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'Endangered and Extinct' by creative recycling artist Val Hunt, an exhibition at Gloucester Cathedral, Saturday 26 September-Sunday 1 November 2020 in the Cloisters
From the Cathedral's website:
"This exhibition presents a subtle message about recycling and preservation, raising awareness of why the creatures on show are endangered or extinct...
Having worked for the past 29 years as a professional maker, Val Hunt continues to be amazed at the versatility of creative recycling. There is an enormous variety of discarded material just waiting to be reconstructed and given a new identity, especially Val's favourite material of drinks can metal. Intricate constructions and interesting textures are key elements found in her work, humour is also an added ingredient whenever possible.
Through experimentation, ingenuity and skill her work is always changing as she discovers new techniques and ways of constructing recycled materials to signal a new meaning. Her works recycles a diverse selection of throwaway material, from these she creates a fascinating selection of large and small sculptural pieces which are both appealing and informative.
Despite her use of manufactured materials, her main inspiration comes from the natural world. Val has a special interest in endangered and extinct species and most of her work reflects this. She makes animals, exotic birds, dinosaurs, insects and species of flora all on the edge or now extinct.
The increasing awareness of the effects of pollution, climate change, plastic in the Ocean and environment destruction on the habitat have influenced Val's work. She now dedicates her making to highlighting the plight of species that are on the edge or gone forever in her touring educational exhibition 'Endangered and Extinct'...
Val's work has been shown in exhibitions around the UK, Denmark, Japan, United Emirates, USA and toured overseas with the British Council. She has work in many permanent collections."
..two airlines that no longer exist in name.. the moon, however, is as strong and visible as ever it can be..
Went for a wander along the beach this morning … it was a lovely sunny day. Whilst the rest of the country has snow, we have none, but the sunny beach makes up for that :)
Fiji Banded Iguana (Brachylophus fasciatus):
The genus Brachylophus consists of three extant iguanid species native to the islands of Fiji and a giant extinct species from Tonga in the South Pacific. One of the extant species, B. fasciatus, is also present on Tonga, where it has apparently been introduced by man.
Grallistrix
Strigidae:
O‘ahu Stilt-owl - G. orion |Maui Stilt-owl - G. erdmani |Kaua‘i Stilt-owl - G. auceps |Moloka‘i Stilt-owl - G. geleches
Very likely a primarily diurnal and terrestrial ambush predator that stalked coastal nesting seabirds as well as the islands' endemic - flightless geese and ducks.
©
Ryn
Acq.| XI / VI / ' XV
Les pompiers ont éteint le feu sur les rails sous haute protection policière, mais pas le feu au centre de la place du Bouffay, pour des raisons techniques. Le feu déformerait les rails et empêcherait ainsi les trams de circuler le lendemain.
Photo Credit: Victoria Lake, Smithsonian Conservation Biology Institute
The Smithsonian Conservation Biology Institute rung in 2014 with the hatching of the most endangered species in its collection—a Micronesian kingfisher—Jan. 1. The chick, whose sex is unknown, is the first offspring for its 8-year-old father and 2-year-old mother. This boost brings the total population of Micronesian kingfishers to 129 birds. Micronesian kingfishers are extinct in the wild.
This species is extremely difficult to breed due to incompatibility between males and females and the inability of some parents to successfully raise their own chicks. Animal care staff are hand-raising the chick, which involves feeding it at two-hour intervals, seven to eight times per day.
Visitors to the Smithsonian’s National Zoo can see these critically endangered birds on exhibit in the Bird House.
Micronesian kingfishers flourished in Guam’s limestone forests and coconut plantations until the arrival of the brown tree snake, an invasive species that stowed away in military equipment shipped from New Guinea after World War II. Because these reptiles had no natural predators on Guam, their numbers grew and they spread across the island quickly. Within three decades, they hunted Micronesian kingfishers and eight other bird species to the brink of extinction.
In 1984, Guam’s Department of Aquatic and Wildlife Resources captured the country’s remaining 29 Micronesian kingfishers and sent them to zoological institutions around the globe—including the National Zoo—as a hedge against extinction. The Association of Zoos and Aquariums created a Species Survival Plan for the birds. The SSP pairs males and females in order to maintain a genetically diverse and self-sustaining population.
