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Dr Stuart Clark performing at the Universe Explained at Gorilla, Manchester, on Saturday 20th July 2013
A Fruitland farmer explains a watering method he is using for the first time on a crop of onion seed that he is soon to plant. Because the soil in which onion seed is planted must never dry out, he has has burried a drip line just underneath the soil. This method will keep the soil constantly wet w ith a minimal amount of water. Fruitland, Idaho
7/20/2012 Photo by Kirsten Strough
Lynn Langer explains his privateer action from the AWI, which featured scratchbuilt ships in 15mm scale, complete with crew figures. The action used his soon-to-be-published "Age of Fighting Sail" rules.
Ahhhh, yes, the PC crashed. Really. 4 weeks ago during my week of house-sitting with no internet. Then, I set off on more trips, gatherings, then work again, and finally... I am back at the odd post. Now Elements has been reinstalled, yahoo passwords recovered... may the posting continue now.
This was from shortly after the crash... reuinion with my friends Natascha and Juergen in Berlin. A great day, topped off with a faboulous concert at the Komische Oper - but of course no photos of that.
Logically my next thankful project picture would be of my second born but I spent hours today trying to find a picture of her and I can't. I'll explain it when I finally find "the" picture.
So today I am thankful for them.
I didn't want more than one child. I cried when I found out we were expecting again (for a long long time...)
But then I adjusted and thought about how badly I had wanted a sibling, let alone a sister when I was growing up. My daughter would have someone to share secrets with, another to laugh with and to cry with. Someone that unconditionally would be her best friend (and probably even an enemy at times). She would have someone that when she felt she couldn't come to me, and as much as I hate the idea I am sure there will be a time or situation like that, she would have someone to turn to. I thought about the fact that after my husband and I die, Sasha would have someone to dream with. She wouldn't be alone in the world at any time.
Jordan was born and the world became THEM. From the beginning they shared a bond. The fear that I had that Sasha wouldn't adjust well to any attention being pulled away from her was all for naught, she gave as much attention to her little sister as we did. Every thought I had had about having a second child had come true. They are a team. A team that fights and argues but oh the laughter they inspire in one another (and all of us around them). The games they play. The strength they give each other is unbreakable. I catch them whispering to one another. They teach each other. They laugh and they make each other cry but they are always sisters. I look back to 5 1/2 years ago and I am so happy that She became a Them.
After I gave birth to Rafiqh, I planned to get pregnant again after Rafiqh 1 year ++. Furthermore, I gave birth through c-sect, which normally doctor/gynae will suggest us (c-sect mommies) to get pregnant after 2 or 3 years. Somehow it mean that it is not okey to become pregnant again too soon (less than a year). In my case, I never consult about family planning with my gynae. The last time I met my gynae was after my confinement period, I went to see her for final check up and to get a report letter that explained why I had gone through c-sect delivery as a reference to my next gynae when I get pregnant again later. (I think the letter will be refered by herself laa, hahaha). I have no idea why she didn't talk about pregnancy prevention at all...
At the first place, I have no intention to take any contraceptive pills or whatsoever methods to avoid the pregnancy. I hate pill course in many cases it may effect my milk production, harm my body and make my hormone imbalance. For other methods such as implant, IUD, injection and etc., I was so afraid to even hear the names, huhu... So, myLove and I decided to stick to "our method" - the natural method that people used to call it as "buang luar" (withdrawal in english, correct me if I'm wrong)... As you know, we took almost 2 years before conceiving a baby, we only used that method and we managed to control it at that time. When we were ready, it took us few months to concieve, lama jugak eden nunggu haa... Even though we did not taking any prevention, we also not looking forward to have another baby too soon. Dalam budget, agak2 Rafiqh setahun lebih laa baru berjaya kot, hehehe. But yes, we are just planning, Allah decided the best. He decided this to us, and we are happy!
Talking about get pregnant too soon, in less than a year(11 months to be exact), I believe each person has their own health condition. The dangerous period is in the first 6 months, dikhuatiri jahitan akan terbuka bila rahim mengembang, but still it depends on that person herself. My body, only I know, and of course Allah knows the best. Selama ni kalau orang lain bercerita tentang kesakitan akibat kesan jahitan even anak dah berusia setahun pun, I tak tahu nak bagi komen/respon. I'm kinda lucky, I bersyukur sebab hingga ke saat ni I tak rasa sakit, kesan timbul jahitan pun dah tenggelam(baki 3cm saja lagi), hanya nampak segaris yang I cuba hilangkan parutnya guna pelbagai jenama bio-oils. Tipu laa kalau I kata tak sakit langsung kan, sakit tu masa 3minggu pertama saja, itu pun bila nak bangun dari posisi baring, selain dari tu tak pernah rasa sakit... Mungkin sebab tu laa I tak berapa terkesan untuk takut pregnant lagi.
Everything happen with a great reason. I percaya dan yakin this baby hadir dengan seribu satu hikmah, kalau ada peluang nanti I akan ceritakan tentang ini ya. Allah juga menyusun perancangannya begitu cantik, di saat kami merancang untuk pulang ke Malaysia bulan 7 tahun ni kerana my sis alang nak berkahwin, elok je Allah tentukan baby ni due dilahirkan ketika itu juga. Walaupun ada sedikit kelam kabut sebab terpaksa re-schedule balik few things, tapi semuanya dipermudahkan... InsyaAllah tahun ni selain daripada menerima menantu baru, abah mak juga menambah cucu lagi... Murah rezeki...
Orang selalu tanya, apa reaksi Rafiqh nak dapat adik?! Dia tak faham apa pun lagi, bila sebut baby/adik, dia blur. Tapi kalau tunjuk gambar baby, dia sengih2. Kalau jumpa/nampak pulak, suka bukan main laa... Awal2 hari tu ada jugak dia meragam, tapi I tak rasa it is because of adik. Mungkin peralihan fasa saja kot, budak2 memang selalu berubah2 kan... In fact, dalam mabuk2 ni pun, I cuba untuk tak abaikan dia. I still masak macam biasa, layan dia main, walaupun tak boleh bergasak macam dulu, I tahu dia dah cukup happy bila I melayan dia. Cuma dulu bila dia tengok program NHK, I join main/menari2 bersama, tapi sekarang nak nyanyi pun I tak terdaya. Kadang2 I paksa diri untuk join jugak, but most of the times I just lay down beside him... Bila orang tahu I pregnant lagi, orang mesti cakap "best laa Rafiqh, lepas ni ada geng nak buat main". Haah, best laa kan, kalau sekarang buat kecah sorang2, nanti berdua pulak, boleh laa memunggah berjemaah, kan lebih afdhal?! hahaha...
For this pregnancy, I hope and pray for normal delivery... Please pray for us too, moga segalanya selamat dan dipermudahkan...
Update about Rafiqh Tsuyoshi...
- Sejak I muntah2 ni, Rafiqh selalu tunggu depan pintu toilet tengok mamanya muntah2. Sekarang dah pandai ajuk mama muntah, haha lawak okey. Tapi geram jugak kadang2, sebab over sangat!
- Macam budak2 lain jugak, tugas utama dia ialah memunggah. Bila tengok mamanya menyimpan, dia akan datang tolong pungut dan simpan. Biasanya I tinggalkan dia sambung kerja tu, tapi half way je laa, bila agak2 dah nak penuh bekas tu dia tunggang balik. Tensyen!
- Dia minat kumpulan Arashi! Oh tidakkkkkkkkkkk! I kureng gemar Arashi, in fact I memang tak suka pretty boys. Tapi anakku ini, tak tau sesat mana datangnya, boleh minat budak2 tu, dia akan tunggu tengok siap baring lagi bila diorang menyanyi, kalau tengok iklan sampai terlopong mulut. LOL
- Kalau dapat komputer, dia akan menaip huruf, lengkap dengan tekan space bar, then enter. Oh dear, mana laa kau belajar ek?!
- Word in japanese yang dia boleh sebut ialah "oppoppai"(=breast*, refer to nak menyusu) dan "chiccai"(=small, siap dengan gaya jari nak menekankan makna kecil tu). Kadang2 dia sebut "chiccai oppoppai", hahaha, tak senonoh betul!
- Kalau biasanya budak besar dia dah pandai suap makanan sendiri, Rafiqh memang tak berminat. Dia prefer disuap. Bila I letak cornflakes, buah dll ke dalam pinggan and told him to feed himself, instead of pegang dia suakan mulut dia ke dalam pinggan, macam kucing okey. Adoi laa... Tapi yang buat I geram tu, bila jumpa foods atas lantai, pandai pulak kutip buh dalam mulut. Mana laa mamanya tak bertukar jadi hijau kan?!
- Suka ambil remote control tv, on kan then mute kan, lepas tu sambung buat kerja sendiri. Apakah?! I harap sangat ada orang cipta remote yang boleh lock, sure I beli, hahaha...
