View allAll Photos Tagged For
in-camera multiple exposure with basic crop and color levels adjustment
Inspired by the caption, which is Chapter 6 Verse 30 of the Bhagavad Gita . We are One :)
Gargoyle is a mouth for ejected words of sweeping Lucifer this took other angels that had the seed of desire planted within them, for it is selfish desires that fuel the ego. He was expelled from the higher regions because he no longer had the Christic virtues but had the ego crystallized instead. Since we assert that selfish desires and interests strengthen the egos hold on us, it is also true that altruistic, compassionate service vivify the Christic force within us that stirs us to self-sacrifice for humanity (The hanged man). Can 'Lucifer' be the Hanged Man #12 card ? Here are a few depictions of the card for reference first: The Hanged Man...also known as Perspective....now also known as "Lucifer"....here's why I think this is an awesome pictorial for the meaning. What is the central meaning for the Hanged Man?
Letting go...as in accepting God's Will (give me a chance to explain...just a little more)
Giving up control
Accepting what is
Putting others first
NOW WAIT A MINUTE, ERIC !! You said this would all make sense....Lucifer isn't this way!
...TRUE.....and that's my point. He is the card's "shadow side" (or Reversed). The shadow side of every card is the not-so-well known or publicized meanings that are just as much true as the upright meanings...just from a different 'perspective' (like how i tied that all in...LOL)
Lucifer...Satan....the Devil....whoever you may call him....he IS the Hanged Man's other half to complete the whole story.
Let's look at the original card again...upside down or Shadow side: This way what does the card suggest? The man is now grounded again, able to walk on his OWN TWO FEET, under his OWN power. What about his head? It's still a-glow with enlightenment ! But wait....I thought the man got his enlightenment while hanging upside and submitting? He did....but he also CAN on his own...
...just like Lucifer did !
Remember the first card above said "New Vision"? The figure was 'standing tall' with wings spread, leaving the corpse on the ground that was a slave to the 'old ways'. Keeping these images in mind lets see the meanings of the Hanged Man again...as it's 'True' other "Shadow"
Reversing...turning the world around...overturning old priorities
Seeing things from a new angle or perspective
Up-Ending the old order...doing an about-face
Living in the moment...for the NOW !
Defiance
Self-assertion
Sound more like the Lucifer you know? Let's look again: What we are witnessing is the moment Lucifer made his choice to rebel...and just BE HIMSELF ! On the left...heaven...his appointment there, where he was told what to do and had limited choice. On the right, FREEDOM as not a PLACE, but an IDEA....where he stretches his hand out in acceptance (notice the other is more closed with a "shackle of light" restricting it's movement).
Notice, also, the color of his wings: white on left from that of God's control, dark on right to show expansive freedom like that of space. In-between there is a struggle for control, for power, and for self-enlightenment. Both God and now Lucifer know this....the time for a new perspective has come...and Lucifer chose FREE WILL.
Whether I believe in Lucifer or not is unimportant...only the symbolism here to help see the relationship of the meanings of both Light and Shadow...neither one more important than the other....both necessary to the True meaning of the Hanged Man card.
Which side are you? Do you submit to what others tell you is right...or do you find you listen to what your heart tells you? You may have more in common with this card than you previously thought ! Cheers !
Eric "MoonLightTrucker"
“Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.” – Manly P. Hall, The Secret Teachings of All Ages.
In the Tarot with the twelfth (12th) card called ‘The Hanged Man”or in French, “Le Pendu.” The Hanged Man (XII) is the twelfth trump or Major Arcana card in most traditional Tarot decks.
