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Wrongly entitled on the box as "Geburt Mariae" [Birth of Mary], actually "Heimsuchung Mariae" or "Visitation of the Virgin Mary".
Schmidt Fine Art puzzle No. 625 2608, a vintage puzzle but still sealed and in excellent condition.
1000 pieces, complete.
50 x 75 cm.
From my set entitled “The Flight Crew”
www.flickr.com/photos/21861018@N00/sets/72157607477197733/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
Wally Blunt was born to Oscar and Bessie Hannah Blunt in Scotland and raised for a time in England (Worcester, I believe). When he was quite young, the family moved to Vancouver British Columbia. Before the war, Wally worked, first as a truck driver for Eagle Times Delivery, and secondly as a worker in the veneering section of B.C. Plywoods. His favoured hobbies included skating, football, baseball, swimming, mechanics and photography
Before enlistment, Wally was a trainee in the Pre-Enlistment Education Program at Seaview High School in Vancouver where he brought his English, Science and Mathematics knowledge and skills to Grade X level. He was first stationed at #3 Manning Depot in Edmonton Alberta, but was moved to #8 Manning Depot in Souris, Manitoba. From Souris, Wally went to #7 Service Flying School in Fort MacLeod, Alberta, and then to #4 Initial Training School in Edmonton, Alberta. His next Canadian postings were at #6 Elementary Training School in Prince Albert Saskatchewan, #2 Manning Depot in Brandon, Manitoba, #7 Bombing and Gunner School in Paulson, #1 Central Navigational School in Rivers Manitoba Manitoba and # 3 Air Gunner Training School in Three Rivers. Quebec.
Wally disembarked at Liverpool on March 14, 1944, and was immediately shipped to #3 Personnel Receiving Centre, Bournemouth, Dorset to await his next posting. From Bournemouth, he attended #1 (Observer) Advanced Fly Unit in Wigtown, Scotland. On May 23, 1944, Wally arrived at #83 Operations Training Unit, Peplow, Shropshire (near Shrewsbury). He was killed on a training mission when the bomber in which he was acting as bomb-aimer, ditched in the Irish Sea on the night of July 22/23, 1944. Wally was buried at Blacon Cemetery in Chester
On April 15, 2023, five First Nations in B.C., alongside provincial and federal government representatives, announced settlement agreements of the Nations’ Treaty Land Entitlements claims.Learn more: news.gov.bc.ca/28589
This photograph was published in an online article in KENT LIVE by Sam Honey (Multimedia Reporter) on 27th December, entitled:
'' When cold snap will arrive in Kent and where temperatures will drop the lowest ''
It was originally Selected for sale in the GETTY IMAGES COLLECTION on March 31st 2020
CREATIVE RF gty.im/1215660112 MOMENT ROYALTY FREE COLLECTION and became my 4,150th frame to be selected for sale in the Getty Images collection (I now have 7,000+ images represented globally by them).
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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Photograph taken in the Golden hour around sunrise at an altitude of One hundred and six metres at 07:01am on Thursday 26th March 2020, off Green Lane and Camer Park Lane, in the grounds of Camer Park Country Park, Meopham , Kent.
After weeks of self isolation due to the global pandemic that we know as COVID-19 Coronavirus, we are allowed to go out for exercise once per day and keep away from others. Today was Blkuebelle (my car's) MOT, something the government still allows, and so I headed out early and had the fortune of a beautiful sunrise... and Bluebelle passed it's MOT.
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Nikon D850 Hand held with Sigma OS Optical Stabilization on Normal. Focal length 60mm Shutter speed 1/25s. Aperture f/11.0 iso500 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Aperture priority. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Minimum shutter speed 125). White blance on: Auto1. Colour space: RGB. ActIve D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1
Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS. Lee SW150 MKI filter holder with MK2 light shield and custom made velcro fitting for the Sigma lens. Lee SW150 0.9 (3 stops) ND Grad soft resin. Lee SW150 Circular Polariser filter.Lee SW150 Filters field pouch.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
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LATITUDE: N 51d 22m 41.16s
LONGITUDE: E 0d 22m 31.63s
ALTITUDE: 106.0m
RAW (TIFF) FILE: 130.00MB NEF: 93.6MB
PROCESSED (JPeg) FILE: 54.70MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
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.
From my set entitled “The Air Crew”
www.flickr.com/photos/organize/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
Larry was born in Winnipeg, Manitoba, on January 23, 1924. His father was Roy Cuthbert Carter, and his mother was Josephine Stovel. He was one of the best educated of the crew, having achieved his senior matriculation (grade 12). He enjoyed hockey, football and track
Larry enlisted at Windsor, Ontario, on May 20, 1942. His first station was at
#5 Manning Depot in Lachine, Quebec, where he learned military discipline, aviation basics, regulations, history, and navigation. Between courses he engaged in endless drills and weapon-handling exercises.
At #3 Initial Training School, Victoriaville, Quebec, it was found that Larry had the aptitude to be a bomber pilot. He was tested on a LINK flight simulator, which was a grueling test of one’s capabilities.
While attending #11 Elementary Flying Training School at Cap de la Madelaine, Quebec, Larry flew De Havilland Moth and Fairey Fleet training aircraft.
At #5 Special Service Flying School in Brantford, Ontario, Larry trained in Avro Ansons (known as the ‘greenhouse’ because of its wrap-around cockpit).
Larry was awarded his pilot’s badge on January 10, 1943. On October 22, 1943, he embarked from Halifax, and disembarked in Britain on October 30, 1943.
Upon arriving in Britain, he was first stationed at No. 3 Personnel Reception Centre in Bournemouth, Dorset, while waiting for openings to become available at advanced training units.
I’m a little bit sketchy concerning his precise training at 26 Elementary Flying Training School at Theale in Berkshire, RAF Gaydon in Warwickshire, 14 (P) AFU at Ossington in Nottinghamshire and Dallachy, Moray, Scotland.
At 83OTU Peplow, he trained on Wellington bombers, and it was here he was killed on a night training mission, July 22/23, 1944.
The commanding officer at Victoriaville found him to be “… a bright-eyed youngster with excellent Service Spirit. [He is ] very anxious to make good as any part of aircrew. Working very hard. [He] is keen, well-disciplined and should do well as captain of an aircraft”
Larry’s body was recovered from the sea east of Afonwen Junction, Caernarvonshire, on August 4, 1944, and he was buried at Blacon cemetery in Chester, on August 4, 1944
From my set entitled “The Flight Crew”
www.flickr.com/photos/21861018@N00/sets/72157607477197733/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
Wally Blunt was born to Oscar and Bessie Hannah Blunt in Scotland and raised for a time in England (Worcester, I believe). When he was quite young, the family moved to Vancouver British Columbia. Before the war, Wally worked, first as a truck driver for Eagle Times Delivery, and secondly as a worker in the veneering section of B.C. Plywoods. His favoured hobbies included skating, football, baseball, swimming, mechanics and photography
Before enlistment, Wally was a trainee in the Pre-Enlistment Education Program at Seaview High School in Vancouver where he brought his English, Science and Mathematics knowledge and skills to Grade X level. He was first stationed at #3 Manning Depot in Edmonton Alberta, but was moved to #8 Manning Depot in Souris, Manitoba. From Souris, Wally went to #7 Service Flying School in Fort MacLeod, Alberta, and then to #4 Initial Training School in Edmonton, Alberta. His next Canadian postings were at #6 Elementary Training School in Prince Albert Saskatchewan, #2 Manning Depot in Brandon, Manitoba, #7 Bombing and Gunner School in Paulson, #1 Central Navigational School in Rivers Manitoba Manitoba and # 3 Air Gunner Training School in Three Rivers. Quebec.