- Bercakap bukan main lagi sekarang. Dia akan bercakap pot pet pot pet lepas tu ketawa, cakap lagi ketawa lagi, berulang2... Apa yang lawak sangat pun kami tak faham. Kalau ketawa sikit2 tak apa lagi, ni ketawa sungguh2 macam bergurau. Syok agaknya dengar suara sendiri dengan volume yang tinggi rendah, dengan bunyi2 yang pelik2, bangga dan lucu sangat laa tu kot bagi dia, layan jer laa... Lastweek masa I tengah bersembang dengan my mom over phone, my mom tanya Rafiqh main dengan siapa? Sakan betul bercakap dan mengekek ketawa. I cakap dia main dengan bantal masa dia baby dulu, memang dia gitu pun. Mak geram betul sebab dia tak habis2 ketawa, sampaikan suara I pun tak dengar, tenggelam dengan suara dia tu. Mak I boleh kata "ish, anak hang ni kawan dengan anak jin kot"... Berdekah2 kami ketawa... Anak jin pun boleh lari dengar dia ketawa mak, hahaha...
40 years in the game - Victor Hernandez Cruz at the 9th Annual Voices for the Voiceless Poetry Concert.
Nith Navigation September 2015
Ships, shanties, burgers and boules:
T’was another early start for most of our intrepid explorers as this week’s adventure took us westwards and upwards to Dumfries and the Nith Navigation Race. Ours was a truly Northumbrian contingent as members of three clubs banded together to crew “Coquet Spirit”. Huge thanks to those good folks who joined us, bringing their energy, enthusiasm (and Tupperware boxes) and helping make this trip happen (hurrah!)
We cheerfully observed the ever darkening skies as we crossed the A69 and we're motivated en route by texts from those crew-mates who had travelled the previous evening, explaining their relaxing morning and full Scottish breakfast in detail (cheers folks!). Rain turned into more rain but we managed to seek solace in the fact we were heading for a marginally lighter shade of grey! (Skiffies are waterproof anyway!) The puddles at the sides of the road raised columns of water as we rattled along the narrow country lanes, the view at times akin to the parting of the red sea. At one point we considered taking the boat off the trailer and rowing along the road itself.
It wasn’t long however before the horizon on the sat nav turned from green to blue and we found ourselves at our destination. Opening the car door and alighting we found we’d parked next to a sign that cheerfully welcomed us with the words “Warning, fast tides and quicksand” (I must admit our hearts leapt a bit with excitement at the tides… and a touch of trepidation at the quicksand)
We quickly dashed across the car park to seek welcome shelter. Here we commented thankfully on the genius of planning a row that started at a café and ended at a pub.
We’d poured into the café at 9.00 only to be told that they didn’t really open for another hour, but the cheerful chap happily agreed to tear up the rule book and furnish us with tea and bacon rolls anyway… it wasn’t however until 10.00 that he put the lights on !!! By this time the room was filling with skiffies and the car park was filling with water as we watched the tide start to hurtle by the windows. Today’s tide wasn’t particularly high (but still a belter by east coast standards) so the anticipated tidal bore wasn’t as dramatic as previously recorded (8 to 10m tides !!!!) .. But there certainly was still some cracking energy in the water. The Cox’s briefing pointed us to the fastest part of the flow and with a wicked grin we were advised to “use this to our advantage”. It was a short drag to the slip where fully-loaded skiffs were pushed down to the water by diesel power and floated off into the current for an energetic row back up to the starting point (against the tide).We chose the "push to the edge and clarty feet" option to save removing electrics etc. Thankfully someone had cleared the silt from the slip so we could tell it apart from the "sinky stuff" Once back up at the starting point, crews had steered themselves into the mud banks to get some purchase before a staged start (partly to avoid clutter and partly because you’d never get boats to stop in that current .. never mind line up!) and with a wave….we were off…….
The first half of the six mile course was ably assisted by the tide, then time to lengthen out the strokes and pick up the pace a touch. Eager heads were cast over shoulders to try and gauge the field in comparison to our relative starting positions as Boatie Blest (starting last) grew from a spec on the horizon to pass us in the last few minutes. For a while we held our own and it was great to race through the bridges together. Before we knew it chequered flags were waived (by Elsie from Gosforth!!) and all crews applauded each other’s efforts as a close field came in one shortly after the other. A quick draw of breath saw the last of the rain pass and skies clear in time for a row in company back down the river. This time we took the opportunity to look at the scenery we’d obviously ignored on the way down. This included a derelict mill building that looked as if it came straight out of an episode of Scooby Doo (Mr Grimes the caretaker would have gotten away with it too if it wasn’t for those meddling skiffs!!).
With the sun out and in clear water we broke into a few “traditional” shanties (artistic license and local flavour applied aplenty as usual!!) before turning and mooring up at Kingholme Quay, alongside tall ship La Malouine. Here boats were admired and oars/footrests/mascots/blisters compared before the “skiff extraction machine” swung into action. At this point chains and strops were secured and lowered over the quay edge and skiffs were lifted from the water, swung around and deftly lowered to their waiting trailers (thanks guys!!). Several fingernails may have been bitten as the first skiff was lifted, but these were quickly forgotten and the clubs all pulled together checking landings, moving trailers and unhooking/re-hooking chains. Here new friendships were made and old ones rekindled … all with the re-assuring squelch of mud underfoot. Rob revisited the “shuggy boats” of our youth as he was lifted to land aboard the final skiff as Geoff and Jenny furnished the masses with pasties and chilli infused scotch eggs from Tupperwares 1 and 2)
With the boats safely on trailers we adjourned to the pub where skiffies of all ages filled the room with hearty chatter. At this point Ian and Elsie broke out Tupperwares 3 and 4 supplying the table with Rocky Road and flapjacks (fruit well soaked) before Roy (our gracious host) announced that food was served and we were treated to a mountain of cracking burgers and sausage buns. All were well and truly stuffed when glasses were "pinged" to herald the announcement that more burgers had arrived… well? It would be rude not to would it ?? Buttons were universally unfastened and attention drawn to the presentations where all crews received a commemorative bottle of whisky featuring the fair Malouine herself (a really nice touch, thanks) and apologies made for lack of planned cheese due to an accident involving the “cheese man” (we all wish him well!!) The final presentation was made to the deserved winners Boatie Blest (hip hip……)
At this point hugs and handshakes are normally exchanged and folks make their way home, however this is not the way of Nith. Seconds later a stranger in a beret carrying a French flag entered from stage left (looking uncannily like our host) and we were marched to the riverside for the first “Coastal Rowing Boules Tournament” a respectful nod to the lineage of the fair ship to our left. The rules were explained, heats were drawn and eager skiffies set about examining the equipment and discussing proposed technique. Watched by an enthusiastic crowd the crews ran through two qualifiers and a final with Troon taking the inaugural title followed by three hearty and well deserved cheers for our hosts and all involved…. (Absolutely cracking way to round off a day)
The sun was now well and truly beaming and we toddled up to the tall ship and were welcomed and offered open access to “climb aboard and take to look”. Here we were regaled with tales of the ship’s chequered history from Icebreaker to party boat in Martinique to the theft of its sails in France and how it ultimately found residence here. We did all but climb the rigging before bidding Roy a fond farewell with a promise to return (any other NE skiffs fancy coming next year and staying over perhaps??)
By now we’re used to these stories extending (brevity is not, I’m afraid, a gift that I posses to any great degree) and today was to be no exception …so we settled back in the beer garden for a quick beverage and the remnants of Tupperwares 1,2,3 and 4 (sounds like the ACRC equivalent of Thunderbirds!!) Conversation was varied and eclectic and shifted from boat and surfboard building through to 18 month sourdough cultures to the absorbency of bread buns and “whims”. As if fate couldn’t have arranged a better day already, a lady from behind the bar came out to our table with an additional beer stating simply that “it was our lucky day”. We responded in the only manner we knew how, tastefully arranging a plate from our respective Tupperwares, taking it into the bar and reciprocating her sentiment word for word….. Happy days indeed!
Farewells were finally exchanged as we recounted the day’s events and were again astounded at what you can fit into 12 hours when you’ve got a skiff, some water and good company…
Huge thanks to all involved.
Right then fellow adventurers……… what’s next ???
Note: Apologies that there are no actual race photos to accompany this …. Maybe someone can help us out?
JAKARTA, Indonesia (July 22, 2022) – U.S. Navy Boatswain’s Mate 1st Class Damion Earl, from Morristown, Tennessee, explains deck department operations aboard the Emory S. Land-class submarine tender USS Frank Cable (AS 40) to students from the Maritime Development Vocational High School in Jakarta, Indonesia, July 22, 2022. Frank Cable is currently on patrol conducting expeditionary maintenance and logistics in the U.S. 7th Fleet area of operations in support of a free and open Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 2nd Class Kaitlyn E. Eads) 220722-N-WH681-2048
** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM |
www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **
Ranger Kate explains the geology of the park and how sinkholes played a role in one of the greatest fossil discoveries.
from wikipedia
Street photography is photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. The subject of the photograph might be absent of people and can be an object or environment where the image projects a decidedly human character in facsimile or aesthetic.
