Existence photos on Flickr

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A relook at the passed images.

We tend to see more of an image, not in the instance we depressed that shutter, but persistent meditation on the meaning of life, of existence and being. Inherent in the image is the message of birth, being and death. When meditating on the image, the meaning of an image reveals itself, in slow certainty, not in a flash, but it could come in a flash, a leap from normalcy, across the gap of invisible terrain.

Nights are always quiet, silence; days are a whole loaf of materialistic demands and bodily desires, that is the lure of the urban live. The night clears away those disturbances; we gain focus when darkness obliterated sight, reducing all existence to its essential. Only commanding a calm sense of ignorance, through sheer responsibility to the quest, silence could be found in daylight, with selfishness and irresponsibility required to overcome that momentous monster, social culture, a ‘they’ invisibly cajoling conformity, a slew of slogans of accepted goodness. Morality is borne from them, a form of coercion, to conform, to become, for the good of predictability and governance. Would we need morality when living in solitude and remoteness? Do we need morality when you are you. Or I am me. Would you think there is a need for morality in the social being of the ants and bees? Would you think that morality exists, or it is a mortal invention? And why all mortals think there is one, morality, and is it truth? What is creativity? Create, implies, new, leaping from the here and now to another landscape, non-conforming, difference, other than. And when creativity and morality collided, an immense nebular came into being, and when the nebular subsided, you rejoiced, like the nebular it too would subside.

With such monstrosity, with colorized lenses we could derive meaning and insight from behind each image we had taken. Exert values such as ‘to kill is to sin’ and we well up emotion of pity and a sense of injustice, from our righteous souls. ‘Wasp nibbling in mid-flight’ stirred the ocean of morality, jolted you. Imagine you were the spider. In that silence, death gripped you, you are as helpless as the spider, when face with the superior wasp, face with nature, face with fate, torn and tattered to the core, utterly helpless, if you are as omnipotent as god, you could right the wrong, but you, human, powerless, painful, is trapped, trapped within a body and an illusive heart. You need liberation. You need a way out of this unfairness. Why? Why some are borne to die a tragic death? All are borne to die. Why the privilege of one over the other? You see the pain and the painless. What if your death gives life and meaning to other souls? Indeed, a good deed in death, over a painless unworthy death, is preferred. Yet, it is still death. Death has to be worthy. Death has to be worthy. Death has to be worthy. It screamed in silence and determination. Death has to be worthy; life has to be worth living too. We latched on to its last defence, some are willing to die a worthy death, unwilling to believe otherwise, some see the futility of life, others see the futility of death, facing it squarely as the moment of returning to the source. All those thought are indeed a form of burden, death cannot be proven of its worthiness, all livings however they think and thought have to cease living at one moment or another when it come. Yes, nature’s fairness, the being of beings.

Calm down, take deep breath, long and slow.

Remove the veil of morality, remove questions, and return to the surface of the image. Draw towards the wasp, trace the wasp, from the eyes, amazing red, glittering, energy, radiant, vitality, the mouth, the thorax, the flapping wings, in unison, the legs, the constricted waist, the abdomen, the curve, the pointedness, the texture, the pattern, colour, the minuscule hairs. Complete beauty!!! Such wondrous miniature contains life, being and death. It is so small and yet so complete. Complete! Life in this being is.

The flapping of the wings in unison with the pull of the beaks, tearing the Cyclosa’s remaining cephalothorax away from its head, the Cyclosa in its death had offered itself up as nutrients to the wasp and its offspring. The cyclosa becomes the giver of live and sustenance so the wasp could live.

Facing death. a mangled piece, a head, an eye pops, the placid legs, red, torn, see it, go through every nuance of it. Fear and the urge to escape gripped us. Fix on it and see it as you would see the beauty of the wasp. In death we find liberation. Unite both within a single instance. Life, being and death. The being of the wasp is to feast on the spider. A completion, closure, calm and peaceful. Nature is. Is wonderful. Here we see a completion of nature’s work, again, in repetition -¬ birth, being and death.