As the captive population increases, the U.S. Fish and Wildlife Service and Guam’s Department of Aquatic and Wildlife Resources continue to look for suitable release sites in Guam. The availability of release sites continues to shrink, however, due to deforestation and human expansion. Controlling the brown snake population remains a significant challenge as well. Scientists are hopeful that initiatives for snake control and forest protection signify that the reintroduction of the Micronesian kingfisher may soon become feasible. Additionally, field studies of a different subspecies of wild kingfishers are underway on Pohnpei, another Micronesian island, to secure essential biological information on wild populations and to test various reintroduction techniques for use on Guam.
The Smithsonian Conservation Biology Institute plays a key role in the Smithsonian Institution’s global efforts to understand and conserve species and train future generations of conservationists. Headquartered in Front Royal, Va., SCBI facilitates and promotes research programs based at Front Royal, the National Zoo in Washington, D.C. and at field research stations and training sites worldwide.
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Goddess Durga killing the Demon Mahishashura (Buffalo Demon).
A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.
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Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.
To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.
The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.
Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.
Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.
Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.
Source : en.wikipedia.org/wiki/Gotipua
This is Munmorah Power Station based on the Central Coast of New South Wales which is now decommissioned and not being used (as far as i know). I always wanted to get an image of one of the two Power Stations in the area.
So this is where vision, planning and processing all came into fruition to get what i wanted to achieve for me and show to you for your viewing.
You can view larger over on my website.
Jason.
I often wonder what it might be like to be a museum attendant. I am funny that way. I do like how he is doing his best to be impervious to the presence of a three headed monster. This is British stiff-upper lippedness at it's best!
This primitive campground and day use area offers a scenic view of the San Francisco Peaks in the cool aspen trees that surround Lockett Meadow. This is a terrific campground for those who cherish a real mountain camping experience and love to hike wilderness trails. There is a small day use area, making this a beautiful place to have a picnic and enjoy the meadow and Peaks views.
The Inner Basin Trail ascends from Lockett Meadow into the caldera of the San Francisco Peaks, an extinct volcano and home of the tallest peaks in Arizona. The first 1.7 miles of the trail winds through the extensive aspen forest flanking the upper reaches of the Peaks, joining the Waterline Trail briefly before following a jeep road into the caldera. The trail starts at an elevation of 8665 feet, gaining approximately 1200 feet over 2 miles on its way into the Inner Basin. The trail continues another 2 miles, gaining an additional 600 feet or so to join up with the Weatherford Trail.
Photo by Deborah Lee Soltesz, September 28, 2015. Source: U.S. Forest Service, Coconino National Forest. See Lockett Meadow Campground and Inner Basin No. 29 for information about this area of the Peaks on the Coconino National Forest website.
The white stork went extinct in Switzerland in 1950. Due to the reintroduction project by Max Bloesch and Storch Schweiz the population has increased again to more than 200 breeding pairs. Will this increase continue, or will the population start to decline again?
The project aims at understanding which environmental factors affect the population dynamics of white storks. This may help to derive conservation actions suited to maintain the positive trend of white stork populations in Switzerland.
The white stork population has been accurately surveyed for more than 100 years. The nestlings are, with few exceptions, systematically marked with rings. Ring resightings and ring recoveries from Switzerland and abroad give valuable information on behaviour, life histories, mortality causes, age structure, migratory flyways as well as on stopover and wintering sites. These data are being analysed with modern statistical methods. Similar data are available from other countries, which allows for interesting comparisons.
The history of the white stork in Switzerland in the 20th century was characterized by ups and downs. To prevent that the species goes extinct for a second time in Switzerland, all the available data needs to be analysed to derive useful conclusions for conservation steps.
ResultsIs the future of the white stork bright? Statistical analyses give a clear answer: the Swiss population is nowadays self-sustaining and increases at a rate of 3% annually. The high survival rate of adults (annual survival: 86%) plays a key role for this positive development. However, because the populations are very sensitive to small changes in adult survival, it is crucial to mitigate potential dangers for storks. The most important factors threatening adults are electrocution and poaching in Africa. Newly created wet meadows at several places in Switzerland shall help to increase reproductive output, which still is low (1.65 fledglings/pair) compared to that from other populations.
A visit to Abbots Wood in East Sussex saw at least 20 of these Butterflies on the wing. Sadly now extinct in Kent. This shot shows the underwing with "Seven silver pearls" edging the hindwing. The more observant may see a Duck or Goose head also.
'Endangered and Extinct' by creative recycling artist Val Hunt, an exhibition at Gloucester Cathedral, Saturday 26 September-Sunday 1 November 2020 in the Cloisters
From the Cathedral's website:
"This exhibition presents a subtle message about recycling and preservation, raising awareness of why the creatures on show are endangered or extinct...