Framing and timing are key aspects of the craft, with the aim of creating images at a decisive or poignant moment. Much of what is now widely regarded, stylistically and subjectively, as definitive street photography was made in the era spanning the end of the 19th Century through to the late 1970s; a period which saw the emergence of portable cameras. The portable camera enabled candid photography in public places became an issue of discussion. Street photographers create fine art photography (including street portraits) by capturing people in public places, often with a focus on emotions displayed, thereby also recording people's history from an emotional point of view. Social documentary photographers operate in public places documenting people and their behavior in public places for recording people's history and other purposes. Services like Google Street View also record the public place at a massive scale. Photojournalists work in public places, capturing newsworthy events, which may include people and private property visible from public places.
Origins[edit]
Europe[edit]
Paris is widely accepted as the birthplace of street photography.[citation needed] The cosmopolitan city helped to define street photography as a genre.[citation needed]
Eugene Atget is regarded as the father of the genre, not because he was the first of his kind, but as a result of his popularity as a Parisian photographer.[citation needed] As the city developed, Atget helped to promote the city streets as a worthy subject for photography. He worked in the city of Paris from the 1890s to the 1920s. His subject matter consisted mainly of architecture; stairs, gardens, and windows. He did photograph some workers but it is clear that people were not his main focus.
John Thomson, a Scotsman, photographed the street prior to Atget and had more of a social subject style than Atget. Though he does not receive the same amount of recognition, Thomson was vital in the transition from portrait and pictorial photography to capturing everyday life on the streets.[1]
Henri Cartier-Bresson, who has a reputation comparable to Atget, was a 20th-century photographer whose poetic style focused on the actions of people. He was responsible for the idea of taking a picture at the ideal moment. He was influenced by his interest in traditional art, as his ambition was to be a painter. This influence is revealed through his skill in combining timing and technique.[2]
United States[edit]
The beginnings of street photography in the United States can be linked to that of jazz in the music domain, both emerging as outspoken depictions of everyday life. This connection is visible in the work of the New York School of Photography. The New York School was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in New York City. One of its most notable and influential photographers, Robert Frank, was a part of the beat movement interested in Black-American and counter cultures. Frank's 1958 book, The Americans, was significant. Raw and often out of focus,[3] Frank's images questioned mainstream photography of the time, such as Ansel Adams's landscapes, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like Life and Time."[3] The mainstream photography community in America fiercely rejected Frank’s work, but the book later "changed the nature of photography, what it could say and how it could say it".[3] It was a stepping stone for fresh photographers looking to break away from the restrictions of the old style[1] and "remains perhaps the most influential photography book of the 20th century."[3]
Inspired by Frank, in the 1960s Garry Winogrand, Lee Friedlander and Joel Meyerowitz began photographing on the streets of New York. Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand";[4] critic Sean O'Hagan, writing in The Guardian in 2014, said "In the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York."[5]
Technique[edit]
Eddie Wexler: East Village, New York City, 1998
Most kinds of portable camera are used for street photography; for example rangefinders, digital and film SLRs, and point-and-shoot cameras. A commonly used focusing technique is zone focusing — setting a fixed focal distance and shooting from that distance — as an alternative to manual-focus and autofocus. The traditional (but not exclusive) focal lengths of 28 to 50 mm (in 35 mm terms), are used particularly for their angle of view and increased depth of field, but there are no exclusions to what might be used. Zone focusing also facilitates shooting "from the hip" i.e. without bringing the camera up to the eye. Alternatively waist-level finders and the tiltable LCD screens of digital cameras allow for composing or adjusting focus without bringing unwanted attention to the photographer.
Street photography versus documentary photography[edit]
Street photography and documentary photography can be very similar genres of photography that often overlap while having distinct individual qualities.
Documentary style is defined by its premeditated message and intention to record particular events in history. The documentary approach includes aspects of journalism, art, education, sociology and history. In documentary's social investigation, often the images are intended to pave way to social change. Street photography is disinterested in its nature, allowing it to deliver a true depiction of the world.[6] Street photographs are mirror images of society, displaying "unmanipulated" scenes, with usually unaware subjects.[2]
Legalities[edit]
Several legal cases in the United States and other countries, for example the Nussenzweig v. DiCorcia case, have established that taking, publishing and selling street photography (including street portraits) is legal without any need for the consent of those whose image appears in the photos, because photography is protected as free speech and artistic expression by the First Amendment in the US and Article 10 of the European Convention on Human Rights in the European Union.[7]
The issue of street photographers taking photos of strangers in public places without their consent (which is the definition of candid photography) for fine art purposes has been controversial in some countries, notably France,[8] even though France was the home of several well-known street photographers in past and present, for example Cartier-Bresson.[9]
While individuals may complain of privacy or civil inattention violations when they become the subject of candid photography, the work of photographers cannot be done in any other way and if candid photography were restricted then society and the future generations would lose works of art, educational images, newsworthy images, and images of people's history.[citation needed]
In France, a legal case between a street photographer and a woman appearing on a photo published in the photographer's book decreed that street photography without the consent of the subject is an important freedom in a democracy: "the right to control one’s image must yield when a photograph contributes to the exchange of ideas and opinions, deemed “indispensable” to a democratic society."[8]
From 15 March 2014 anyone taking photographs in Hungary is technically breaking the law if someone wanders into shot, under a new civil code that outlaws taking pictures without the permission of everyone in the photograph. This expands the law on consent to include the taking of photographs, in addition to their publication.[10]
Photo of our TV of a scene when the dwarves were about to enter the mountain of the dragon Smaug and its gold and treasure. Some might liken carvings above the key to look somewhat like Masonic Square and Compasses.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
In the medical field, also popular as hybrid medical animation, this technology is used to visualise the mechanism complexities of science and human anatomy.
Yesterday morning as I got out of the shower I noticed that Dash had a really cute stuffed polar bear in his mouth. Then I realized that it was pristine...This little devil had figured out which gift bag was his and helped himself to his Christmas gift. I told him that Santa was passing him by this year because of his transgressions, here he is explaining to me why he knows that the fat man is coming to see him no matter what!
This is Rosa. She was kind enough to explain her job to me one late night on the streets of Santiago.
She spends all night collecting cardboard along a few streets. She then sells it for 30 Chilean pesos per kilo. That's around 6 US cents. Many people perform the humiliating task of going through the trash piles that line the streets every week-day night. I have seen everything from families, young men, and old women like Rosa going through the trash, carefully pulling out all that is cardboard and paper (14 cents per kilo) and placing it in other bags, which they then drag to the nearest intersection, where big trucks pick it up and sell it on to factories that recycle it. Plastic and glass is taken care of the same way.
Apart from being very sad, Rosa's story poses an interesting conundrum. I generally think that municipalities or some other governmental body should be taking care of recycling. In this case though, any recycling policy would actually deprive poor people of a livelihood...
Santiago, July 2008
Although I have photographed people I didn't know before, this is one of the first times that I simply walked up to someone and talked to someone, leading up to a photograph. Before I have always had some sort of reason. Since I recently discovered the 100 strangers group, I thought I'd challenge myself to do it again. It was really a fantastic experience. So: 1/100
Lt. Kamber, Croatian Volcano Battery platoon commander, explains trajectory and targeting to U.S. Army officers of the Battle Group Poland prior to the Croatian Volcano Battery Live Fire Exercise, the first outside of Croatia and with the Battle Group Poland near Bemowo Piskie Training Area, Poland, on November 29, 2017.
I'd like you to know there is little planning in my churchcrawling, I see there are one or two churches I had yet to visit, set the sat nav and set off, never sure if the church is open or redundant.
St Mary and the Holy Cross is situated on a crossroads, I couldn't miss it, so parked up, got the cameras out and a lady in the car behind got out:
"can I help you?"
I have come to visit the church.
"what for?"
I explained the Kent Church Project, gave her a moo card, and she was happy enough.
She had come to clean and had a key for the door.
Which is handy.
Hard to get a good exterior shot due to trees on the south side and the bright sunlight, low at this time of year. I tried.
When you first enter, you see how tall and narrow, and long, the chancel is, compared to to the nave. Quite startling, and yet to the warden, it was normal.
Ahead of me was another fine chancel and altar, though not as fine as Ospringe, it goes without saying....