Wally disembarked at Liverpool on March 14, 1944, and was immediately shipped to #3 Personnel Receiving Centre, Bournemouth, Dorset to await his next posting. From Bournemouth, he attended #1 (Observer) Advanced Fly Unit in Wigtown, Scotland. On May 23, 1944, Wally arrived at #83 Operations Training Unit, Peplow, Shropshire (near Shrewsbury). He was killed on a training mission when the bomber in which he was acting as bomb-aimer, ditched in the Irish Sea on the night of July 22/23, 1944. Wally was buried at Blacon Cemetery in Chester
On April 15, 2023, five First Nations in B.C., alongside provincial and federal government representatives, announced settlement agreements of the Nations’ Treaty Land Entitlements claims.Learn more: news.gov.bc.ca/28589
An exhibition entitled “Furthering Intellectual Property in Colombia” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
It explored intellectual property (IP) rights protection in Colombia, the development of its national IP system and the country’s continuous efforts to foster innovation and creativity. WIPO co-organized the event with the Government of Colombia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
On Thursday, February 25th and Friday, February 26th, the Consulate General of Japan in San Francisco, in partnership with the University of Nevada, Las Vegas (UNLV) and
Ed W. Clark High School, held two lectures on Japanese pop culture delivered by Mr. Seiji Horibuchi entitled “Circulation of Culture: The History of J-POP Culture from the Eyes of America”. Mr. Horibuchi was the first to publish Japanese manga in America and has since played a key role in the promotion and popularization of the format as well as other aspects of Japanese pop culture. He currently serves as president of NEW PEOPLE, a media, promotion, and consulting company based in San Francisco. Around 170 people attended the UNLV lecture, and around 450 students and staff attended the Ed W. Clark lecture.
Speaking to predominantly Japanese language students at both schools, Mr. Horibuchi interwove his personal experiences and anecdotes while lecturing on the history of Japanese pop culture in the United States spanning the post-war period to current times. Mr. Horibuchi discussed the circular exchange of culture that exists between the United States and Japan, the appeal of Japanese pop culture, the recent rapid rise in popularity of J-POP Summit Festival in San Francisco, and the future prospects of J-Pop. Following his lecture, Mr. Horibuchi answered many questions from the attentive and eager audience.
ラスベガスでの日本のポップ・カルチャーに関する講演会の開催
２月２５日（木）及び２６日（金），在サンフランシスコ日本国総領事館は，ネバダ州立大学ラスベガス校（UNLV）及びEd. W. クラーク高校との共催で，米国で初めて日本のマンガを出版し，その後も米国で日本のポップ・カルチャーを広めるべく最前線で活動している堀淵清治New People社長の協力を得て，同氏による「Circulation of Culture –The history of J-POP Culture from the eyes of America-」と題する日本のポップカルチャーに関する講演会を開催しました。UNLVでは約１７０名が，またEd. W. クラーク高校では約４５０名の学生や学校関係者が同講演を聴講しました。
日本語クラス履修者を含む両校の学生等に対し，堀淵社長の個人的経験談を織り交ぜながら，戦後から今日までの日米間でのポップ・カルチャーにおける文化的環流の歴史，その魅力，近年急速に人気が高まりつつあるJ-POPサミットや今後の展望などについて話がありました。熱心に聞きいっていた学生からは講演後に多くの質問が寄せられました。
An exhibition entitled “Furthering Intellectual Property in Colombia” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
It explored intellectual property (IP) rights protection in Colombia, the development of its national IP system and the country’s continuous efforts to foster innovation and creativity. WIPO co-organized the event with the Government of Colombia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
An exhibition entitled “Contemporary Mexican Design with a Vision towards the Future” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
The exhibition featured the work of young designers who capture the fine tapestry of cultural pluralism of Mexico, and who bind together the exquisite substance of identity, traditions and crafts with excellence in contemporary shapes, materials and functionality. WIPO co-organized the event with the Government of Mexico.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Peter Lynch installation at ROM entitled, 'Buffalo Days" at TIFF © Linda Dawn Hammond / IndyFoto.com '11. Royal Ontario Museum , Toronto, Sept.13, 2011.
Sound- Daniel Pellerin
Ceremony 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 bac
As part of the 2018 International Dylan Thomas Day celebrations, DylanED invited primary school pupils aged 8-11 years in the Swansea Bay area to participate in a fun and engaging creative competition.
Entitled My Holiday Memories the competition was based around the 1946 radio broadcast Holiday Memory - Dylan Thomas’ classic recollection of the sights and sounds of sunshine-laden bank holidays spent with his family as a small boy on the lively Swansea seashore. Following in the footsteps of Dylan, the competition asked pupils to submit a short story, poem or picture depicting their own fondest holiday memories.
Participating schools were provided with a fascinating insight into the Swansea writer’s story, gaining a sense of what it was like to be a child at the seaside in the 1920s through animated performances of the piece by actor Mark Montinaro and word-based workshops with Dylan Day Coordinator and poet Mab Jones. These sessions it seems, provided perfect inspiration!
Head Judge of the competition, Mab Jones said, 'Hundreds of entries were received, and both myself and the other members of the judging panel were very impressed by the way that children from our local schools really embraced the activity and illustrated their holiday memories so vividly. Although we’ve had a wonderful time reading humorous holiday tales and marvelling in the beautiful, colourful illustrations, it provided us with a very tough task in selecting a group of winners!'
DylanED 'My Holiday Memories competition winners 2018'
This year’s winners are:
Waunarlwydd Primary School
Lowri Burns
Caerwyn Richards
Nia Jones
Matthew James
Nicole Mort
Gors Community School
Aleena Khurram
Libby Wittey
The overall winner of the competition is 10 year old Nia Jones from Waunarlwydd Primary School, whose brilliant retelling of her sunshine-laden and action-packed caravan holiday to Porthcawl also won a large selection of books for the school library.
Kirsty Williams, Literacy Coordinator at Waunarlwydd said, 'The children thoroughly enjoyed and engaged in the presentation of Dylan Thomas' Holiday Memory. The work they produced in response was creative and imaginative. We have always known how talented our children at Waunarlwydd are, so to have five fantastic winners in this competition is a truly wonderful achievement and perfectly illustrates the talent that the pupils and the school contains.’
Deputy Headteacher of Gors Community School, Ceri Raisbeck said 'Our KS2 pupils at Gors Community School really enjoyed finding out about Dylan Thomas and participating in the Dylan Day competition. They were delighted at their achievement and their peers shared in their joy at winning. As a school we found the whole competition a very positive experience and one which we look forward to participating in again.'
We’d like to thank and congratulate all the schools and pupils that took part and we hope you create more fantastic holiday memories this summer!
Fel rhan o ddathliadau Diwrnod Rhyngwladol Dylan Thomas, gwahoddodd DylanED ddisgyblion ysgolion cynradd rhwng 8 ac 11 oed yn ardal Bae Abertawe i gymryd rhan mewn cystadleuaeth greadigol hwyl ac ymgysylltiol.
Mae'r gystadleuaeth - Fy Atgofion o'r Gwyliau - yn seiliedig ar raglen radio Dylan Thomas o 1946, Holiday Memory - atgof Dylan Thomas o olygfeydd a seiniau gwyliau banc heulog gyda'i deulu ar flaendraeth bywiog Abertawe pan oedd yn fachgen bach.
Gan ddilyn yn olion troed Dylan Thomas, fel rhan o'r gystadleuaeth bu'n rhaid i ddisgyblion gyflwyno stori fer, cerdd neu lun yn portreadu eu hatgofion anwylaf o wyliau.
Rhoddwyd mewnwelediad cyfareddol i stori'r ysgrifennwr o Abertawe i'r ysgolion a gymerodd ran, gan roi syniad o sut beth oedd bod yn blentyn ar lan y môr yn y 1920au trwy berfformiadau animeiddiedig o'r darn gan yr actor Mark Montinaro a gweithdai'n seiliedig ar eiriau gyda Chydlynydd Diwrnod Dylan a'r bardd Mab Jones. Mae'n debyg bod y sesiynau hyn wedi rhoi'r ysbrydoliaeth berffaith!
Meddai Prif Feirniad y gystadleuaeth, Mab Jones, 'Derbyniwyd cannoedd o gynigion ac roedd aelodau eraill y panel beirniadu a minnau'n llawn edmygedd o'r ffordd yr aeth plant o'n hysgolion lleol ati i gymryd rhan yn y gweithgaredd a darlunio eu hatgofion o wyliau mewn ffordd mor fywiog. Er ein bod wedi cael amser gwych yn darllen straeon gwyliau llawn hiwmor a chael ein synnu gan y darluniadau prydferth, lliwgar, rhoddwyd tasg galed i ni o ran dewis grŵp o enillwyr!'
DylanED 'My Holiday Memories competition winners 2018'
Enillwyr eleni yw:
Ysgol Gynradd Waunarlwydd
Lowri Burns
Caerwyn Richards
Matthew James
Nicole Mort
Ysgol Gymunedol Gors
Aleena Khurram
Libby Wittey
Enillydd cyffredinol y gystadleuaeth yw Nia Jones, 10 oed, o Ysgol Gynradd Waunarlwydd y llwyddodd ei ffordd ragorol o ailadrodd ei gwyliau llawn heulwen a gweithgarwch mewn carafán ym Mhorthcawl i ennill detholiad mawr o lyfrau ar gyfer llyfrgell yr ysgol.