Why is death liberating? Imagine you are the spider. Imagine that dying moment, as death grips you, it erases all that you had done, it erases your worthiness, it erases you. Fear, extreme fear, penetrates you deep, deep into your soul, and erases your soul, erases your being, to the point of total erasure. You scream. Scream out your soul. See it vanished. Your denial is futile. You feel that cold sweat and coldness shrivel up the spine.

In death, nothing else matter, desires, debt, hatred, anger, anxiety, joy, love and all emotions; all vanished. One is forgiven and one forgives. So imagine you are the spider, in that instance, liberated, one gave its life to another being, there is no foe, enemy, nor love, pure being, freeze in that moment, a singular moment. All is a pristine whiteness. Lost grips you, shaken, and arrive at a sense of immense liberation.

From that barren whiteness, a wasteland, life start a new, death nourishes beings and gives birth to another, more live flourish, another time, another day, another month, another year, in recurrence, in eternity. One sees its persistence and our futility of denial. It is an impossibility to phantom death, but we could phantom that death liberates. Life is a form of energy, transforming from one form into another.

The Cyclosa’s death, had also liberated those that could had been captured by the web that was spun by the Cyclosa. Now those smaller animals were given a chance to survive and mature; they have the wasp to thank. As one lay down their power, whether destructive or creative, it allows others to flourish and mature. Those that had risen would have to fall some days, the sage cautions, in high places, serve with humility and in low places, serve with pride. Did not Christ proclaimed he was your servant?

EXISTENCE, by marc falardeau

beautiful downtown parkdale

Indonesia - Java - Borobudur Temple - Stone Relief With Carved Images - 3 by Manfred Sommer

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(Foto is digitally captured from my paper print)

Borobudur is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside a perforated stupa.

Built in the 9th century during the reign of the Sailendra Dynasty, the temple's design in Gupta architecture reflects India's influence on the region. It also depicts the gupta style from India and shows influence of Buddhism as well as Hinduism. The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.

Evidence suggests Borobudur was constructed in the 9th century and abandoned following the 14th century decline of Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, then the British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.

There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the 8th and 9th centuries. Borobudur was likely founded around 800 CE. This corresponds to the period between 760 and 830 CE, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.

There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Buddhism, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountains around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 CE, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir hill, only 10 km east of Borobudur.

Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 CE. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.

Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Sometime between 928 and 1006, King Mpu Sindok moved the capital of the Medang Kingdom to the region of East Java after a series of volcanic eruptions; it is not certain whether this influenced the abandonment, but several sources mention this as the most likely period of abandonment. The monument is mentioned vaguely as late as ca. 1365, in Mpu Prapanca's Nagarakretagama written during Majapahit era and mentioning "the vihara in Budur". Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the 15th century.

The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the 18th century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for Mas Dana, a rebel who revolted against Pakubuwono I, the king of Mataram in 1709. It was mentioned that the "Redi Borobudur" hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of Prince Monconagoro, the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.

Lieutenant Governor-General Thomas Stamford Raffles took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate. In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.

The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859.

Borobudur attracted attention in 1885. The restoration was carried out between 1907 and 1911. Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.

In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975 and 1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991. It is listed under Cultural criteria "to represent a masterpiece of human creative genius", "to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design", and "to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance".

Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square metres and they are distributed at the hidden foot and the five square platforms.

The narrative panels, which tell the story of Sudhana and Manohara,[69] are grouped into 11 series encircled the monument with the total length of 3,000 metres (9,800 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.[70]

The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.

Apart from the story of the Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).

The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).

At first glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism.

Mask Hand-Cut from Recycled Shovel Blades: the Face of Spades series by John T. Unger

Drawing on the inspiration of the ages for his latest creation, artist

John T. Unger has once again breathed new life into the atoms of the

abandoned. Shovels retired after a life of hard labor are reborn as

playful, intriguing masks— faces peering back as if astonished by their

own renewed existence. The Face of Spades mask designs

are individually hand-cut by the artist from reclaimed steel

shovelheads. From whimsical, cartoonish expressions exaggerated for

impact, to hauntingly beautiful adaptations of traditional tribal

designs, the collection features 24 designs resplendent in their

individuality. Stoic or serene, silly or insouciant, their glances

enhance the indoors and outdoors alike. A single mask makes an

excellent accent piece, but the most exciting display is to group a

series of the shovel-mugged characters to create your own custom totem

pole.