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A most satisfying church in a delightful setting. Originally Norman with plenty of stonework surviving, it was extended in the thirteenth century by the lengthening of the chancel and by the addition of north and south chapels that only run half the length of the chancel. A fifteenth century tower completes the ensemble. There followed years of decline and the chapels became ruinous until two restorations in the nineteenth century. The first was carried out by a local builder, but the second – in 1872- was by the renowned architect William Butterfield who created the character of the church as we see it today. He rebuilt the chapels and chancel windows. The nave windows he beautified by what are known as `Butterfield dumplings` created by cutting away the plaster like a pie crust to show the stonework underneath. Several of his contemporaries did similar things but here he carried it off to great effect. All the stalls and altar rails are his too – and of extremely high craftsmanship. The north chancel window is by Alexander Gibbs to Butterfield`s design. However the east window is a rarity. This is a Butterfield design to be made by the firm of Burlisson and Grylls – the only time it is thought they made a window to his design. A more typical window by the same firm is in the west wall of the church.
www.kentchurches.info/church.asp?p=Milstead
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MILSTED
IS the next adjoining parish south-eastward from Bredgar. It lies on high ground, obscurely among the hills, and surrounded by woods, there being no thoroughfare of any account through it; the situation is not much different from that of Bredgar adjoining to it. The parish is but small, containing about eight hundred acres of land, of which about fifty are wood. The soil in the upper or southern part is poor, consisting partly of chalk, and partly of a red cludgy earth, the whole of which is much covered with flints; in the centre and northern part it is something more sertile and kindly for tillage. The church stands nearly in the middle of the parish, having the mansion of Hogshaws almost adjoining the east end of the church-yard, at the west part of which the parsonage stands. At no great distance from hence northward, in the vale, is all that there is of a village in the parish; near the southeast boundary is Torry-hill, belonging to Mr. Osborne Tylden, who resides in it; near the western boundary is Broadoak forstall, and the hamlet called from it. On this forstall there stands a remarkable large juniper tree, being near fifteen feet high, and near eight feet before it has any branches,
THE MANOR OF MILTON claims paramount over the greatest part of this parish, subordinate to which is THE MANOR OF MILSTED, which in the beginning of the reign of Edward I. was in the possession of Thomas Abelyn, who died possessed of it in the 4th year of that reign, then holding it as one messuage, and one carucate and an half of land, in Milsted, and pasture for three hundred sheep in the marsh of Elmele, of the king, in capite, by knight's service. He was succeeded in it by Nicholas Abelyn, who died two years afterwards, holding it by the like service. Soon after which it appears to have come into the possession of the family of Savage; one of whom, John le Siuvage, obtained a grant of free-warren in the 23d year of the above reign, for his lands in Milsted and other places; but before the 20th year of king Edward III. this names seems to have been extinct here; for at the making the black prince a knight, the heirs of John Savage paid aid for this manor. Indeed, it seems from the beginning of that reign, to have been in the name of Mocking, (fn. 1) from which it passed into that of Hoggeshaw, and Elmeline, late the wife of Sir Thomas Hoggeshaw, died in the 50th year of it, possessed of the manor of Milsted, held of the king in capite, as one knight's see.
Their son Edmund Hoggeshaw, succeeded to the possession of it, which had now, from their continuing owners of it, acquired the name of Milsted, alias Hoggeshaws, by which it has been known ever since. He died in the 12th year of king Richard II. s. p. upon which Joane, one of his sisters and coheirs, entitled her husband, Thomas Lovel, esq. to it, whose son Thomas, in the 12th year of king Henry IV. held a court for this manor; one of his decendants sold it to Robert Greaves, who died in the 9th year of king Henry VII. holding it in manner as above mentioned, Katherine, wife of George Sole, being his daughter and next heir. Soon after which, it became the property of Roger Wake, who died in the 19th year of king Henry VII. when this manor, with the advowson of the church of Milsted passed by his will to Margaret his daughter, whose husband, John Barnard, esq. entered into the possession of it. At length his grandson of the same name, dying an insant in the 14th year of king Henry VIII. it became vested, by the limitations in the will of Roger Wake above-mentioned, in his right heirs, who conveyed their interest in it to Sir Thomas Nevyle, and he passed it away by sale to Sir Robert Southwell, who in the 4th year of Edward VI. passed away, by fine then levied, the manor of Hoggeshaws, alias Milsted, and the advowson of the church of Milsted, then held of the king in capite, to Thomas Henman, senior, and his heirs. His son, Alan Henman, of Lenham, in the 12th year of that reign, sold it to Thomas Thomson, of Sandwich, jurat, for the use of Agnes, his daughter, who entitled her husband, John Toke, gent. of Goddington, to the possession of it. She survived her husband, and by her will in 1629, devised it to her eldest son Nicholas Toke, esq. of Great Chart, who in 1631, anno 7 Charles I. passed away both manor and advowson to Edward Chute, esq. of Bethersden, whose son George had married Eleanor Toke, his eldest daughter, and he anno 9 Charles I. conveyed it by fine then levied to Richard Tylden, gent. of Great Chart, and William Tylden, then an insant, his son. The family of Tylden had antiently possessions in the parishes of Brenchley, Otterden, Kennington, and Tilmanstone, in this county; one of them William Tylden, paid aid for lands in this county, in the 20th year of king Edward III. In the reign of queen Elizabeth, a branch of them was settled in the parish of Wormsell, one of whom, William Tylden, died there in 1613. His direct descendant, Richard Tylden, esq. of Great Chart, who bore for his arms, Azure, a saltier, ermine, between four phoens, or, purchased this manor and advowson as above-mentioned, whose eldest son William Tylden, gent. was of Hoggeshaws, as was his son Richard, who dying in 1763, was buried with his ancestors in the Tylden chancel, in this church. By Elizabeth his wife, daughter of Thomas Osborne, esq. of Hartlip, he left one son RichardOsborne, and three daughters, Hannah married to Edward Belcher, of Ulcomb; Mary to Thomas Bland, clerk, and Philippa, who died unmarried. Richard Osborne Tylden, esq. succeeded his father in this estate, and left his widow surviving (who re-married the Rev. Edward Smith, rector of Milsted, and died in 1776) and by her four sons, Richard, of whom hereafter; Osborne, of Torry-hill, esq. in this parish, who married the only daughter of John Withins, esq. of Surry; the Rev. Richard Cooke, rector of Milsted and Frinsted, and Manby May; and one daughter Elizabeth married to Mr. Valyer Baker, Surgeon, of Sittingborne. Richard Tylden, esq. succeeded on his mother's death to the possession of this manor, and now resides here; he married Miss Catherine Rolse, of Ashford, who died in 1783.
The last court held for this manor, being a courtbaron, was in the year 1632.
HIGHAM-COURT, now usually called Great Higham, is a manor in this parish, which was antiently the property of a family of the name of Nottingham, whence it acquired, as appears by antient writings, the name of Nottingham-court.
They resided at Bayford, in Sittingborne, so early as the reign of king Edward I. Robert de Nottingham, owner of this estate in the reign of Edward III. was sheriff in the 48th year of it, and kept his shrievalty at Bayford, in which year he died, and was found at his death to hold lands in Doddington, Tenham, Milsted, Tong, Bredgar, and Sittingborne, all which descended to his only son John Nottingham, who died s. p. leaving his daughter his sole heir, who marrying Simon Cheney, of Cralle, in Sussex, second son of Sir Richard Cheney, of Shurland, he became entitled to this manor. The Nottinghams bore for their arms, as Philipott says, Gules, two pales wavy, argent; which coat, impaled with Cheney, was in one of the windows of Milsted church. On the roof of the cloysters of Canterbury cathedral, are carved the arms of Nottingham, Gules, on a bend, argent, three escallops, azure; but of what kindred to these of Milsted, I have not found. In his descendants this manor continued down till Richard Cheney, esq. and his son John, in the year 1676, joined in the conveyance of it to Mr. Thomas Lushington, of Sittingborne, whose great-grandson, the Rev. Mr. James Stephen Lushington, is the present owner of this manor. (fn. 2)
Charities.
JOHN WIATT, of Milsted, by will in 1722, gave a moiety of several pieces of land in Milsted, Frinsted, and Wormesell, containing about twenty acres, towards the teaching of four poor children of this parish to read and write, vested in the minister and churchwardens, and of the annual produce of 2l. 4s.
There are five alms-houses belonging to this parish, on the eastern side of it, next to Kingsdown.
The poor constantly relieved are about nine; casually forty.
MILSTED is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
¶The church, which is dedicated to St. Mary and the Holy Cross is but small, and consists of one isle and one chancel, with a low square tower at the west end of it, in which hang three bells. On the north side is another small chancel, belonging to the Tyldens, in which many of them lie buried. On the south side there was another chancel, belonging to Higham-court, which was pulled down, by the mutual consent of the proprietor and parishioners in 1672.
In the church-yard, near the south porch, there is a very antient tomb-stone, having on it a cross botony, fuchee, carved in relief.
The church of Milsted was given by king John to Wydon the clerk, who held it, as appears by the Testa de Nevill, in the next reign of king Henry III. Whether he was lord likewise of Milsted manor I have not found; but from the next reign of king Edward I. to the present time, this church seems to have had the same possessors, and as such, the advowson of it is now the property of Richard Tylden, esq. of Hoggeshaws.
In 1578 there were fifty-five communicants. In 1640 eighty-seven, when it was valued at fifty pounds per annum.
It is a discharged living in the king's books, of the clear yearly certified value of forty four pounds, the yearly tenths being 17s. 6d. The glebe land consists of only three acres.
Now Norwich Arts Centre.
In fact it has been a concert venue since the mid-80s, I can remember coming here several times, last time to see The Primitives do their thang, and supported by a local band, who did Wild Thing as an encore. I found out that the leader of that local band died recently, which is a shame.
It was also here that Richie James carved the word's "4 REAL" into his forearm during an interview with the NME, which brought him and his band, the Manic Street Preachers to national attention.
For me, it is good to see the venue still in use some 20 years after I first attended a gig here, and I was waved through when I explained I wanted to have a look at the old church, disturbing a small piano recital in the lobby, where a small group of people listened as a man played piano. They gently applauded him as one song finished, and I took the chance to nip past.
Very little of the church seems to remain, though there are memorials, and above the roof is still in place.