Dywedodd Kirsty Williams, Cydlynydd Llythrennedd yn Waunarlwydd, 'Mwynhaodd y plant yn fawr iawn gan ymgysylltu â chyflwyniad Holiday Memory Dylan Thomas. Roedd y gwaith a wnaethant o ganlyniad yn greadigol ac yn llawn dychymyg. Gwyddom fod plant Waunarlwydd yn rhai dawnus iawn, felly mae cael pump o enillwyr gwych yn y gystadleuaeth hon yn gyflawniad ardderchog ac yn amlygu’r talent sydd gan y disgyblion a’r ysgol.'
Dyweddon Ceri Raisbeck, Dirprwy Bennaeth yn Ysgol Gymunedol Gors, 'Mwynhaodd ein disgyblion CA2 Ysgol Gymunedol Gors ddysgu mwy am Dylan Thomas a chymryd rhan yn y gystadleuaeth Diwrnod Dylan. Roeddynt wrth eu bodd gyda’u llwyddiant a rhannodd eu cyfoedion eu llawenydd a’u llwyddiant hefyd. Fel ysgol, teimlwn fod y gystadleuaeth wedi bod yn brofiad hynod gadarnhaol ac yn un i edrych ymlaen ati eto.'
Hoffem ddiolch i'r holl ysgolion a’r holl ddisgyblion a gymerodd ran a'u llongyfarch a gobeithiwn y byddwch yn creu rhagor o atgofion melys o wyliau yr haf hwn!
Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. 'Officer studying instrument, sailor taking notes in book on [Steam Yacht] 'Terra Nova' No 2' by Herbert Ponting (1870-1935).
Date: c.1911
Our Catalogue Reference: COPY 1/562/46
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.
On April 15, 2023, five First Nations in B.C., alongside provincial and federal government representatives, announced settlement agreements of the Nations’ Treaty Land Entitlements claims.Learn more: news.gov.bc.ca/28589
An art exhibition entitled “My World” and a concert were organized by the “Human Rights and Conflicts Research Institute” NGO in Gyumri on 3 June at one of the main squares in the city. The goal of the event was to raise public awareness about children’s rights and to promote youth creativity within children’s houses. The event was supported by the regional authorities, Gyumri theater administration and by several schools. The UN Department of Public Information Yerevan Office co-funded the event. Picture taken June 3, 2011.
(Photograph taken by David Repsys)
An exhibition entitled “Geographical Indications – Identities of Territories” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
It presented the Italian geographical indications system through the most representative appellations of origin and geographical indications, their territories and representatives of producers, agro-food and wine. WIPO co-organized the event with the Government of Italy.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
This is my custom Jouwe for the Toy Art Gallery Custom Group Jouwe show, Oct 2nd - Nov 2nd, 2010. The piece is entitled "Nella sua Ombra che Svolgono", which translates to "In her Shadow we Play". Here's the backstory.
''Deep in the Forest of Sorrows lived a wood dryad named Solstice, who protected an accursed mirror that gave whomever was in possession of it eternal life & beauty, but at a terrible, horrible cost - death! For those would be so foolish to gaze into it would slowly wither and die, while bestowing Solstice with the essence of their souls to keep her young. Ever-so-vain and unyielding in her quest, Solstice would lure unknowing children into her tree, with promises of sarsaparilla floats, poutine and french fries, pinwheels, small cute animals and more, even providing a comfy bed to nap in after their fat little tummys were full. But one day, the tables were turned, when evil Solstice lured five sisters to her lair and took their poor souls while they huddled in the bed. For these girls were not just regular girls, they were five sisters who happened to be the daughters of the king - Princesses Aria, Lysette, Calliope, Daphne and Elysia. After the girls failed to return for dinner, the King immediately sent out a search party to find them and bring them home. But alas, it was not meant to be. For the search party discovered their trail, which led them to Solstice's tree, and lo and behold, a ghastly sight was awaiting - all 5 sisters were dead, huddled in bed, together forever with only brave Elysia's drawing upon the mirror letting them know that it was indeed them. Upon hearing this unbearably agonizing news, the King ordered that Solstice be chained and bound to her tree for eternity and left outside to the elements, where her coveted face would be exposed to nature's fury and that which she feared the most. Not wanting to disturb his precious daughters' eternal slumber, he left them there to lay in peace, where their spirits could play together forever.
Legend has it that Solstice's once-beautiful face is now cracked and worn, her visage now but a shadow of her former presence and if you happen to be there at night, you might catch a glimpse of the five long-dead princesses, playing by the moonlight.''
I used magic sculpt, super sculpey, metal, paper, styrene, craft porcelain, dried moss and acrylics.
"Resurrection" is a central theme of A Tale of Two Cities, written by Charles Dickens in 1859. The opening section, entitled, "Recalled to Life," refers to the unfortunate Dr. Manette, who spent nearly twenty years languishing in the Bastille—effectively "buried alive," as even his daughter believed him to be dead. He is recalled to life when she retrieves him and helps him begin his life anew in England. The novel continues to explore the themes of life, death and resurrection as the ever-present threat of execution follows the characters through the years leading up to the French Revolution.
The most concrete imagery of bringing the dead back to life is afforded by the "resurrection man" Jerry Cruncher, pictured here with his son, Young Jerry. Hoping to observe his father's "honest business," Young Jerry sneaks out one night and follows Cruncher to a graveyard; when the bodysnatchers begin to hoist something from the grave, he runs away in terror, imagining that a coffin is chasing him all the way home. Terrified but fascinated at the same time, he innocently tells his father the next day, "Oh, father, I should so like to be a resurrection man when I'm quite growed up!" The two look how one might expect bodysnatchers to look: course, malicious, lower-class.
But Dickens points out that the crime is not class-specific; it is the medical profession that creates the market for corpses. By day, Cruncher works at a prestigious bank, a position that is threatened when his employer learns of his nightly activities. Cruncher protests that bodysnatching has "two sides to it. There might be medical doctors at the present hour, a picking up their guineas where a honest tradesman don’t pick up his fardens—fardens! no, nor yet his half fardens—half fardens!" These doctors, who deposit their illegal earnings at the very bank where Cruncher works, are deserving of blame as well, "For you cannot sarse the goose and not the gander." The class consequences of the cadaver market would be amplified when, in the 1830s, the primary source of fresh bodies shifted from the graveyard to the workhouse.
Though the story is set in the late 18th century, A Tale of Two Cities can tell us quite a bit about perceptions of resurrectionists during Dickens' time. In the context of the 19th century, these kinds of resurrections would have seemed even more appalling, as unearthing the dead would have been seen as equivalent to unearthing the miasma that emanated from them. We also see a romanticized understanding of death, perhaps most evident when one of the main characters sacrifices his own life for his friends, in stark contrast to the horror of exhuming dead bodies; death is far more appealing in theory than in its grisly reality. The resurrections of Dr. Manette, "buried alive"; of Sydney Carton, the Christ-like hero; and finally of the oppressed people of Paris, would all lend poetic and religious symbolism to the story. And yet, the art of resurrection, as practiced by Jerry Cruncher, is both irreligious and abhorrent.
Ball, J.M.. "'The Resurrectionists'." Europeana. wellcomeimages.org/indexplus/image/L0001670.html.
Dickens, Charles. A tale of two cities. London: James Nisbet, 1902.
Conference entitled, “Religious Tyranny, the main Enemy of Islam of Peace and Equality; United with Iranian Uprising and Resistance for Democratic Republic”
March 26, 2023
Technical panel entitled "On-Site Insight! Technical SEO Advice from the
Pros", including presentations from:
Aaron Kahlow - Top 10 Technical SEO Recommendations
moderated by Sean McMahon
copyright © 2009 sean dreilinger
view slide: avoid maverick coding practices - on-site insight! technical seo advice from the pros - sempdx searchfest 2009 - _MG_9358 on a black background.
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.
The Economic Puzzle
Matter of Debate: Is America Suffering From an Entitlement Epidemic?