The tradition of masks has haunted and enchanted the dreams of man for

millennia. Rain forests hide glaring eyes and snarled lips amongst

twisted vines and water-wet branches as shamans craft faces to protect

and faces to defend. Masks of the Far East embellished with their red

and black lacquered paints give character to the actors of old and knit

the fabric of stories for generations. What do they foretell of your

destiny? Will they ward off evil or draw in spirits that bless? Display

the Face of Spades series as a single mask, or combine them for a

powerful grouped display. Since the intricate designs are crafted

freehand, without the use of guides and stencils, Face of Spades masks

each contain their own unique spiritual fingerprint.

So whether a playful grin is more your style or a powerful sneer conveys your message, the Face of Spades

series has character abounding. The expressions are drawn from within

as if they had lain dormant within the metal for eons. Once exposed to

nature’s influence they’ll turn a rich rust color, a perfect compliment

to the flora and fauna that graces their newfound environs.

John T. Unger is an artist filled with a passion for found materials.

He creates from everyday objects often discarded as used-up, void of

life. “If my job as an artist is to fill the world with more things, I

feel that I should also remove unused or unwanted things from the world

in the process in order to make room for the new art.” states the

artist. “This is one reason I like working with recycled materials.”

The Face of Spades masks collection continues this loyalty to

reclamation, imparting life into once static pieces of steel.

The Face of Spades masks retail for $59 each (plus shipping and handling) and are available from www.johntunger.com,

Futile existence by Hawthorn-heart

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A slug leaves rather embarrasing evidence of it's time-wasting!

Cloistered Existence by John Kortland

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Gracechurch Street, City Of London

the teen condition. by amanda in wonderland.

Drugs.

These are the photos I used for my Art Assessment - Teen Existence. I based it on how most people view teenagers. Some people think that teenagers are ALL bad people, but in actual fact - we really aren't

flippingeggs.blogspot.com

(2015) Bratz Metallic Madness Packs by A Thousand Splendid Dolls

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I have a serious addiction for pack dolls! I was tantalized by these two sets from the moment I learned of their existence. Sadly, I never really saw them in stores though, except a select few times when I ventured out to Target or Toys 'R' Us. My main attraction to these sets was the inclusion of Cameron! I was left speechless when I discovered that MGA was bringing him back for the 2015 relaunch. The anticipation of his release was very strong, and I actually had to resist the urge to buy the Cameron and Cloe pack the first time I saw it (when I was using a coupon to buy my separately sold Hello My Name Is Jade). Something I've learned from the past few years as an adult collector is that Bratz dolls go on the best sales. Since I am a self professed Bratz addict, I've negotiated with myself that if I want to buy a lot of Bratz dolls, I have to wait for them to go on sale (otherwise I'll go broke). Honestly, it's not that hard for me to wait around for stuff to get marked down, because I've had to wait years to find certain things at the flea market. But, the beautiful thing about the 2015 Bratz dolls is that they were marked down to clearance prices within a few months of being released! In fact, there were so many good sales, that I had to strategically plan out which dolls I would prioritize and buy first, since I simply couldn't afford to buy all the on sale dollies at one time. I purchased these two packs on the second occasion I ordered a huge haul of on sale goodies from the TRU website. The first time I placed a similar ginormous order, back in November 2015, these dolls were still really new, so I figured they'd certainly go on sale again. My initial hunch was correct, and I was able to get them for more than 50% off only a few months later!

I had great expectations for Cameron, since I most longed for him to be part of my Bratz collection. Being that I had only a few opportunities to look at these sets on store shelves, I honestly wasn't the least bit familiar with Yasmin or Sasha. Plus, I was so taken with Cameron, that I sort of blew Cloe off whenever I did happen to see their pack. It was actually really exciting opening these two sets for that reason. I felt like a little kid on Christmas opening up two unknown entities. As grateful as I am to have Cameron, I can't deny that Yasmin is most certainly my favorite one from the entire Metallic Madness line (including the separately sold ladies). She is so PRETTY!!! I'm thinking she's in the top five for most stunning Yasmin dolls ever made (the others being 2013 "Basic," 2002 Strut It!, 2003 Funk 'N' Glow, and 2006 Genie Magic Yasmin). It's hard to pay any of the other three dolls pictured above any attention when the ever so gorgeous Yasmin is next to them! I think if I had owned her when I was younger, I would have played with her all the time (poor 2002 Xpress It! Yasmin would have been totally shafted). There is just something so hypnotizing about Yasmin's long, chestnut colored hair, her crazy purple lips (which remind me of my one of my favorite dolls of all time--Jewel Girl Teresa), and her darling outfit which flatters her flawlessly.