--------------------------------------------
St Benedict Street has four medieval churches within 250 metres of each other, and there are three more on adjacent Pottergate, so it is no surprise that some of them are surplus to requirements; in fact, all seven are now redundant. St Swithin is one of the smallest, but it was already derelict in the 19th century. The tall, elegant tower, with the porch built directly into its south side, was taken down as unsafe in the 1880s, and the church was closed shortly afterwards. You can see the church before the tower was demolished in the image on the left.
There obviously was a 19th century interior, because above the large west gallery the west window had been filled in, and scriptural texts painted in ribbons, suggesting an evangelical temper to the worship here. It can only have fallen into disuse because of the proximity of so many other churches - there are four others in St Benedict's Street alone.
However, this area was the toughest and grimiest part of industrial Norwich, and in 1905, a young clergyman, John Sawbridge, saw a need for an evangelical presence, probably because of the high Anglo-catholic character of nearby St Lawrence, and he raised the funds for St Swithin to be repaired and restored to use.
Diocesan architect Herbert Green did the job, and built parish mission and school rooms at the east end that still survive today, as we shall see. The ornate bell turret in the 15th century style is also his. He took out the large gallery, replacing it with a smaller one, and opened up the west window. The benches were replaced with modern chairs, a screen being put in to contain the tiny chancel.
However, it couldn't last, and by the Second World War St Swithin was redundant again. It escaped the blitz, despite St Benedict, 200m away, being destroyed. After the war, as with many Norwich churches, St Swithin was left to rot, being used as a furniture warehouse, until it was born again in the 1980s as the Norwich Arts Centre.
A new entrance hall was built in the south-east corner, and the parish rooms have become an exhibition space and restaurant. The church itself is the auditorium. It is all done so well that from the inside that it is hard to tell you are not in a modern building. Inside, very little survives of the Reverend Sawbridge's incarnation, and obviously hardly anything medieval. There are pictures of the modern interior at the bottom of this page.
Unfortunately, the revised edition of Pevsner uses the notes of the first edition to record the screen and a pair of medieval stalls, but in fact nothing remains at all of the internal furnishings.
Norwich Arts Centre is a pleasure to visit, and it is open every day. The staff here are very friendly, and you will be able to step into the auditorium. There is an illusion, as you look towards the stage, that you are facing east, as in the conversion of St Mary-at-the-Wall in Colchester as the Colchester Arts Centre; but here in St Swithin you enter the auditorium through what would have been the sanctuary, and look towards the site of the demolished tower. Looking up above the lighting rig, a Victorian roof survives, a reminder with a scattering of memorials that this was once a church.
In church explorer terms, it is not as well done as Colchester Arts Centre, in the sense that there is little regard for the former incarnation of the building, but this is a good venue for seeing smaller bands (I had been to see The Wedding Present a few days before I took these photos) and in any case, the plaque on the wall at Colchester applies here as well:
This building was intended as a church.
Deconsecrated, it is a church no longer.
One day it will become a ruin.
When it does, it will be the ruin of a church.
When you leave, it is worth wandering down the lane to the west of the church, where the tower used to be. Amazingly, here is a totally rural 16th century cottage, for all the world as if we were in deepest Norfolk, and the ancient street sign Hampshire Hog Yard.
Simon Knott, November 2005
www.norfolkchurches.co.uk/norwichswithin/norwichswithin.htm
----------------------------------------------
This is one of four churches in St Benedict’s Street, and its dedication to St Swithin (the famous rain-making Bishop of Winchester!) indicates it may well have an Anglo-Saxon foundation date. The original church was probably no longer than the one we see today, and its development has been restricted by its site. Rich enough to rebuild the church as it stands in the fifteenth century, and still containing some well-to-do parishioners in the eighteenth, by the nineteenth the parish had become a slum.
The church appears very odd from outside, as there is no tower, and no obvious entrance. The tower became unsafe, and was demolished in 1882, and replaced by the turret. There were porches either side of it, as at St Gregory. Entrance was through the west door.
The windows are of the Decorated style, though those in the clerestorey are square-headed Perpendicular. They show that it is a building of four bays, with no separate chancel. The rood-stair turret on the north side shows the original screen crossed half-way along, giving a chancel and nave of two bays each.
Also on the north side is the Mission Hall, built in 1908, and as large as the church itself. This was the result of a generous benefaction.
Very little remains to be seen. Entry from the Arts Centre is now through the east wall, where the altar once stood.
Of special note are the arcades. That on the north (left as you enter) is a standard Perpendicular structure, with Gothic columns and arches; that on the south was remodelled around 1700 in the Classical style, with square piers and round arches.
All the fittings have been removed. These included an East Anglian ‘lion’ font; a screen which separated off the altar of 1905. This included a projection screen which could be raised and lowered for magic lantern lectures; and an organ, which is now at Heckingham.
The monuments include one to Anne Scottowe, who died in 1650; William Willcocks (died 1770) and Abraham Robertson (died 1777).
Nineteenth century. Closed in 1881, it reopened in 1883, then closed again in 1891, and fell into disrepair. It was thoroughly restored in 1905.
Twentieth century. Although the Hall had enabled it to become the social centre of its parish, falling numbers of residents forced its final closure in 1951. After many years’ use as a furniture store, it became the Norwich Arts Centre in 1980. The church is used as a concert hall, and the Mission Hall contains the restaurant, galleries, and offices.
www.norwich-churches.org/St Swithins/home.shtm
Digital camera sbap of Sacredness
www.flickr.com/photos/psychoactivartz/4536712083/sizes/l/
www.flickr.com/photos/psychoactivartz/4275957066/sizes/l/...
It is da dedication of its use to da pursuit of da Divine ......
.......which renders it a catalyst to worship
...............~~~~~~~~~
"Da inherent imagination and spiritual receptivity is definitely influenced by dis differential chemical endowment.".
Spanish Defense Minister Margarita Robles listens to Prime Minister Pedro Sanchez (unseen) delivering a speech to explain the declaration of the 'state of alarm' issued to deal with coronavirus outbreak during a plenary session at Lower Chamber in Madrid, Spain, 18 March 2020. Sanchez addressed the measures taken to deal with the COVID-19 outbreak. EFE/Mariscal POOL
Explain differentiation This third module of the Teaching series we investigate the planning and design of classes. Professor Eamon Murphy of the Department of Social Sciences at Curtin University devotes an entire chapter of Lecturing at University (1998) to emphasise his view that careful planning is the most important aspect of lecturing.
On 1-12-15 I wrote this description to the pictures I labeled as #1 to “#34 D of nukes, VJ day & 911”. It's because the Sweet and Low T-shirt I'm wearing led to a “theory of relativity” revelation that I explained in class #4 vimeo.com/116519992, here's the title:
#4 has a Sweet & Low "theory of relativity" explanation of Pearl Harbor, the 911 disaster and a “Heal The World” Christmas present from heaven.
The best Christmas present seemed to be class L123 (2-2013) because it has the most divine signs to assure us that there will be no nuclear war on earth. It includes the warning I gave on 12-18-02 that the USA was in danger of a nuclear war and the letter I wrote to six states on 9-21-04 saying we’d been delivered from the threat of the nuclear war. I got more confirmations of that on 12-7-04 at Pearl Harbor at pictures #23 to 32. Like #31 is a picture of a rainbow going through “the Christmas tree” on the USS Missouri. That was just like pictures #23, 24 & 25 at the Bowfin submarine museum of nuclear warheads pointed at a kid standing by a Christmas tree. These were big confirmations of the signs I got that we had been delivered from the threat of nuclear war especially because of another example when heaven took away our fears and gave us a Merry Christmas in it's place in 1993.
From class 216 www.youtube.com/watch?v=sfKJYXCgGNg&index=14&list....
In this video I explained that people were afraid of all the end of the world signs that were so obvious by December 1993, (it started with Desert Storm in January 1991). I was eating dinner at a restaurant in Waikiki when I heard a Christmas song and realized the answer to those “end of the world” fears was to get into the spirit of Christmas, it was a Christmas present from heaven to trade fear for a merry Christmas that year. This starts with a view of Waikiki where I was eating that dinner and the Christmas song I heard called “It’s The Most Wonderful Time of Year”.
These pictures at Flickr started when I was called, (loud and clear from heaven), to go to Pearl Harbor about four times a year from 1999 to my last visit on 9-2-05. One reason why is what I wrote at Pearl Harbor picture #2 at Flickr.
In my hotel room in Olgalala Nebraska in 1994 I saw cartoon of how much Porky pig hated history, (it was my worst subject in school), and the spirits of the founding fathers were teaching him that it's worth learning about. It's like the picture (#5 D of nukes) of me having a drink with a cigar, (because I needed two cigar breaks to get through a day at Pearl Harbor). After my third visit to Pearl Harbor at my cigar break I noticed on the cans of Nestea a snowman and a sign that said “it cools you to the core”. I knew it was a sign so I said to God, “I’m not getting anything out of this but I'll keep coming if you say it's going to cool me to the core”. I finally got up to speed on Pearl Harbor just before the 9/11 disaster which was like the saying “those who do not learn from history are condemned to repeat it” and that is main reason why we got a repeat of Pearl Harbor on 9/11/01. In other words it was the founding fathers teaching Pearl Harbor to the rest of the Porky pigs in the United States. I just realized that might be in the Beatles song, Come together, right now
Over me.