10:20 am - 11:20 am MDT on Saturday, June 29, 2013
One of the country’s foremost demographers, Nicholas Eberstadt studies the astonishing growth of entitlement spending and details the enormous economic and cultural costs of this epidemic. Leading political theorists, William Galston questions Eberstadt’s conclusions about the corrosive effect of entitlements on character and offers his own analysis of the impact of American entitlement growth. Presented by Booz Allen Hamilton
William A. Galston Chrystia Freeland Douglas Holtz-Eakin
Kresge Building, Hines Room
I entitle this picture, "DP and his crew" even though this crew isn't mine. I just happen to be in the center of this picture with a ridiculous zombie pose that doesn't make any sense.
Four brothers Billy, 17, Charlie 15, Rafferty 13, and Laurie 12 make up The Entitled Sons. The band name is a cheeky reference to how they felt some TV viewers would describe their upbringing after seeing them on their mum, Sarah Beeny's, latest TV show.
Debuting their first song "Break" on the TV show in the local pub near Bruton, it was only a few days later that they found themselves in the iTunes top 10, ahead of the likes of Ed Sheeran, Elton John, Dua Lipa and Years & Years.
From my set entitled “The Air Crew”
www.flickr.com/photos/organize/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
Larry was born in Winnipeg, Manitoba, on January 23, 1924. His father was Roy Cuthbert Carter, and his mother was Josephine Stovel. He was one of the best educated of the crew, having achieved his senior matriculation (grade 12). He enjoyed hockey, football and track
Larry enlisted at Windsor, Ontario, on May 20, 1942. His first station was at
#5 Manning Depot in Lachine, Quebec, where he learned military discipline, aviation basics, regulations, history, and navigation. Between courses he engaged in endless drills and weapon-handling exercises.
At #3 Initial Training School, Victoriaville, Quebec, it was found that Larry had the aptitude to be a bomber pilot. He was tested on a LINK flight simulator, which was a grueling test of one’s capabilities.
While attending #11 Elementary Flying Training School at Cap de la Madelaine, Quebec, Larry flew De Havilland Moth and Fairey Fleet training aircraft.
At #5 Special Service Flying School in Brantford, Ontario, Larry trained in Avro Ansons (known as the ‘greenhouse’ because of its wrap-around cockpit).
Larry was awarded his pilot’s badge on January 10, 1943. On October 22, 1943, he embarked from Halifax, and disembarked in Britain on October 30, 1943.
Upon arriving in Britain, he was first stationed at No. 3 Personnel Reception Centre in Bournemouth, Dorset, while waiting for openings to become available at advanced training units.
I’m a little bit sketchy concerning his precise training at 26 Elementary Flying Training School at Theale in Berkshire, RAF Gaydon in Warwickshire, 14 (P) AFU at Ossington in Nottinghamshire and Dallachy, Moray, Scotland.
At 83OTU Peplow, he trained on Wellington bombers, and it was here he was killed on a night training mission, July 22/23, 1944.
The commanding officer at Victoriaville found him to be “… a bright-eyed youngster with excellent Service Spirit. [He is ] very anxious to make good as any part of aircrew. Working very hard. [He] is keen, well-disciplined and should do well as captain of an aircraft”
Larry’s body was recovered from the sea east of Afonwen Junction, Caernarvonshire, on August 4, 1944, and he was buried at Blacon cemetery in Chester, on August 4, 1944
Ceremony 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 bac
"Three Part Bodyseries"
John Lecuyer
Photo copyright Linda Dawn Hammond 1991
More photos from this series-
EXHIBITIONS
Jan 99
David Scott Gallery, Toronto
Solo exhibit entitled, Three Part Bodyseries
Three Part Bodyseries / David Scott Gallery Archives -Two Grids- Silver prints (dim. 8" by 10", 11" by 14"),
Quickprint/ Mylars (dim. 3' by 5')
Oct 95
IDA gallery, York U., Toronto
Group exhibit entitled, "2 Group Shows"
Three Part Bodyseries - Charlie One panel, Quickprint/Mylar (dim. 3' by 5')
May/June 94
Jacob's de la Cathédrale, Montréal
Juried group exhibit entitled, "A Feminine Viewpoint":
Three Part Bodyseries - Five panels, Quickprint/Mylar (dim. 3' by 5')
April 94
Gallery Oscar, Toronto
Group exhibit entitled,"A Baker's Dozen":
Three Part Bodyseries - Two panels, Quickprint/ Mylar (dim. 3' by 5'), CV photo REVIEW , Parallélogramme REVIEW
Aug 92
Subterranus Wunderkammer, Montréal
Solo exhibit entitled, Three Part Bodyseries:
Memorial to Josephine Sberna 22 panels, Quickprint/ Mylar (dim. 3' by 5') 3 B&W photographs, (dim.11" by 14")
Nov 91
Maison de la Culture Frontenac, Montréal
Group exhibit entitled, "Contre Nature":
Fear of Females / Freudian Ejaculation 6 panels, 48 laser prints/ acetate (dim. 2' by 8')
Three Part Bodyseries - Four panels, Quickprint/ Mylar (dim. 3' by 5')
REVIEWS
CV Photo 28 Autumn 1994, Linda Dawn Hammond: All Things Considered
Ciel Variable - online edition , Linda Dawn Hammond: All Things Considered, articles and photos en francais and in English
www.cielvariable.ca/archives/en/issues/cv20-cv29/cv28/938...
BOOKS
1993 Spasm ( New World Perspectives)
Author: Arthur Kroker
Book jacket and C.D. cover photograph by Linda Dawn Hammond
Photography by Linda Dawn Hammond throughout : Three Part Bodyseries and portraits of Sex Without Secretions
1991 The Possessed Individual: Technology and the French
Postmodern (New World Perspectives)
Author: Arthur Kroker
Photography by Linda Dawn Hammond: 2 from Three Part Bodyseries , 4 photographs from Behind the Barricades: OKA
Secretary-General António Guterres addresses the event entitled “Dag Hammarskjöld Medal Ceremony and Military Gender Advocate of the Year Award” held on the occasion of the International Day of United Nations Peacekeepers (29 May).
The event is organized by the Department of Peace Operations (DPO) and the Office of Military Affairs (OMA).
UN Photo/Evan Schneider
25 May 2023
New York, United States of America
Photo # UN7987455
A cultural event entitled “ASEAN @ 50 – Intellectual Property, Innovation and Development” featuring innovations from the bloc’s ten member countries and musical and dance performances was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017. WIPO co-organized the event with the Association of South East Asian Nations (ASEAN) to mark the Organization’s 50th anniversary.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Ceremony 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 bac
New Deal mural entitled "A Massachusetts Countryside" painted by Jean Watson in 1940.
The mural was removed from the old post office in 1986 when a new one was completed. It hung in the town hall until 1990 but during renovations of the town hall was actually placed in the trash by the contractors. The president of the historical society saved the mural from the trash and has stored the mural in the attic of his shop since 1990. The mural was not well received in Stoughton due to it's content having nothing to do with the local "countryside".
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.
Sculpture entitled The Major on top of the public toilets on Major's corner and Old Foundry Road by Paul Richardson, 2005.
A detail of the fly
racns.co.uk/sculptures.asp?action=getsurvey&id=636
Originally posted for GuessWhereUK
Photograph of original painting by Oscar-Claude Monet (1840-1926) entitled 'Le Jardin de L'artiste a Giverny' (The Garden of the Artist at Giverny) that currently hangs in the d'Orsay Museum, Paris, France.
Monet, the founder of French Impressionism, was one of the most influential landscape painters in the history of art. Born in Paris he was enrolled in the studio of Glenyre, where he met Renoir, Sisley, and Bazille, who became the core of the Impressionist group. Painting outdoors, he broke the tradition of portraying a subject literally by conveying the fleeting effects of atmosphere, time of day, and season upon color and light. Eliminating black and gray from his palette, he represented natural color like a prism, breaking it down into its individual components, often painting a series of the exact same view under different light and weather conditions. Monet brought the study of the transient effects of natural light to its most refined expression, ultimately becoming a forerunner of 20th century modernism.
From my set entitled “The Air Crew”
www.flickr.com/photos/organize/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Larry was born in Winnipeg, Manitoba, on January 23, 1924. His father was Roy Cuthbert Carter, and his mother was Josephine Stovel. He was one of the best educated of the crew, having achieved his senior matriculation (grade 12). He enjoyed hockey, football and track
Larry enlisted at Windsor, Ontario, on May 20, 1942. His first station was at
#5 Manning Depot in Lachine, Quebec, where he learned military discipline, aviation basics, regulations, history, and navigation. Between courses he engaged in endless drills and weapon-handling exercises.
