and Australia, paper poppies are widely distributed by the Returned Services Association leading up to ANZAC day (April 25th).

The golden poppy, Eschscholzia californica, is the state flower of California.

Poppy is widely consumed in many parts of Central and Eastern Europe. The sugared, milled mature seeds are eaten with pasta, or they are boiled with milk and used as filling or topping on various kinds of sweet pastry.

Poppy seeds are widely used in Bengali cuisine, Oriya cuisine, German cuisine, Malabar Cuisine (Northern Kerala) and the Cuisine of Austria (Papaver somniferum).

In Mexico, Grupo Modelo, the makers of Corona beer, until the 1960s used red poppy flowers in its advertising, where almost any image it used had poppy flowers somewhere in the image.

Although the drug opium is produced by "milking" latex from the unripe fruits ("seed pods") rather than from the seeds, all parts of the plant can contain or carry the opium alkaloids, especially morphine and codeine. This means that eating foods (e.g., muffins) that contain poppy seeds can result in a false positive for opiates in a drug test.

This was considered "confirmed" by the presenters of the television program MythBusters. One participant, Adam Savage, who ate an entire loaf of poppy seed cake, tested positive for opiates just half an hour later. A second participant, Jamie Hyneman, who ate three poppy seed bagels, first tested positive two hours after eating. Both tested positive for the remainder of the day, but were clean eighteen hours later. The show Brainiac: Science Abuse also did experiments where a priest ate several poppy seed bagels and gave a sample, which also resulted in a false positive.

The results of this experiment are inconclusive, because a test was used with an opiate cutoff level of 300 ng/mL instead of the current SAMHSA recommended cutoff level used in the NIDA 5 test, which was raised from 300 ng/mL to 2,000 ng/mL in 1998 in order to avoid false positives from poppy seeds. However, according to an article published in the Medical Science Law Journal, after ingesting "a curry meal or two containing various amounts of washed seeds" where total morphine levels were in the range 58.4 to 62.2 µg/g seeds, the urinary morphine levels were found to range as high as 1.27 µg/mL (1,270 ng/mL) urine . Another article in the Journal of Forensic Science reports that concentration of morphine in some batches of seeds may be as high as 251 µg/g.[5] In both studies codeine was also present in the seeds in smaller concentrations. Therefore it is possible to cross the current standard 2,000 ng/mL limit of detection, depending on seed potency and quantity ingested. Some toxicology labs still continue to use a cutoff level of 300 ng/mL.

The sale of poppy seeds from Papaver somniferum is banned in Singapore due to the morphine content. Poppy seeds are also banned in Saudi Arabia due to various religious and drug control reasons.

What may be the most famous literary use of the poppy occurs both in L. Frank Baum's The Wonderful Wizard of Oz and in MGM's classic 1939 film based on the novel.

In the novel, while on their way to the Emerald City, Dorothy, the Scarecrow, the Tin Man and the Cowardly Lion walk through a field of poppies, and the opium from the flowers puts both Dorothy and the Lion to sleep. The Scarecrow and the Tin Man, not being made of flesh and blood, are unaffected. They carry Dorothy to safety and place her on the ground beyond the poppy field. While they are considering how to help the Lion, a field mouse runs in front of them, fleeing a cougar. The Tin Man beheads the cougar with his axe, and the field mouse pledges her eternal gratitude. Being the Queen of the Field Mice, she gathers all her subjects together. The Tin Man cuts down several trees, and builds a wagon. The Lion is pushed onto it, and the mice pull the wagon safely out of the poppy field.

In the 1939 film, the sequence is considerably altered. The poppy field is conjured up by the Wicked Witch of the West, and it appears directly in front of the Emerald City, preventing the four travelers from reaching it. As in the novel, Dorothy and the Cowardly Lion fall asleep, but in a direct reversal of the book, the Scarecrow and the Tin Man are unable to carry Dorothy. Glinda, who has been watching over them, conjures up a snowfall which kills the poppies and enables Dorothy and the Lion to awaken. Unfortunately, the Tin Man has been weeping in despair, and the combination of his tears and the wet snow has caused him to rust. After he is oiled by Dorothy, the four skip happily toward the Emerald City.