He roller coaster
HE GOT EARLY WARNING
He got muddy water
He one mojo filter
He say one and one and one is three
Got to be good looking
'Cause he's so hard to see [that’s don't exceed your 15 minutes of fame(?)]
Come together, right now
Over me
There's too much to write on this so I'll just provide links to the classes where talked about this before, like at this last paragraph at class L112 vimeo.com/50116128 or see my patriotic playlist at YouTube www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
This is a list of my patriotic classes at vimeo.com/user8696549 and www.viddler.com/channel/Mikeoverson.
#186a vimeo.com/32431850 & b vimeo.com/32431994 were first then 169 and 161, (the links are below). Class 161 is about The Pentagon Wars and classes 99, 103 and L109 have nearly an hour patriotism. I condensed L109 into L112 and made L113 vimeo.com/50390744 to go with it then I summed it all up in class L123 vimeo.com/60109388. Class 171 vimeo.com/43436258 is how America needs to get the magic of patriotism back. Class L97 vimeo.com/45990216 shows the difference in human rights and freedom in the USA verses in Europe. I tell a sweeter version of that at my YouTube
playlist PL11 www.youtube.com/playlist?list=PLVDkjTNqYqh1adV--hsXO4URt4..., it's at the fourth video, class L127C or read my patriotic playlist
PL7 www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
PL6 has similar info and so does PL1 to PL5 at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists.
A video plays on page 1 & 2 at MikeOversonEndTimes.org to explain why you need to be tolerant of a teacher, prophet and "the one" who is a disabled mess on welfare, (it's because this is the best your money and applause would pay for). It's also where I have more patriotic classes like on page 3 at #182a1 is 1776 & Vietnam @ 38 to 54 min.
Here's what I wrote at Pearl Harbor picture #1 here at Flickr.
Pearl Harbor picture #7 is nearly the same view as this picture #1 except it's from the other side of the Arizona and the Mo. I think only God could arrange for that aircraft carrier and crew to provide a perfect completion and balance of these pictures. It's just another example of how magic our military is like I said at class 161 vimeo.com/33034450, (after the first three paragraphs the rest is just extra info).
When I was trying to find out why this 161 was such a special class it seemed to be due to how much I paid attention to military, (=rq704pm on vets day 11-11-13 is a big confirmation). When it happened again in classes 99 vimeo.com/36995187 and L109 vimeo.com/49352072 I finally gave proper credits in L123 vimeo.com/60109388 when I said "the most magic in my classes always comes from touching base with the greatness of the US military, so here's the the American Revolution and World War II" @ 54 min. If the US military is this much good luck and magic when when you're doing bad, (the first 11 minutes of 161 is about corruption in the military), imagine what it would be like when you're doing good, (read 206 vimeo.com/76811342).
From class 169 vimeo.com/30629125.
I was hoping that God would bless us with a visit from heaven in this 169 if I put America’s heros first (@ 1 to 15 min) and that’s exactly what happened. One reason that is so important to God is because it’s impossible to comprehend all that God has done for us but a very good parallel is to pay proper respect to the sacrifices of America’s heros, (or any heros of faith like Ghandi or Bible heros). This 169 was the start of the AWESOME military magic in classes 161, 99, L109, L112 & L123 and all because I loved porn so much that I thought up a new angle to beg God to bless us with a visit. See how impressed God was with me @ 8 min in L5b vimeo.com/35772901.
The best two 15 minute summaries of this military magic and US history are in classes L112 vimeo.com/50116128 and L127c vimeo.com/107209155. I watch them both on a regular basis because it's such a good refresher course.
From class 194 @ vimeo.com/90080993.
The Eagles reunite CD titled "Hell Freezes Over" was also a prophetic "see (c//) parallel" confirmation sign and combined with my "rhythm nation" drive, (& many other c// signs), it all added up to a loud and clear sign to the USA and the world that everyone is going to heaven when they die. Another big proof of it is class 161 because it covers the next 16 years of my life to 2011. It includes when my "Rhythm Nation drive" ended and I flew back to Hawaii on 1-11-95, then it explains why I had to pray at least eight hours a day from March to September of 1995, (the #955 means "stay alive in 95" and only those long prayers could've kept me from being killed). Then I tell about "the powers that be" who persecuted me up to the 9-11 disaster and then backed off, here's a summary of it from the comments at
L99 vimeo.com/46238993.
Next was my way of mocking THE FBI ON 8-28-01, we were both saying that each other would die except MY PREDICTION CAME TRUE and theirs didn't. It's in class 161 @ 40 minutes where I said “Squirm you (powerless) worms I won big-time and you know it. Except I didn’t know HOW BIG I WON until after the 9/11 disaster”. Then I put it in class L127 vimeo.com/105315202 at 4 to 8 minutes, here's the title:
L127 is Walt Disney's 1948 prophecy of me as Pecos Bill saying to the powers that be “squirm you powerless worms!”
I could do that mainly due to how powerful prayer is to conquer evil and how important prayer is to God at 20 to 32 minutes in this 161.
From class 167:
I made #167 after Vimeo deleted 53 of my videos over copyright violations. I explained the apparent wrath of God that followed when 36 people were shot in New York over the Labor Day weekend in the 9-5-11 news, in other words Vimeo should watch class 167 before deleting messages from heaven over copyright violations, (this video #161 sums it up much better at 39 to 55 minutes).
My rock'n roll playlist PL11, (& PL2, 3, 5 & 9), at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists might best sum up the end of these classes or read L112 vimeo.com/50116128.
The Bottom Line of my classes is THE POWER OF PRAYER in L124 @ vimeo.com/63452028.
Finally, I'm back. The norovirus got me. Despite a gorgeous sunny weekend, I was no good to anyone...and no where near the camera. :(
But, now that we're on the mend, Phoebe thought she should explain exactly why she needs to use lip balm. (Yep, she's three, and she likes lip balm.) Is this normal?
Normal or not, I'm glad I've documented it!
Happy Sunday...and good health to all!
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Making a presentation at the 100th PechaKucha nite at SuperDeluxe, Roppongi. Tame causes quite stir in his running rig. More on this interesting athlete...
It is some years, maybe 5 or more, since we last visited the cathedral in Canterbury. In the spring, I found the entrance to St Augustine's Abbey, so the plan yesterday was to visit them both.
I arrived just after ten, soon after it opened its doors, and was shocked to find that the multi-entry you used to get after paying your entrance fee had been discontinued. When I tried to ask the young man at the ticket office, he wasn't really able to speak much English to explain this to me, repeatedly holding one finger up at me as I asked the questions. £10.50, is not bad, I guess, especially as photography is allowed everywhere, except in the crypt, so I don't mind paying.
The site has been a place of worship probably since Roman times, and in the grounds of St Augustine's, just a short distance away, remains of a 7th century church still remain. What we see now in the cathedral is largely Norman, but with many improvements over the centuries.
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Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion; the archbishop, being suitably occupied with national and international matters, delegates the most of his functions as diocesan bishop to the Bishop suffragan of Dover. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury.
Founded in 597, the cathedral was completely rebuilt from 1070 to 1077. The east end was greatly enlarged at the beginning of the twelfth century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket, the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late fourteenth century, when they were demolished to make way for the present structures.
Christianity had started to become powerful in the Roman Empire around the third century. Following the conversion of Augustine of Hippo in the 4th century, the influence of Christianity grew steadily .[2] The cathedral's first archbishop was Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 596 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour.[3]
Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin.
Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road.[5][6] They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.[6] During the ninth or tenth century this church was replaced by a larger structure (49 m. by 23 m.) with a squared west end. It appears to have had a square central tower.[6] The eleventh century chronicler Eadmer, who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse.[7]
During the reforms of Dunstan, archbishop from 960 until his death in 988,[8] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). Dunstan was buried on the south side of the high altar.
The cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, Alphege, was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. After this a western apse was added as an oratory of St. Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038).
The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.
The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–77). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of St. Etienne in Caen, where he had previously been abbot, using stone brought from France.[9] The new church, its central axis about 5m south of that of its predecessor,[6] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aiseless transepts with apsidal chapels, a low crossing tower, and a short choir ending in three apses. It was dedicated in 1077.[10]
The Norman cathedral, after its expansion by Ernulf and Conrad.
Under Lanfranc's successor Anselm, who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors.[11] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt. Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126.[12] The new choir took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory.[12] A free standing campanile was built on a mound in the cathedral precinct in about 1160.[13]
As with many Romanesque church buildings, the interior of the choir was richly embellished.[14] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the panelled ceiling above."[14]
Though named after the sixth century founding archbishop, The Chair of St. Augustine, the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205.
Martyrdom of Thomas Becket
Image of Thomas Becket from a stained glass window
The 12th-century choir
A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket, in the north-west transept (also known as the Martyrdom) on Tuesday, 29 December 1170, by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege).
The posthumous veneration of Becket made the cathedral a place of pilgrimage. This brought both the need to expand the cathedral and the wealth that made it possible.