Having worked for the past 29 years as a professional maker, Val Hunt continues to be amazed at the versatility of creative recycling. There is an enormous variety of discarded material just waiting to be reconstructed and given a new identity, especially Val's favourite material of drinks can metal. Intricate constructions and interesting textures are key elements found in her work, humour is also an added ingredient whenever possible.
Through experimentation, ingenuity and skill her work is always changing as she discovers new techniques and ways of constructing recycled materials to signal a new meaning. Her works recycles a diverse selection of throwaway material, from these she creates a fascinating selection of large and small sculptural pieces which are both appealing and informative.
Despite her use of manufactured materials, her main inspiration comes from the natural world. Val has a special interest in endangered and extinct species and most of her work reflects this. She makes animals, exotic birds, dinosaurs, insects and species of flora all on the edge or now extinct.
The increasing awareness of the effects of pollution, climate change, plastic in the Ocean and environment destruction on the habitat have influenced Val's work. She now dedicates her making to highlighting the plight of species that are on the edge or gone forever in her touring educational exhibition 'Endangered and Extinct'...
Val's work has been shown in exhibitions around the UK, Denmark, Japan, United Emirates, USA and toured overseas with the British Council. She has work in many permanent collections."
The wild H-43: The last of its kind, with 35hrs remaining on the only pair of rotor blades left in the whole world....
...And yes she flew...
...And YES it was a GREAT demo!
Arsinoitherium is an extinct genus of paenungulate mammal belonging to the extinct order Embrithopoda. It is related to elephants, sirenians, hyraxes and the extinct desmostylians. Arsinoitheres were elephant-like herbivores that lived during the late Eocene and the early Oligocene of northern Africa from 36 to 30 million years ago, in areas of tropical rainforest and at the margin of mangrove swamps.
When alive, they would have superficially resembled a rhinoceros. Adults of the species A. zitteli stood around 1.75 m (5 ft 9 in) tall at the shoulders and 3 m (9 ft 10 in) in length. The most noticeable features of Arsinoitherium were a pair of enormous horns above the nose and a second pair of tiny knob-like horns over the eyes. The skeleton is robust and the limbs were columnar, similar to those of elephants; the hips were also elephant-like. Arsinoitherium had a full complement of 44 teeth, which is the primitive state of placental mammalian dentition, with characteristics suggesting that it was a selective browser.
Rano Kau Crater - Humedal Rano Kau Wetland - Easter Island
Rano Kau is a 324 m (1,063 ft) tall extinct volcano that forms the southwestern headland of Easter Island, a Chilean island in the Pacific Ocean. It was formed of basaltic lava flows in the Pleistocene with its youngest rocks dated at between 150,000 and 210,000 years ago.
Rano Kau has a crater lake which is one of the island's only three natural bodies of fresh water. Most of the volcano is on the coast and has been eroded back to form high sea cliffs which at one point have started to bite into the crater wall.
Rano Kau is in the world heritage site of Rapa Nui National Park and gives its name to one of the seven sections of the park. The principal archaeological site on Rano Kau is the ruined ceremonial village of Orongo which is located at the point where the sea cliff and inner crater wall converge. One ahu with several moai was recorded on the cliffs at Rano Kau in the 1880s, but had fallen to the beach by the time of the Routledge expedition in 1914.
As well as basalt, it contains several other igneous rocks including obsidian (for which it was one of the major sources for the island's stoneworkers) and pumice.
The crater is almost a mile across and has its own micro climate. Sheltered from the winds that wet most of the rest of the island, figs and vines flourish at Rano Kau. The inner slope was the site of the last toromiro tree in the wild until the specimen was chopped down for firewood in 1960.
The tiang (Damaliscus lunatus tiang) with its somewhat larger horns is the Central African subspecies of the more familiar topi (Damaliscus lunatus jimela) of East Africa and tsessebe (Damaliscus lunatus lunatus) of Southern Africa. There are thought to be around 1,000 of this antelope in Zakouma the population would likely be larger but during the wet season they move north outside the safety of Zakouma National Park where some of them still fall victim to meat poachers. Remarkably vast herds of tiang still survive in eastern South Sudan and they also still occur in the west of Ethiopia but in the Central African Republic these animals have all but disappeared and could well become extinct there. Few tiang remain elsewhere in southern Chad so Zakouma’s herds are very important as they are now the largest anywhere in the country.