Even though Yasmin steals the show, the other three dolls from the two packs are also amazing! Sasha is GORGEOUS...in fact, if she hadn't been sold with the goddess Yasmin, I'd probably be drooling over her more right now. I really love how her dark skin pops with the gold and red accents of her outfit. Cloe is as cute as a button--her platinum hair and freckles are to die for. Plus, she looks extra sweet in her bridal attire (I know she's supposed to be dressed for a dance, but let's face it, it looks like she's heading to a wedding chapel). Cameron is the same doll as his Hello My Name Is counterpart, but his outfit is SO much cooler! I like that it's super tacky--it really sets him apart from all the other Cameron dolls in my collection. Plus, his hat is the most amazing quality piece I've seen in a while (and I've seen so many great clothes and accessories from the 2015 lines).

I'm so glad that 2015 was a year of packs for Bratz. I mean there was the Hello My Name Is 5 Pack, the #BFFL packs, and these two Metallic Dance sets. I know that some collectors find packs frustrating, because it means that you have to adopt two or more dolls when perhaps you only really want one of them. Plus, even though each doll is generally speaking a little cheaper than a separately sold one, the overall prices of such packs can be a tad pricey (most are over $30). But for me, I think of packs as a sort of doll buffet. It's a great way to sample new dolls that maybe I otherwise would have ignored. I think it's exciting to let my collection shape itself and not to overthink which dolls are a part of it. It's fun to get dolls like the "bridal" Cloe pictured here, my eighth 2002 Strut It! Yasmin doll, Scaris Lagoona, or my Magic Snow Jaxson doll, who joined my doll family by chance because they were part of used lots or new packs. That's what I love the most about doll packs like these--they give me the chance to fall in love with someone totally unexpected, and oftentimes, I end up enjoying them as much, if not more than the doll I originally purchased the pack for!

CFTRI showcases a range of “Superfoods at Trade Fair” by Shivangi Sinha

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Using pioneering new technologies in Superfoods and nutrition, CFTRI has developed amazing new products which are on show at CFTRI stall at Pragati Maidan:

· Chia and Quinoa based Chocolates and Laddoos;

· Omega-3 enriched ice-cream;

· Multigrain banana bar

· Fruit juice based carbonated drinks.

New Delhi, 24th November, 2016: CSIR-Central Food Technological Research Institute (CFTRI), the premier national institute for food technology is exhibiting a range of new agri-products now grown in India, called Superfoods that bring health and nutrition best practices to everyday eating and living to the common man. The exhibits by CFTRI at the Trade Fair at Pragati Maidan in New Delhi both impress and surprise with the range and scope of their utility and potency.

The Indian population is presently going through a nutrition transition and there is an increase in incidence of diabetes, impaired heart health and obesity while there is still rampant malnutrition in the nation.

Keeping in mind an effective solution needed to address these concerns, CSIR-CFTRI is working on bringing Superfoods to the Indian population. CFTRI works on various facets of food technology, food processing, advanced nutrition, Superfoods and allied sciences. Superfoods are foods which have superior nutrition profiles which upon regular consumption can help improve health and wellness of the consumer.

CFTRI has developed the agro-technology for growing Superfoods viz. Chia and Quinoa in Indian conditions. Chia is the richest source of omega-3 fats from a vegetarian source and Quinoa has excellent protein quality and low glycemic load carbohydrates. Comprehensively, Chia and Quinoa have potential to improve population health and both blend seamlessly into traditional food preparations.

CSIR-CFTRI also infuses the spirit of entrepreneurship in their students. One of the doctoral students after completing her academic program started her own technology provider start-up company, Oleome Biosolutions Pvt Ltd. In a global first, CSIR-CFTRI in collaboration with Oleome, has developed a 100% vegetarian, Omega-3-enriched Ice cream called “Nutriice” using Chia oil.