Rebuilding of the choir
Tomb of the Black Prince
In September 1174 the choir was severely damaged by fire, necessitating a major reconstruction,[15] the progress of which was recorded in detail by a monk named Gervase.[16] The crypt survived the fire intact,[17] and it was found possible to retain the outer walls of the choir, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged.[18] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The choir was back in use by 1180 and in that year the remains of St Dunstan and St Alphege were moved there from the crypt.[19]
The master-mason appointed to rebuild the choir was a Frenchman, William of Sens. Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as "William the Englishman".
The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry, described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems".[22] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains.[23] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery.[24] For much of the time the chest (or "ferotory") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered.[21][23] Erasmus, who visited in 1512–4, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes."[25]
The income from pilgrims (such as those portrayed in Geoffrey Chaucer's Canterbury Tales) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine.
The shrine was removed in 1538. Henry VIII summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and twenty-six carts.
Monastic buildings
Cloisters
A bird's-eye view of the cathedral and its monastic buildings, made in about 1165[27] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge.[28] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries, although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house.[27]
The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. To the north a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brew house and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium.
The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks,-- the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft, and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory lead eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks.[27]
The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory," the common room of the monks. At its north-east corner access was given from the dormitory to the necessarium, a building in the form of a Norman hall, 145 ft (44 m) long by 25 broad (44.2 m × 7.6 m), containing fifty-five seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end.[27]
A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 ft (14 m) square (200 m2), with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two lavatories, where the monks washed before and after eating.
[27]
Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).[29] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Forde and Thomas Cobham.
Early in the fourteenth century, Prior Eastry erected a stone choir screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [30]
The cathedral was seriously damaged by an earthquake of 1382, losing its bells and campanile.
From the late fourteenth century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele.[31] In contrast to the contemporary rebuilding of the nave at Winchester, where much of the existing fabric was retained and remodelled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls completely taken down except for a low "plinth" left on the south side. [32][6] More Norman fabric was retained in the transepts, especially in the east walls,[32] and the old apsidal chapels were not replaced until the mid-15th century.[30] The arches of the new nave arcade were exceptionally high in proportion to the clerestory.[30] The new transepts, aisles and nave were roofed with lierne vaults, enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new choir screen at the east end of the nave, into which Eastry's existing screen was incorporated.[30] The Norman stone floor of the nave, however survived until its replacement in 1786.
From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created.
A shortage of money, and the priority given to the rebuilding of the cloisters and chapter-house meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.[30]
In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built in 1448–55.[30]
The 235-foot crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate, when the piers had been reinforced. Further strengthening was found necessary around the beginning of the sixteenth century, when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles.
Can't explain...
Anything...
Not even how im feeling...
My emotions are so messed up lately...
Im not myself, But sometimes im more than myself.
I don't sleep.
Im just not me, Then who am i?
I act stuck up and mean, But thats not me.
Whats gotten into me...
I need to find myself, But i can't.
I push everyone close to me away...
I need them more than ever rightnow.
sometimes i feel like my heart
is beating extremlyy fast like im having
a heart attack, almost like im dying,
i've been told these are panic attacks
bah i get them most frequently grr
Random Fact: that peace sign headband i wear that almost everyday. :)
Photo: Ingrid Mattson explains the traditional Islamic Prayer at the Festival of Faiths.
A nationally acclaimed multifaith festival of music, poetry, art, film and dialogue with spiritual leaders, thinkers, and practitioners.
The 2017 Festival "Compassion Shining like the Sun" explored cultivating compassion in our current economic systems, in world affairs and in ourselves. The Festival serves as a platform for conversations on meaning and offers itself as an honest broker and stakeholder in dialogue around authentic compassion.
The mission of the Festival of Faiths is to promote interfaith understanding, cooperation, and action through exploring how different participating faith traditions address a common issue, topic, or theme. The Festival is organized and supported by the Center for Interfaith Relations.
Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette, Michigan
906-2285494
magnusonx2@charter.net
EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.
The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.
An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community
10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "
EK II website
Nonprofit Cedar Tree Institute
Marquette, MI
Great Lakes Restoration Initiative
Deborah Lamberty
Program Analyst
U.S. Environmental Protection Agency
Great Lakes National Program Office
Chicago, IL
Lamberty.Deborah@epa.gov
312-886-6681
Pastor Albert Valentine II
Manistique, MI
Manistique Presbyterian Church of the Redeemer
Gould City Community Presbyterian Church
Presbytery of Mackinac
Rev. Christine Bergquist
Bark River United Methodist Church
First UMC of Hermansville
United Methodist Church Marquette District
Rev. Elisabeth Zant
Eden Evangelical Lutheran Church
Munising, MI
Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod
Heidi Gould
Marquette, MI
Marquette Unitarian Universalist Congregation
Rev. Pete Andersen
Marquette, MI
ELCA
Helen Grossman
Temple Beth Sholom
Jewish Synagogue
Rev. Stephen Gauger
Calvary Lutheran Church
Rapid River, MI
ELCA
Jan Schultz, Botanist
U.S. Forest Service (USFS)
Eastern Region 9
EK II Technical Advisor for Community Gardens
Milwaukee, WI
USFS
www.fs.fed.us/wildflowers/nativegardening
Pollinator photos by Nancy Parker Hill
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
Messiah Lutheran Church
Evangelical Lutheran Church in America
Marquette, Michigan
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
NMU EK II Student Team
Katelin Bingner
Tom Merkel
Adam Magnuson
EK II social sites
www.youtube.com/EarthKeepersII
www.facebook.com/EarthKeepersII
www.twitter.com/EarthKeeperTeam
pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...
pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...
Lake Superior Zendo
Zen Buddhist Temple
Marquette, Michigan
Rev. Tesshin Paul Lehmberg
906 226-6407
plehmber@nmu.edu
Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
906-475-4009 (hm)
906-475-4127 (wk)
www.templebethsholom-ishpeming.org
www.templebethsholom-ishpeming.org/tikkun
www.templebethsholom-ishpeming.org/aboutus
Wild Rice: 8 videos
www.learningfromtheearth.org/video-interviews/wild-rice-m...
Birch – 2 videos
www.learningfromtheearth.org/video-interviews/paper-birch...
Photos (click on each name or topic to see the respective photo galleries):
www.learningfromtheearth.org/photo-gallery
www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...
www.picasaweb.google.com/100329402090002004302/JonReport?...
“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”
the late Todd Warner, KBIC Natural Resource Director
Links:
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...
www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
www.mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
www.nativetimes.com/index.php?option=com_content&view...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
www.zaagkiiproject.wordpress.com
Zaagkii on Blogger:
www.zaagkiiproject.blogspot.com
Zaagkii on Photobucket:
www.photobucket.com/ZaagkiiProjectWingsSeeds
www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project
cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
nativetimes.com/index.php?option=com_content&view=art...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
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2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
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www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
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Members of the American High School Theatre Festival presenting excerpts of their show "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" on and around one of the Virgin Money free stages on The Mile
Title (What is the exact title under which the graphic was published?):
Fashion’s Poster:
The Definitive History of Costume and Style.
Topic (What ist he infographic explaining?):
Tracing the evolution of fashion — from the early draped fabrics of ancient times to the catwalk couture of today.
Infographic team:
· Infographic Director:
Juantxo Cruz
· Art Director:
Isabel González
· Infographic designers:
Beatriz Santacruz
Carlos Martínez
Maite Vaquero
Chema Matía
Rafael Estrada
Bárbara M. Díez
Carlos S. Coelho
Emilio Amade
Modesto J. Carrasco
Mariano Zafra
· Photograhy:
José María Presas.
Kaulak.
· Text authors (Who wrote the texts coming along and in the graphic?):
Enrique Muñoz
Javier Munera
· Researchers (Who did the research and collected facts and information?):
Enrique Muñoz
Javier Munera
Diana Fernández (Centro Superior de Diseño de Moda de Madrid)
Daniel Izeddin
Sources: (What information sources have been used?)
Museums, Institutes, Institutions:
(1): Centro Superior de Diseño de Moda de Madrid, Comunidad de Madrid.
(2): Museo del Traje, Centro de Investigación del Patrimonio Etnológico, Madrid, Comunidad de Madrid.
(3): Centro de Información Textil y de la Confección (CITYC), Barcelona, Cataluña.
(4): Museo del Calzado de Elda, Comunidad Valenciana.
(5): Federación de Industrias del Calzado Español (FICE), Madrid, Comunidad de Madrid.
Books:
(1): Historia de la moda. Desde Egipto hasta nuestros días, Bronwyn Cosgrave, Editorial Gustavo Gili, 2005.
(2): Breve Historia Del Traje Y La Moda / Costume and Fashion. A Concise History. James Laver. Ediciones Cátedra, 1988.
(3): Uniformes Militares 1686-1918, René North, Editorial Bruguera, 1970.