At #3 Initial Training School, Victoriaville, Quebec, it was found that Larry had the aptitude to be a bomber pilot. He was tested on a LINK flight simulator, which was a grueling test of one’s capabilities.
While attending #11 Elementary Flying Training School at Cap de la Madelaine, Quebec, Larry flew De Havilland Moth and Fairey Fleet training aircraft.
At #5 Special Service Flying School in Brantford, Ontario, Larry trained in Avro Ansons (known as the ‘greenhouse’ because of its wrap-around cockpit).
Larry was awarded his pilot’s badge on January 10, 1943. On October 22, 1943, he embarked from Halifax, and disembarked in Britain on October 30, 1943.
Upon arriving in Britain, he was first stationed at No. 3 Personnel Reception Centre in Bournemouth, Dorset, while waiting for openings to become available at advanced training units.
I’m a little bit sketchy concerning his precise training at 26 Elementary Flying Training School at Theale in Berkshire, RAF Gaydon in Warwickshire, 14 (P) AFU at Ossington in Nottinghamshire and Dallachy, Moray, Scotland.
At 83OTU Peplow, he trained on Wellington bombers, and it was here he was killed on a night training mission, July 22/23, 1944.
The commanding officer at Victoriaville found him to be “… a bright-eyed youngster with excellent Service Spirit. [He is ] very anxious to make good as any part of aircrew. Working very hard. [He] is keen, well-disciplined and should do well as captain of an aircraft”
Larry’s body was recovered from the sea east of Afonwen Junction, Caernarvonshire, on August 4, 1944, and he was buried at Blacon cemetery in Chester, on August 4, 1944
Four brothers Billy, 17, Charlie 15, Rafferty 13, and Laurie 12 make up The Entitled Sons. The band name is a cheeky reference to how they felt some TV viewers would describe their upbringing after seeing them on their mum, Sarah Beeny's, latest TV show.
Debuting their first song "Break" on the TV show in the local pub near Bruton, it was only a few days later that they found themselves in the iTunes top 10, ahead of the likes of Ed Sheeran, Elton John, Dua Lipa and Years & Years.
Journal
“BIRDS IN PARADISE”
By
Merryjoy Yamanaka
My work is entitled “Bird in Paradise”. My motivation was the tropical island setting in Saipan and its beautiful birds. As I started to draw the bird, I realized that it looked like the symbols represented in the old NMC Logo. I integrated different symbols as the Latte stone, Plumeria flower (our local symbolic flower), Hibiscus (ylang-ylang), coconut trees, beetle nuts (representing tradition and culture), and the fish (represents livelihood) in Saipan.
I expanded the basic idea by incorporate all the symbols that represent Saipan. My looking at many media sources like the phone book, calendars, menus and magazines; I discovered how many different pictures and symbols reminds one of the islands. I never realized how many different pictures and symbols give representation to the island.
My design incorporated the pictures and symbols of the island which I cut and pasted into the final artwork used in my project. I changed some of the shapes to fit into one mosaic that ties together my theme of Bird in Paradise which is the focal point of my design.
I used different kinds of pencils (6) to darken and give texture to different areas. Efforts focused on given the illusion of negative artwork by contrasting black and white areas and the range of shades of these two colors.
The design was aimed at showing and telling via beautiful pictures our island’s paradise setting. On the right side is the beach with coconut trees and the “Latte Stones” surrounded by grass on a sunny beach. In contrasting black and white, clouds float above the setting. On the left side, a large sun explodes with waves of black and white sunlight. Sunrays magnify the contrast of the birds, ocean and flowers. The flowers float in the sunray and below are ocean waves that carry them gently. But by contrast, I made large waves curling around the flowers as they pass out on the tide.
The Hibiscus is in the lower center floating on a school of fish. These fish represent the local tradition of fishing supporting our beautiful flowers which balances against the Plumeria above falling from the sky.
Design is original and unique which combines easily recognizable and picturesque symbols. The design incorporates a rhythm that each individual pictures flows into the other by simple contrasting colors and texture. The design is balanced and well proportioned to create a mosaic of action telling an island story. Culture, tradition, environment are ties together in artwork telling a local story. All the objects in the drawings are inspirational in causing the observer to journey and experience the Bird of Paradise.
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.
As part of the 2018 International Dylan Thomas Day celebrations, DylanED invited primary school pupils aged 8-11 years in the Swansea Bay area to participate in a fun and engaging creative competition.
Entitled My Holiday Memories the competition was based around the 1946 radio broadcast Holiday Memory - Dylan Thomas’ classic recollection of the sights and sounds of sunshine-laden bank holidays spent with his family as a small boy on the lively Swansea seashore. Following in the footsteps of Dylan, the competition asked pupils to submit a short story, poem or picture depicting their own fondest holiday memories.
Participating schools were provided with a fascinating insight into the Swansea writer’s story, gaining a sense of what it was like to be a child at the seaside in the 1920s through animated performances of the piece by actor Mark Montinaro and word-based workshops with Dylan Day Coordinator and poet Mab Jones. These sessions it seems, provided perfect inspiration!
Head Judge of the competition, Mab Jones said, 'Hundreds of entries were received, and both myself and the other members of the judging panel were very impressed by the way that children from our local schools really embraced the activity and illustrated their holiday memories so vividly. Although we’ve had a wonderful time reading humorous holiday tales and marvelling in the beautiful, colourful illustrations, it provided us with a very tough task in selecting a group of winners!'
DylanED 'My Holiday Memories competition winners 2018'
This year’s winners are:
Waunarlwydd Primary School
Lowri Burns
Caerwyn Richards
Nia Jones
Matthew James
Nicole Mort
Gors Community School
Aleena Khurram
Libby Wittey
The overall winner of the competition is 10 year old Nia Jones from Waunarlwydd Primary School, whose brilliant retelling of her sunshine-laden and action-packed caravan holiday to Porthcawl also won a large selection of books for the school library.
Kirsty Williams, Literacy Coordinator at Waunarlwydd said, 'The children thoroughly enjoyed and engaged in the presentation of Dylan Thomas' Holiday Memory. The work they produced in response was creative and imaginative. We have always known how talented our children at Waunarlwydd are, so to have five fantastic winners in this competition is a truly wonderful achievement and perfectly illustrates the talent that the pupils and the school contains.’
Deputy Headteacher of Gors Community School, Ceri Raisbeck said 'Our KS2 pupils at Gors Community School really enjoyed finding out about Dylan Thomas and participating in the Dylan Day competition. They were delighted at their achievement and their peers shared in their joy at winning. As a school we found the whole competition a very positive experience and one which we look forward to participating in again.'
We’d like to thank and congratulate all the schools and pupils that took part and we hope you create more fantastic holiday memories this summer!
Fel rhan o ddathliadau Diwrnod Rhyngwladol Dylan Thomas, gwahoddodd DylanED ddisgyblion ysgolion cynradd rhwng 8 ac 11 oed yn ardal Bae Abertawe i gymryd rhan mewn cystadleuaeth greadigol hwyl ac ymgysylltiol.
Mae'r gystadleuaeth - Fy Atgofion o'r Gwyliau - yn seiliedig ar raglen radio Dylan Thomas o 1946, Holiday Memory - atgof Dylan Thomas o olygfeydd a seiniau gwyliau banc heulog gyda'i deulu ar flaendraeth bywiog Abertawe pan oedd yn fachgen bach.
Gan ddilyn yn olion troed Dylan Thomas, fel rhan o'r gystadleuaeth bu'n rhaid i ddisgyblion gyflwyno stori fer, cerdd neu lun yn portreadu eu hatgofion anwylaf o wyliau.
Rhoddwyd mewnwelediad cyfareddol i stori'r ysgrifennwr o Abertawe i'r ysgolion a gymerodd ran, gan roi syniad o sut beth oedd bod yn blentyn ar lan y môr yn y 1920au trwy berfformiadau animeiddiedig o'r darn gan yr actor Mark Montinaro a gweithdai'n seiliedig ar eiriau gyda Chydlynydd Diwrnod Dylan a'r bardd Mab Jones. Mae'n debyg bod y sesiynau hyn wedi rhoi'r ysbrydoliaeth berffaith!