In Baum's other Oz books, Oz's ruler, Princess Ozma, is often shown wearing poppies in her hair as decoration.

Poppies stand as a prominent feature of In Flanders Fields, one of the most frequently quoted English-language poems composed by front-line personnel during the First World War. It was written by John McCrae, a doctor serving in the Royal Canadian Army Medical Corps, and appeared for the first time in Punch magazine on December 8, 1915.

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved, and were loved, and now we lie

In Flanders Fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders Fields.

- John McCrae

In Persian literature, red poppies, especially red corn poppy flowers, are considered the flower of love. They are often called the eternal lover flower.

PS Element 5:darkening, sharpening, cropping, contrast, rough pastel filter

Pfizer Stop Smoking Campaign

MGFX Studio have collaborated with Pfizer to produce a 30 second commercial for their Stop Smoking Campaign entitled ‘Serious Quitters.’

The commercial contains extensive use of motion graphics throughout building a 3D World but enabling a distinctive 2D look.

We see a park on a lovely Summer’s day and the usual goings on within it – a couple jogging, a man sitting on a bench and a lady laying down a picnic blanket are highlighted and zoomed in on. The voice over questions why each of the people in these close-up scenes have given up smoking. The commercial closes to reveal the man in a doctor’s surgery about to receive medical advice.

Matt Lawrence, Motion GFX at Rushes, commented, "Plunge creatives and Motion GFX developed the concept of creating an environment for the commercial completely out of digital SLR stills with live action footage "hero characters" within this world. They wanted to have the freedom to fly a camera through this environment and zoom into any live action footage they chose to. Because of this, the decision was taken early on to work at native resolution and get all the live action transferred in Telecine at 2K to allow us to do this. This put huge demands on the computers as the final build for the environment had close to 500 layers all of which were 2k or above with the grass elements reaching a massive 8K resolution! This would have taken days to render before our investment, but with the new Intel machines we were able to get approval renders out within minutes. This allowed us the freedom to be more creative and try out many more options than ever before within the time scales of the job which the client obviously loved!"

Title: "Serious Quitters"

Product: Pfizer

Agency: Ogilvy Healthcare

Director: Elliot Naftalin

Producer: Theresa Larche

Film Editor: Adam Rudd @ Final Cut

Post Facility: Rushes

Telecine: Marcus Timpson

Rushes Producer: Anthony McCaffery

VFX: Matt Lawrence, Adam Watson, Martin Goodwin

Photoshop: Matt Lawrence, Costas Charitou, Brad Le Riche, Noel Harmes

Combustion: Joe Dymond, Anthony Laranjo

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Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.

Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.

Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.

In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.

Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.

Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.

Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.

Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.

In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.

Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.

Wonderful vintage cookbook entitled Betty Feezor's Best, TV-Tested Recipes Household Hints, New Enlarged Edition.

Original copyright 1957 by Betty Feezor. New Enlarged Edition, Copyright 1958. Printed by The Dowd Press, Charlotte NC.

From inside back cover:

For the past six years Carolina homemakers have been meeting Betty in her “Television Home” to watch her prepare a new recipe...discuss floral arrangements...party hints...clothes design...or myriad subjects of everyday interest to the woman of the house. Now, you can have your answers to yoru household problems in one complete volume, arranged for easy reference. Here at last is Betty's own selection of her “BEST” TV-TESTED RECIPES AND HINTS FOR BETTER HOMEMAKING.

312 pages. Contains over 700 recipes, meal plans, low calories menus and recipes, food preservation, party plans, stain removal, and herb and spice chart.

Good condition. Covers do show edge and corner wear, along with light scuffing. Light soiling to rear cover.

Great vintage cookbook!

*FOR A LIMITED TIME—Purchase ANY 2 cookbooks and receive FREE SHIPPING! Use coupon code COOKBOOK at check-out. Please let me know of any questions. (Offer valid only within the US.)*

www.thevintageread.etsy.com