Published in / medium (Where was the infographic first published?):
EL MAGAZINE from EL MUNDO DEL SIGLO XXI newspaper
Madrid. Spain, +300,000
Year of publication:
2006
Short description (Here we do need any elaborated text. Our writers need some background info about the infographic or also anecdotes ...):
That megainfographic history was planned to be published in parts. EL MUNDO MAGAZINE Art Director, Rodrigo Sánchez, falled in love with the idea and we did it. During eight weeks, EL MAGAZINE published one part of the poster, one each week, the reader should save the weekly sheet and finally assemble all. It was a big success, a lot of readers call our department to request more copies of the poster.
The central image, a superb collage done by Graphic Art Director Isabel González, was inspired on The Clothed Maja and The Nude Maja by Goya, which are near us, in the Prado Museum.
www.flickr.com/photos/dcml/222754690/
The Fashion Poster won a Gold Award (Infographic Category) at the Society of News Desing 2007 contest.
I hadn't been able to take out the M4 and 35mm Nikkor in awhile, so brought it with me on several occasions. Was trying to focus on the pictures in my mind rather than what was in front of me, basically to construct things differently. I had seen a number of flickeranians who really impressed me with their work where I could feel what they were doing, from images in Los Angeles to the tri-state area to South East Asia. I keep trying and thank those who keep inspiring!
St Peter, Walpole St Peter, Norfolk
St Peter is one of the dozen most famous parish churches in England. Alec Clifton-Taylor thought it was the best. Of course, claims can made for many big churches; but St Peter is not just special for its size. It is indeed magnificent, but also infinitely subtle, the fruit of circumstance and the ebb and flow of centuries. There is a sense of community and continuity as well; this is no mere museum, and it is not simply St Peter's historic survivals that attract its champions. This is a building to visit again and again, to delight in, and always see something new.
Be in no doubt that St Peter is a big church. At 160 feet long it dwarfs other East Anglian giants like Southwold, Blythburgh, Cley and Cawston. Only Salle gives it a run for its money. It is also a welcoming church, as all great churches should be. But even if it were kept locked, there would still be so much to see here that it would be worth the journey.
This part of the county has a character more commonly associated with Cambridgeshire, and of course we are only a couple of miles from the Nene which forms the border between the two counties. Walpole St Peter is closer to Peterborough and Cambridge than it is to Norwich. Indeed, it is closer to Leicester than it is to Great Yarmouth at the other end of Norfolk, a reminder that this is a BIG county. Today, the Norfolk marshland villages tend to be rather mundane, apart from their churches of course. In this curiously remote area around the Wash delineated by Lynn, Wisbech and Boston, there is an agri-industrial shabbiness accentuated by the flat of the land. But you need to imagine the enormous wealth of this area in the late medieval period. The silt washed by the great rivers out of the Fens was superb for growing crops. East Anglia, with the densest population in England, provided a ready market, and the proximity of the great ports gave easy access for exports. And then there was the Midlands and the North which could be accessed by the east coast ports.
The landowners and merchants became seriously wealthy, and according to custom bequeathed enhancements to their parish churches to encourage their fellow parishioners to pray for their souls after they were dead. This was nothing to do with the size of the local population; in England's Catholic days, these buildings were not intended merely for congregational worship. The fixtures and fittings of the parish churches reflected the volume of devotion, not just the volume of people. In areas where there was serious wealth, the entire church might be rebuilt.
But here at Walpole St Peter there was another imperative for rebuilding the church. In the terrible floods of the 1330s, the church here was destroyed, apart from its tower. Before it could be rebuilt in the fashionable Decorated style, the Black Death came along and took away fully half of the local population. However, the economic effects of the pestilence would turn out to be rather good for East Anglia in the long term, and by the early-15th century churches were being rebuilt on a grand scale all over Norfolk, Suffolk and Cambridgeshire. Walpole has two late medieval churches - St Andrew on the other side of the village is very fine, but St Peter is the one that puts it in the shade.
The nave came first, the chancel following a few decades after. Eventually, the tower would also have been rebuilt, in a similar scale to the rest of the church. How amazing it might have been! We only need to look a few miles over the border to Boston to see what could have been possible. But the English Reformation of the 16th century brought an end to the need for bequests, and so the late 13th century tower remains in place to this day.
The vast church sits hemmed in to the north and east by its wide churchyard. The battlemented nave and chancel are a magnificent sight, most commonly first seen from the village street to the north. Rendering accentuates the reddishness of the stone, and the finest moment is probably the conjunction between nave and chancel; spired roodstair turrets rise to the gable, and at the apex is a glorious sanctus bell turret. The stairway on the north side is supported by a small figure who has been variously interpreted as the Greek god Atlas, the Fenland giant Hickathrift, or as anyone else I suppose.
The chancel is beautiful, but its most striking feature is the tunnel that goes beneath its eastern end. One of the features of the late medieval English Catholic church was liturgical processions, but when this chancel was extended in the 15th century it took the building right up to the boundary of consecrated ground. To enable processions still to circumnavigate this building, the tunnel was placed beneath the high altar. Such passageways are more common under towers, and there are several examples of this in Norfolk, but that option was obviously not possible here.
There are lots of interesting bosses in the vaulting. It isn't just the medieval past that has left its mark here. The floor of the tunnel is flagged, and there are horse-rings in the wall from the 18th and 19th century when it served the more mundane purpose of stabling during services.
Views of the south side of the church are hindered by a vast and beautiful copper beech, but there is no hiding the vastness of the south porch, one of the biggest and finest in Norfolk. The parvise window is as big as nave windows elsewhere; the keys of St Peter decorate the footstool of one of the niches.
And here are some of the finest medieval bosses in Norfolk. The two main ones are the Assumption of the Blessed Virgin, and the Last Judgement. There are characterful animals in the other bosses. Figures in niches include a Pieta, a Madonna and child, and a pilgrim with a staff, pack, and shell on his hat. Also in the porch is a sign reminding you to remove your patens, the hardy wooden clogs common to 19th century farm workers.
So much to see, then, even before you come to push open the original medieval door! And then you do, and the birdsong and leaf-thresh of the summer morning outside falls away, and you enter the cool of a serious stone space. The first impression is of height, because the vista to the east is cut off by an elegant 17th century screen, as at nearby Terrington St Clement. The unifying of nave and tower, almost a century apart, is accomplished by sprung buttresses high up on the west wall, each carved with a figure. Here are the Elizabethan communion table, a hudd ( the sentry box-like device intended to keep 18th century Rectors dry at the graveside) and the perpendicular light through the west windows.
And then you step through the pedimented entrance through the screen into the body of the church, and the building begins to unfold before you. Your journey through it begins.
Some huge churches impose themselves on you. St Peter doesn't. It isn't Salle or Long Melford. But neither is it jaunty and immediately accessible like Terrington St Clement or Southwold, nor full of light and air like Blythburgh. St Peter is a complex space, the sum of its parts, like Cley, and yet more than them, with a sense of being an act of worship in itself.
One of the delights of Walpole St Peter is that many of the furnishings reveal the hands of local craftsmen; the roodscreen dado Saints, for example. There are twelve of them, their naive character reminiscent of Westhall. The six outer saints are women, the inner ones apostles. The two sets are clearly by different hands, and the late Tom Muckley wondered if they were, in fact, from two different screens.
On the north side are St Catherine, the rare subject of the Blessed Virgin and Christchild, St Margaret (the processional cross with which she dispatches the dragon is unfinished), St John, St James and St Thomas. On the south side are St Peter, St Paul, St Andrew, St Mary of Magdala, St Dorothy and St Barbara. I was pleased to be asked recently for the use of my photographs for the information board which explains it.
The nave has a feel that is at once ancient and vital, not so much of age as of timelessness, of continuity. It's the sheer mixture of woodwork that impresses - silvery oak broods in the white light from the high windows. The best of the medieval work is in the south aisle, where the benches are tiered and face inwards. A massive dark wood pulpit and tester broods over the north side. Above all this rises the pale cream of the arcades, topped by the gold of the hanging candelabras, and the towering, serious early 17th century font cover. The font is clearly one of the Seven Sacraments series; but, as at the great churches of Blythburgh and Southwold in Suffolk, the panels have been completely erased. A dedicatory inscription is dated 1537.
As well as wood, metal. The candelabras provide a focus, but there is also one of the latten medieval lecterns familiar from elsewhere in Norfolk, the little lions perky at its feet. The south aisle chapel has a lovely parclose screen with a spiked iron gate. In the north aisle, the chapel has been neatly furnished for smaller scale worship.
And then you step through into the chancel, and this is something else again. Here is true grandeur. This immense spaces rises fully twenty-one steps from nave floor to high altar. Here is the late medieval imagination writ large, compromised in the years since, but largely restored by the late Victorians. You step from subtlety to richness. Niches and arcading flank the walls leading the eye east, their blankness becoming sedilia. In the high niches where once were images, 17th and 18th century worthies have their memorials. Everything leads the eye to the great east window, where excellent 19th century glass completes your journey through the Queen of the Marshlands.
Simon Jenkins, in the often-maligned England's Thousand Best Churches, tends to cast a cold and even sardonic eye on most buildings as he passes by, but at Walpole St Peter even his breath was taken away: it is a place not of curiosity but of subtle proportion, of the play of light on stone and wood. If English churches were Dutch Old Masters, this would be St Pieter de Hooch.