Meddai Prif Feirniad y gystadleuaeth, Mab Jones, 'Derbyniwyd cannoedd o gynigion ac roedd aelodau eraill y panel beirniadu a minnau'n llawn edmygedd o'r ffordd yr aeth plant o'n hysgolion lleol ati i gymryd rhan yn y gweithgaredd a darlunio eu hatgofion o wyliau mewn ffordd mor fywiog. Er ein bod wedi cael amser gwych yn darllen straeon gwyliau llawn hiwmor a chael ein synnu gan y darluniadau prydferth, lliwgar, rhoddwyd tasg galed i ni o ran dewis grŵp o enillwyr!'
DylanED 'My Holiday Memories competition winners 2018'
Enillwyr eleni yw:
Ysgol Gynradd Waunarlwydd
Lowri Burns
Caerwyn Richards
Matthew James
Nicole Mort
Ysgol Gymunedol Gors
Aleena Khurram
Libby Wittey
Enillydd cyffredinol y gystadleuaeth yw Nia Jones, 10 oed, o Ysgol Gynradd Waunarlwydd y llwyddodd ei ffordd ragorol o ailadrodd ei gwyliau llawn heulwen a gweithgarwch mewn carafán ym Mhorthcawl i ennill detholiad mawr o lyfrau ar gyfer llyfrgell yr ysgol.
Dywedodd Kirsty Williams, Cydlynydd Llythrennedd yn Waunarlwydd, 'Mwynhaodd y plant yn fawr iawn gan ymgysylltu â chyflwyniad Holiday Memory Dylan Thomas. Roedd y gwaith a wnaethant o ganlyniad yn greadigol ac yn llawn dychymyg. Gwyddom fod plant Waunarlwydd yn rhai dawnus iawn, felly mae cael pump o enillwyr gwych yn y gystadleuaeth hon yn gyflawniad ardderchog ac yn amlygu’r talent sydd gan y disgyblion a’r ysgol.'
Dyweddon Ceri Raisbeck, Dirprwy Bennaeth yn Ysgol Gymunedol Gors, 'Mwynhaodd ein disgyblion CA2 Ysgol Gymunedol Gors ddysgu mwy am Dylan Thomas a chymryd rhan yn y gystadleuaeth Diwrnod Dylan. Roeddynt wrth eu bodd gyda’u llwyddiant a rhannodd eu cyfoedion eu llawenydd a’u llwyddiant hefyd. Fel ysgol, teimlwn fod y gystadleuaeth wedi bod yn brofiad hynod gadarnhaol ac yn un i edrych ymlaen ati eto.'
Hoffem ddiolch i'r holl ysgolion a’r holl ddisgyblion a gymerodd ran a'u llongyfarch a gobeithiwn y byddwch yn creu rhagor o atgofion melys o wyliau yr haf hwn!
Entitled: You Try to Eat Upside-Down and Then See How Easy It Is.
A double-feature taken at the Singapore Zoo. This is a "Flying Fox" one of a handful of fruit-eating megabat species. They see just fine, don't use any echo location, and, apparently, eat at all times of the day and night. This guy's wingspan was at least two feet. I am not (!) using any kind of zoom. The nose of my camera is about four inches from this monster.
An exhibition entitled “Furthering Intellectual Property in Colombia” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
It explored intellectual property (IP) rights protection in Colombia, the development of its national IP system and the country’s continuous efforts to foster innovation and creativity. WIPO co-organized the event with the Government of Colombia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
An exhibition entitled “Contemporary Mexican Design with a Vision towards the Future” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
The exhibition featured the work of young designers who capture the fine tapestry of cultural pluralism of Mexico, and who bind together the exquisite substance of identity, traditions and crafts with excellence in contemporary shapes, materials and functionality. WIPO co-organized the event with the Government of Mexico.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
As early as 1985 there was a study entitled Maritime Patrol Aircraft for the 90s (MPA 90) for the German Bundeswehr, which aimed to replace the Breguet Atlantic with the P-3C Update 4. The study was carried out by the Lockheed California Company and the MBB transport and commercial aircraft division (today Airbus Deutschland, with locations in Hamburg and Bremen) together with the BWB. In 1997, Lockheed Martin offered Germany and Italy a “Orion 2000” or “P-3C Plus” as a replacement for the Breguet Atlantic BR 1150. Both countries established a management team at the Federal Office of Defense Technology and Procurement in Koblenz and signed an MPA Definition MoU on October 21, 1999. Between 2007 and 2015, Germany was supposed to receive 10 aircraft, Italy 14. On July 26, 2002, Lockheed Martin offered a P-3C with revised wings, Allison T56 engines and modern avionics. However, the program was stopped, and alternatives were searched. Among others, Airbus was eager to response and proposed in 2001 a dedicated ASW/maritime patrol aircraft based on the A320 short-/medium-range airliner, even though the development of such an aircraft would certainly take several years and it would not be ready for service before 2010.
In the meantime, in 2003, the Netherlands offered its thirteen P-3C Update 2.5, which had originally been delivered between 1982 and 1984, for sale, and Germany became interested. On October 31 of the same year, both countries signed a memorandum of understanding for the sale of 10 aircraft. It was later decided that Germany would receive eight aircraft and Portugal the remaining five. With this solution, even though only a temporary stopgap for the German naval forces, Airbus’ proposal waned from attention – but only temporarily, since things did not unfold as planned.
The contract with the Netherlands was signed on November 15, 2004, and provided for Germany to supply eight P-3Cs, spare parts, a flight simulator, and other materials at a cost of 271 million euros. For a further 24 million euros, the Dutch armed forces trained the ground and flight personnel of the Marineflieger Geschwader (Marine Aviation Squadron/MFG) 3 “Graf Zeppelin” from Nordholz air base directly in the Netherlands. The Dutch reconnaissance aircraft were supposed to be responsible for long-range maritime surveillance and reconnaissance above and under water for the German Navy for the next twenty years, while a potent and up-to-date successor would be developed domestically or together with European partners. The Luftwaffe officially received the first P-3C on May 18, 2006.
While the P-3C had been bought and delivered, the procurement program for a potential successor was launched, since it was clear that the used P-3Cs would have only a limited lifetime left on their airframes and that maintenance would escalate over time. The potential P-3 successor became the project “Magellan”, which could trace back its origins to 2001. Magellan had been proposed by Airbus after the global market with turboprop-powered maritime patrol and anti-submarine warfare aircraft had been analyzed in the late Nineties and a huge global market opportunity had been discovered – including the demand of the German Luftwaffe and its naval air arm, the Marineflieger. Another driving factor behind the project was that similar aircraft produced abroad did not fully meet European – and most specifically German – requirements, so that the development of a purpose-built indigenous aircraft became a highly attractive option, also fueled by political pressure to support the European aircraft industry. Consequently, the German Ministry of Defense submitted the domestic development of the Magellan maritime patrol aircraft as part of its April 2001 – March 2006 Five-Year Defense Plan. In October 2003, following its earlier proposal and with the P-3C deal with the Netherlands, Airbus Industries received prime contractor status and Magellan started to take shape.
To save cost and development time, the Magellan ASW aircraft was not a completely new design. Like many former ASW aircraft (e. g. the Lockheed P-3, the BAe Nimrod, and the recent Boeing P-8) it was based on the airframe of an existing airliner. In Magellan’s case it was the new Airbus A318, which shared many components with the rest of the short/medium range A320 airliner family, including body components, cockpit windows, outer wings, horizontal stabilizer, and other systems. Internal shared parts included the auxiliary power unit, cockpit panels, flight control system computer, anti-collision lights, and gear control unit. This reportedly saved US$ 3.3 billion during the aircraft’s development until 2019.
To adapt the civil airliner to its new and specialized military role, many modifications were made. The most obvious change was a switch of powerplants, from a pair of high-bypass turbofans under the wings to four smaller engines in separate underwing nacelles. This required a thorough yet invisible modification of the wings’ internal structure, which allowed two extra hardpoints for the additional engines, and this also made the wings more stress-resistant for frequent low-/medium altitude operations. An increased use of composite materials helped to limit the resulting gain in structural weight.
The four-engine design adopted for the Magellan resulted in a flight profile with better maneuverability and stability at low-speed, low-altitude flight and allowed the aircraft to continue its mission in the event of a single and even a two-engine failure. As well as greater operational survivability, the high-bypass engines provided for quiet, fuel-efficient operation. Compared with the P-3 or the Breguet Atlantic, the Magellan also had, thanks to its jet propulsion, reduced transit times in comparison to turboprop-powered competitors, and the turbofans were quieter, making it more difficult for submerged submarines to detect the aircraft above them acoustically.