CSIR-CFTRI is also in the process of the final phase of testing of diacylglycerol (DAG) oil, a unique cooking oil that has “Anti-Obesity” functionalities. One can consume it as part of daily regular diet and while the oil is available as energy but does not get stored as fat in our bodies. The final phase of human clinical trial is presently under progress.

CFTRI has also designed and developed snacks with advanced nutrition designs to support the nutrition needs of growing children. These have been implemented in the aganwadi levels to complement the existing government mid-day meal and will be scaled up soon. The products, such as Nutri Chikki with spirulina, rice beverage mix, high protein rusk, energy food, nutri sprinkle, seasame paste and fortified mango bars have been well received by the children and the anganwadis alike. Multi-grain Banana bar is a new addition to in this product portfolio.

Another exciting area of multidisciplinary research being done at CSIR-CFTRI is on nanotechnology, food technology and nutrition. Nanomaterials are known for their characteristic properties and CSIR-CFTRI is working on the use of nanoparticles for various applications. One of our interesting developments is the design and development of food packaging material with nanoparticles with antimicrobial and antioxidant properties to improve shelf-life of processed foods.

CSIR-CFTRI is also working on “Smart Foods” to answer specific needs of the consumer. These promising and specifically designed innovations are being developed for better sleep, better skin health, improved digestion, better cognitive performance and better stress management. The high science is brought into a simple food product, like a cereal bar which helps one to be more attentive over the day, or a unique dosa mix that helps in working out better at the gym with lower perceived exhaustion and even a special soup to help sleep better at night!

Speaking on the sidelines of the CSIR-CFTRI exhibition at Pragati Maidn, Prof. Ram Rajasekharan, Director, CFTRI said “Our mandate is to find innovative solutions to India agricultural and nutritional challenges. Our aim is to develop products to make Indian agriculture productive, efficient and at a consumer level gradually replace drugs with foods that will promote better health and wellness. We strive to deliver our best in improving food security and nutrition security, also developing a stronger, smarter and healthier India”.

About CSIR-CFTRI:

CSIR − Central Food Technological Research Institute (CFTRI), Mysore (A constituent laboratory of Council of Scientific and Industrial Research, New Delhi) came into existence during 1950 with the great vision of its founders, and a network of inspiring as well as dedicated scientists who had a fascination to pursue in-depth research and development in the areas of food science and technology.

CSIR-CFTRI is today a large and diversified laboratory headed by Prof. Ram Rajasekharan, Director, CSIR-CFTRI. Presently the institute has a great team of scientists, technologists, engineers, technicians, skilled workers, and support staff. There are seventeen research and development departments, including laboratories focusing on lipid science, molecular nutrition, food engineering, food biotechnology, microbiology, biochemistry, food safety etc.

The institute has designed over 300 products, processes, and equipment types. It holds several patents and has a large number of high impact peer reviewed journal articles to its credit. India is the world's second largest food grain, fruit and vegetable producer, and the institute is engaged in research and development in the production and handling of grains, pulses, oilseeds, spices, fruits, vegetables, meat, fish, and poultry.

The institute develops technologies to increase efficiency and reduce postharvest losses, add convenience, increase export, find new sources of food products, integrate human resources in food industries and develops solutions to improve the health and wellness of the population.

CFTRI has a vast portfolio of over 300 products, processes and equipment designs, and close to 4000 licensees have availed themselves of these technologies for commercial exploitation. The achievements have been of considerable industrial value, social importance and national relevance, and coupled with the institute's wide-ranging facilities and services, have created an extensive impact on the Indian food industry and Indian society at large.

Savage Existence (17) by Gerben Duijster

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Ross the Boss @ Iduna

Contemplating Our Existence by astrosneo

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Contemplating the vastness and beauty of our home galaxy.

11/26/11

Ocotillo Wells, CA

1x13 second exposure ISO 6400 f/3.5

Canon Rebel T3 DSLR

Holy Donut by Jancsi

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The donut is the symbol for infinite existence, without beginning, without ending... except maybe, when it's eaten...