Propulsion came from four Pratt & Whitney PW1000Gs, a new high-bypass geared turbofan engine (also called the GTF = geared turbofan). The gearbox between the fan and the low-pressure spool allowed each to spin at its optimal speed, allowing a higher bypass ratio for a better propulsive efficiency. Pratt & Whitney claimed the engine was 16% more fuel efficient than the previous generation, and up to 75% quieter. Additionally, response to throttle input could be improved, resulting in a higher agility especially at lower speed.
The first variant to enter service was the PW1100G for the Airbus A320neo in January 2016. The engine had teething problems after its introduction, extending to grounded aircraft and inflight failures, but this was solved soon afterwards. The Magellan was the first military aircraft to use the new GTF engine type operationally. In the Magellan, the modified engines (designated PW1700M) with only two instead of three low pressure compression stages) provided a thrust of 15.000 lb (67 kN) each, so that the four GTF engines of the Magellan offered a little more thrust than the commercial airliners’ powerplants. In flight and on long-range patrol missions, one pair of engines would frequently be shut down to save fuel and reduce the noise profile even further, and the geared fans could be automatically set at diffefent ratios so that the frequencies generated from one engine would overlay and reduce the noise profile from the other one. This system was usspoed to be so effective that the audio signature of the Magellan would resemble strong wind and not man-made sound.
From the start the Magellan was equipped with many newly developed technologies and features, particularly in terms of its avionics and mission systems. One such key feature was the use of a fly-by-optics flight control system, which essentially replaced standard metal wiring with optical fiber cables. This also had the beneficial effect of decreasing electro-magnetic disturbances to the sensors on-board in comparison to more common fly-by-wire control systems, and it also helped to make the Magellan harder to detect from the outside.
The Magellan was equipped with various sensors to enable the aircraft to perform its primary purpose of maritime patrol and detecting submarines and surface vessels; these include the AMPaR active electronically scanned array (AESA) radar from Cassidian, a Airbus Defence and Space subsidiary, which used an array consisting of three separate antennas mounted under a mutual nose radome to provide 240-degree coverage at a range of more than 450 km (280 mi). All antennae together consisted of more than 3000 very small transmitter/receiver elements that divided the azimuth range into three overlapping 90° sectors. They could examine their sectors simultaneously and could also simultaneously track many maritime and aviation targets within each sector. The number of targets that can be tracked automatically is 1,000 and the number of targets that can be combated at the same time is around 60. AMPaR (Airborne Maritime Patrol Radar) was able to track surface vessels at sea at a range of 300 km (186 mi) while high-flying aircraft of fighter size could automatically be tracked at >250 km (150 mi). Even sea-skimming missiles could be detected and tracked at >25 km (15 mi). The data obtained is passed on to a command and weapon deployment system. The ASEA radar was furthermore supplemented by an Infrared/Light sensor array with an integrated laser range finder and target designator for surface detection, which allowed passive observation and tracking as well as target illumination for guided weapons, either deployed by the Magellan itself or from another carrier.
Further mission sensors included a magnetic anomaly detector (MAD) embedded into the aircraft's tail (where it replaced the airliner’s APU, which was re-located into the left-wing root area, while a heat exchanger was mounted on the right). Sophisticated acoustic systems were also added for this purpose. Another novelty was the integration of an artificial intelligence (AI) system that directed the TACCO operator to the optimal flight course to track or attack a submarine.
Behind the cockpit, the cabin was separated into three sections, consisting of the ASW operators’ section with workstations and observer places, a rest and general storage area with a small kitchen and four bunk beds for crews working in shifts on long-term missions, and a final section for 5” sonobuoy storage and their manual deployment through a total of four two release shafts, connected with the cabin through air locks. Vertical and oblique cameras were mounted together with the sonobuoy shafts in the lower fuselage and accessible from the cabin through hatches in the floor. The two rear sections could optionally be combined and re-arranged to make room for eventual transport duties, and seats could be installed, too to offer space for up to 28 passengers.
Under the cabin floor, two separate unpressurized bomb bays, one in front of and the other behind the wings, housed the bulk of the aircraft's ASW munitions. The bomb bay was supplemented by a total of eight external hardpoints, two pairs under the inner and outer wings each. Weapons available on the Magellan included torpedoes, mines, and depth charges internally. Air-to-surface missiles (including AGM-84 Harpoon anti-ship missiles, AGM-65 Maverick ASMs and AGM-88 HARM anti-radar missiles), air-to-air missiles (AIM-9 Sidewinder or Iris-T) for self-defense, ECM and chaff/flare dispenser pods, or bombs, including laser-guided precision weapons, were typically carried on the wing pylons externally. The sonobuoy shafts were located behind the rear bomb bay and not connected with it.
Armaments and their deployment were managed by a stores management system, which included a newly developed Universal Stores Control Unit (USCU) capable of accommodating hundreds of different munitions, including future ones and precision weapons. Multiple radar warning receivers provided all-round awareness of missile threats, which were combined with a defensive countermeasure suite. Additional fuel tanks were integrated into the fuselage, too, which extended the A318’s typical airliner range from 5.740 km (3,100 nmi) to 8.000 km (5,000 mi), making patrol missions of 18 hours and more possible without need to refuel.
In June 2007, Airbus rolled out the Magellan prototype (coded 60+10, later re-designated 98+70 and handed over to WTD 71 in Eckernförde for further development work), converted from an existing civil airliner airframe, and now official designated A318 MPA (“Maritime Patrol Aircraft”) to mark the aircraft’s heritage and role. The rollout had been delayed for three months due to the discovery of defective rivets which required remedial repairs to be performed. On 28 September 2007, the Magellan conducted its maiden flight from Hamburg Finkenwerder, where the civil A318 airliners were finally assembled, too; this lasted one hour and ended successfully.
On 31 August 2007, Airbus announced that they would produce four Magellan production airframes for the Bundesluftwaffe, with an option for four more aircraft, with a unit price of US$ 141.5 million for each aircraft and to be delivered in 2012. At that time Airbus officials claimed that the Magellan was a more capable, albeit more expensive, aircraft than the Boeing P-8 Poseidon; in comparison to the P-8, the Magellan had a greater range, a larger bomb bay, and had been optimized for the maritime patrol mission. Beyond Germany, Norway (4 aircraft), Spain (6) and Taiwan (3, with an option for 3 more) also procured the Magellan. Argentina and Chile also showed interest in the type.
Due to development and budgetary problems the delivery of the A318 MPA to the Marineflieger was delayed several times, and the anticipated maintenance problems with the former Dutch P-3Cs in German service escalated. At the end of 2016, the magazine Der Spiegel reported that none of the aircraft were operational as of September 30, 2016, and that one of the aircraft had only completed two and a half hours of flight in 10 years. Total costs could no longer be calculated, and as a result, soon not a single German P-3 was operational for at least several weeks. The situation became so severe that the German Ministry of Defense considered to lease five Boeing P-8A Poseidon as another interim solution, but in late 2019 the first Magellan Airbus was introduced to the re-established MFG 1, which had operated Tornado IDS’ in the maritime strike and reconnaissance role until 1993. At the time of their operational introduction the aircraft had already been updated: SIGINT equipment had been added (outwardly recognizable through slender wingtip pods and an extended spinal fairing in front of the fin) to survey and record radio communication. In this configuration the aircraft were officially designated A318 MPA Phase II.
However, instead of the MFG 1’s former base Jagel the unit now was located at Nordholz, where the P-3 facilities were used to operate the similar-sized A318 MPAs. Operations started only slowly, though, and during early exercises and NATO deployments to Lithuania the first two A318 MPAs (60+11 and 12) reportedly suffered radar, sensor integration, and data transfer problems, leading to more testing. 1./MFG 1 only received full operational status with its four planned initial aircraft in early 2022, and a second squadron with four more aircraft will probably only become operational with MFG 1 in 2027.