Beautiful (in)existence by liviamcosta

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I love you so...

Struggle For Existence by " Don Quixote "

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When struggle ends

Failure starts,

But when person bows down

With the weight of struggle

What to do?

Who will help?

Poem by TADASHA TRIPATHY

Choreographers Workshop: States of Existence by Knox College

States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance

PLASTICIZED EXISTENCE by Nikko

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Hotel Existence by Derek Smith

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I was driving through the misty rain

Yeah searchin' for a mystery train

Boppin' through the wild blue

Tryin' to make a connection with you

This is radio nowhere, is there anybody alive out there?

- The Boss

This was the earworm when I snapped this wreck of a hotel in Denver, Johannesburg this afternoon, maybe because its next to the railway line - must have been quite a posh place in another lifetime...

Existence by Kea Visual

8 6

Our existence is nothing but a crazy notion.

Lightseekers aims to evolve toys-to-existence with abundant tales and quite a few means to perform by Jason Farrell

Skylanders, Amiibo, Disney Infinity – the toys-to-existence class received huge, fast, but most of the action in the place following Skylanders tended to be largely spinoff, devoid of truly pushing the class forward when it arrives to the breadth of out there systems. Lightseekers, a new cr...

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honestechs.com/2016/10/05/lightseekers-aims-to-evolve-toy...

existence by Stella+S

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Unfenced existence by Cam Self

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the Golden Coin Turtle by WildCreatures Asia

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The critically endangered Golden Coin Turtles (Cuora trifasciata) have their ancestral home in southern China and these turtles are as endangered as mainland China’s Giant Pandas, and the wild areas of Hong Kong represent its last chance for continued existence in the wild.

Denied Existence by brickxbronson

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Echoes of existence by Ramkumar Alagumalai

3 1

Kraków, Poland, Sukiennice (die Tuchhallen, Draper's Hall, Halle aux Draps, Mercato dei Tessuti), Rynek Główny (Gothique, 1875-1878 profoundly rebuilt) by alfred lex

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History of Kraków

First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.

In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.

With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.

After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.

Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.

After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.

www.polen-digital.de/krakau/geschichte/

Enigma of existence by Amima Sayeed

5 15

"I pray one prayer, I repeat it till my tongue stiffens.... may you not rest as long as I am living. You said I killed you--haunt me then. The murdered do haunt their murderers. I believe--I know that ghosts have wandered the earth. Be with me always--take any form--drive me mad. Only do not leave me in this abyss, where I cannot find you! Oh, God! It is unutterable! I cannot live without my life! I cannot live without my soul!”

Heathcliff of Emily Brontë's Wuthering Heights is one hero who's more a villain. He embodies the enigma of existence.

Strobe info: Oloong 1/64, 50mm, ISO 500 shot with an umbrella reflector placed on the left of the model.

ODC: heroes & villains

Existence by Aranel Ah

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*BOOM*

The new Existence.

Home of BOOM, SMP, fable, Modd.G, Bodyline (soon), Miseria and Minettes. Main locations of Skream and Muse & Amuse.

Motionless in White live at Starland Ballroom. 12.11.14 by ACSantos

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Chris Motionless of Motionless in White live at Starland Ballroom, Sayreville NJ. 12.11.14

Feature gallery on Music Existence: musicexistence.com/blog/2014/12/15/gallery-motionless-in-...

www.acsantosphotography.com

Existence Is Just A Ripple Through Time ~ I Hope The Life We Live's The One We Love ~ I Have Faith That If We Do What's Right, We'll Rise Above ~ And Freedom, Peace & Light + Love Will Be Just What We Will Find <3 <3 <3 by TJ Russell

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Co-existence by Ata Mohammad Adnan

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The superpower called China isn't only about booming economy and budding metropolis.

In its core, its still the ancient country which has gone through a lot of struggle in the earlier decades.

Very early morning, an old worker carrying his valuables in the old traditional way

Guilin,Guangxi,China.
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Getting back to the photos of Guilin/Yangshuo/Longsheng. It was the finest travelling experience in China and I feel the photos arent getting its due staying in the archives:P. So I am thinking of uploading them consecutively, the series may well run for 10-15 days!!