[b][u]General characteristics:[/u][/b]
Flight crew: 3
Mission crew: 8 (but operationally up to 12 with working in shifts on long-range missions)
Length: 36,52 m (118 ft 9 in) overall
Wingspan: 33,98 m (111 ft 3¾ in)
Wing area: 122.4 m² (1,318 sq ft)
Wing sweepback: 25°
Tail height: 12,24 m (40 ft 1 in)
Operating empty weight: 44.100 kg (97,100 lb)
Maximum zero-fuel weight (MZFW): 59.100 kg (130,200 lb)
Maximum landing weight (MLW): 62.100 kg (136,800 lb)
Maximum take-off weight (MTOW): 79,700 kg (175,708 lb)
[u]Powerplant[/u]:
4× Pratt & Whitney PW1700M high-bypass geared turbofan engines, 67 kN (15,000 lbf) thrust each
[u]Performance:[/u]
Maximum speed: 996 km/h (619 mph, 538 kn)
Cruise speed: 833 km/h (518 mph, 450 kn)
Range: 8,000 km (5,000 mi, 4,300 nmi)
Combat radius: 2,500 km (1,600 mi, 1,300 nmi) with 4 hours on station for anti-submarine warfare
Service ceiling: 13,520 m (44,360 ft)
[u]Armament:[/u]
2 internal bomb bays with a total of eight stations,
8 external underwing pylons
Total capacity of 9,000 kg (19,842 lb) for torpedoes, mines, depth charges, various
air-to-surface missiles (ASMs), or bombs, plus short-range AAMs for self-defense
[b]The kit and its assembly:[/b]
This fictional Airbus ASW aircraft was spawned by the Kawasaki P-1, an indigenous Japanese P-3 replacement with an unusual four-engine propulsion on a relatively small airframe. I envisioned a European alternative, inspired by the sad state of the Dutch P-3s in German duty – and that made a converted Airbus airframe a natural choice. I eventually settled for the smallest type, the A318, also because it had similar dimensions as the Japanese P-1 and procured an Eastern Express kit when I stumbled upon a priceworthy offer.
As a side information: there were real plans for an A319 ASW derivative, but this build here is unrelated (found out about it much later, after I started work on my model) and only shares the “MPA” suffix. I was not able to find any detail info about it, though.
The alternative/extra engines for my A 318 MPA turned out to be a major challenge. My initial plan to use the four nacelles with pylons from a 1:144 Revell WhiteKnight Two/SpaceShip Two kit set came to naught when I realized that these would be much too small for the A318 airframe. They eventually went into a BAe 146ish conversion of a DC-9 airframe with shoulder-mounted wings that I build a couple of weeks ago, where they looked fine. But the Magellan would require something more substantial, and finding a suitable and affordable alternative took some time and legwork. I eventually found aftermarket engine nacelles from Skyline Models for a 1:200 Hasegawa Boeing 747-200/300, made from IP with resin exhausts. They offered IMHO a good size and shape compromise, with a good level of detail for 1:144, and the quartet was affordable, too, because I did not want to buy a donor kit just for the engines. However, even though the pods look nice and have fine surface details, they do not go together at all: you have either to sand the fan discs into an unnatural oval shape or you have to bridge a massive 1 mm(!) gap on the underside when you force the halves together. The resin tail cones themselves are crisp and look very good, but they do hardly fit into the fan shroud and the pylons’ shape doesn’t match up with then, either. Fits well in style with the A318 kit, though… Did I mention that the Eastern Express A318 kit is a PITA? It has quite nice surface detail, but the bigger the parts the less they go together. Esp. the wing and fuselage halves were a TOTAL mess, the latter could only be closed through force and combining the hull with the wing halves, which have a weird construction on the lower hull – the mold layout was chosen to allow proper detail to be added around the main landing gear wells, but building this is a horror, was a nightmare, with poor fit, massive gaps and dislocations of up to 1 mm!
Talking about trouble: mounting the wacky 747 pods under the Airbus’ wings required even more hardware mods on top of the basic fit problems. The inner pair of engines went closer to the fuselage, to make more space for the outer pair, even though they ended up pretty close to the main landing gear. The A318’s original attachment points under the wings were PSRed away and the inner pair of donor pods was mounted onto the inner flap mechanism fairings. Their pylons had to be modified accordingly, though. The outer pair was mounted at about half distance from the inner engines and the wing tips. Their pylons had to be shortened, due to the low wing depth. Outside of them I added weapon stations from a Dragon 1:144 Tornado IDS, which also provided AGM-88 HARMs and Sidewinders as suitable ordnance.
The rest of modifications were more of a cosmetic kind. The biggest change was a bigger, more bulbous nose radome for the surveillance radar; in this case I used a leftover nose section from an Airfix 1:72 D.H. Venom trainer, mounted and PSRed over the Airbus’s original nose. Not a big modification, but the different nose profile changes the Airbus‘ look significantly to something P-3ish, and it resembled the Japanese P-1 a lot now.
The windscreen itself, while quite clear, had to be forced into its opening, and due to its poor fit and some gaps I PSRed it over and later used aftermarket decals to create the windscreen. Other graft-ons included a MAD boom carved from sprue material, a dorsal antenna bulge (from an Airfix A-4B kit) behind the cockpit and a pair of optical sensor turrets under the chin, somewhat B-52Gish. Under the lower rear fuselage, I added a pair of bulges for the sonobuoy launch tubes and cameras, leftover optional parts form/for a Heller Saab S32C’s camera nose. Fin and wing tips were slightly clipped, and I added scratched sensor fairings (sprue material), what considerably changes the aircraft’s look away from an airliner, and I also added a low spinal fairing (styrene profile) at the fin’s base. Finally, some blade antennae made from 0.5mm styrene sheet were mounted around the hull and small scoops for the relocated APU and heat exchangers were added.
[b]Painting and markings:[/b]
As usual, a tricky choice. The German P-3Cs did not carry a special camouflage – they simply retained the former Dutch Navy livery in all-over Light Gull Grey (FS 36440), which I found too boring to apply on the whiffy ASW Airbus. Due to the aircraft’s sheer size, I refrained from a tactical paint scheme like the rather murky three-tone wraparound Norm ’87 scheme from the Marineflieger Tornados or any of its (though interesting) development patterns or derivatives. Instead, I rather took inspiration from the Luftwaffe’s MedEvac/MRT Airbus A310s, which were painted RAL 7001 (Silbergrau, Revell 374) overall. This shade of grey comes close to FS 36375 but is colder.
For an aircraft that would not only operate at high altitude and to conceal it from above I found a uniform RAL 7001 livery too bright, so that I decided to paint the upper surfaces in a slightly darker tone, RAL 7000 (Fehgrau, Revell 57), which is, as a coincidence, the tone of most Bundesmarine surface vessels’ superstructures since 1956: a cold blue-grey tone somewhere between FS 36320 and 35237. Together with a straight and low waterline this resulted in a rather low-viz-ish livery, augmented by relatively few and small markings and stencils.
The landing gear was painted white, the walkway/Corroguard areas on the wings received a slightly different shade of grey (RAL 7005 Mausgrau, Revell 47) than the basic camouflage, and I added a slightly darker anti-glare panel (RAL 7012, Basaltgrau, Revell 77) in front of the windscreen. The nose radome and other di-electric fairings were painted in a yet another slightly brownish shade of grey (RAL 7030, Steingrau, Revell 75), to create some more variety. Some light post-panel shading was done, and to emphasize the engraved panel lines I also applied a light black ink washing.
Windscreen, windows, and doors were created with decals, partly aftermarket, partly OOB. The cabin windows’ number was reduced to reflect the aircraft’s dedicated military role. Tactical markings were few and rather lustreless. German markings and codes were procured from appropriate generic material from TL Modellbau and Peddinghaus Decals, the small MFG 1 badges came from an Italeri Marineflieger Tornado kit (with subdued Norm ’87 markings). Stencils and walkway markings on the wings came from the OOB sheet.
Finally, everything was sealed with matt acrylic varnish from a rattle can, with a light sheen instead of pure matt.
The result looks simple in its all-grey livery but getting there – esp. with the poor-fitting Eastern Express Airbus A318 as basis and the even worse donor engines – was a long and tough fight. But despite the troubles, the model of this fictional Kawasaki P-1 alternative from Europe looks pretty convincing and the four-engine layout worked well, despite the relatively compact airframe.
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Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. 'Skua gull sitting and young gull' by Herbert Ponting (1870-1935).
Date: c.1911
Our Catalogue Reference: COPY 1/562/98
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.
Four brothers Billy, 17, Charlie 15, Rafferty 13, and Laurie 12 make up The Entitled Sons. The band name is a cheeky reference to how they felt some TV viewers would describe their upbringing after seeing them on their mum, Sarah Beeny's, latest TV show.
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