This card portrays a young man hanging upside down by his left leg from a horizontal beam, the latter supported by two tree trunks from each of which six branches have been removed. The right leg of the youth is crossed in back of the left and his arms are folded behind his back in such a way as to form a cross surmounting a downward pointing triangle. According to Elphias Levi, the Hanged Man thus forms an inverted symbol of sulphur. Elphias Levi had stated in his book, Transcendental Magic; ” It is also implied fantastically that the Roman alphabet is related to Tarot cards, but whereas the Hebrew Mem answers to the card of Death the Roman M is referred to the Hanged Man, Resh to the Judgement card but R to the Blazing Star.” Levi likens the hanged man to the legend of Prometheus, the titan who gave fire to mankind and in turn suffered the wrath of Zeus by becoming the eternal sufferer, not just by being bound to a rock, but to also have his liver fed upon by an eagle each day. the Egyptian Tarot the hanged man is hung upside down between two palm trees, which is said to signify the Sun God who dies perennially for his world. In some Tarot decks, the figure in the 12th card carries under each arm a money bag from which coins are escaping. Some people have said that this latter card is that of Judas Iscariot who is said to have gone forth and hanged himself, the money bags representing the payment he received for his crime. The Hanged Man is a form of Pittura infamante;
(Italian for “defaming portrait”; plural pitture infamanti) is a genre of defamatory painting and relief, common in Renaissance Italy. It came to be regarded as a form of art rather than effigy; the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. Common themes of pittura infamante—which were meant to be humiliating—include depicting the subject as wearing a mitre or hanging upside down, being in the presence of unclean animals such as pigs or donkeys or those deemed evil like snakes; pittura infamante would also contain captions listing the offenses of the subject.Pittura infamante could originate as more favorable depictions, only to be transformed after the subject had fallen out of favor.
See the video here: zerodriftmedia.com/aerial-photography-for-rhode-island-fr...
Aerial Photography & Overlook Preview Video: Under renovations and expansion till Summer 2016. For further info, or a private showing on this home – OR ANY PROPERTY – call Donnie Bennett @ 401-383-4400.
★ ABOUT THE HOUSE ★
Located in Scituate, Rhode Island – this home won...
zerodriftmedia.com/aerial-photography-for-rhode-island-fr...
Seen here at Poole Stadium layover point for the Hants & Dorset Running Day in 1989 are two Leylands of varying vintages
On the left is ex-Bournemouth Burlingham-bodied Royal Tiger NLJ 268. Delivered in 1953 it had a cutaway entrance at the rear in addition to the front door. It was eventually converted to single door configuration for one-man operation (as it was in those days).
After service with Bournemouth it passed to Chesterfield Corporation, where it later became a mobile canteen.
In preservation it was converted back, more or less, to it's original format but gained a door at the rear of the saloon for its role as a mobile museum vehicle
It is now at Winkleigh with the majority of the erstwhile Bournemouth Heritage Transport Collection.
By contrast the Lynx, F102 RTR, was only three months old having been delivered to Southampton City Transport - by then trading as Southampton CityBus - in January 1989. It carried large CityBus logos on an all-white livery, although it due course it received Southampton red livery.
I believe the 'County Bus' logos refer to Hampshire County Council subsidised services - can anyone confirm that point?
Many thanks for your visits, faves and comments. Cheers.
Australian Water Dragon
This is an The Eastern Water Dragon Intellagama lesueurii lesueurii, is a subspecies that occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland Water Dragon Intellagama lesueurii howittii (there are a lot of young ones around Sandy Camp Rd Wetlands at the moment)
Scientific Name: Intellegama lesueurii
Identification: The genus Physignathus was described by George Cuvier (1769-1832) in 1829 based on the type specimen of the genus; the Green Water Dragon, Physignathus cocincinus of south-east Asia. The name Physignathus translates to "puff-cheek" and refers to the bulging appearance of the throat and lower jaw. Physignathus comprises two recognised species; Physignathus lesueurii and Physignathus concincinus. The specific name lesueurii honours the French naturalist Charles-Alexandre Lesueur (1778-1846) who collected this species on the Baudin expedition of 1800. There are two recognised subspecies of Water Dragon; the Eastern Water Dragon, Physignathus lesueurii lesueurii and the Gippsland Water Dragon, Physignathus lesueurii howittii. A recent taxonomic review concluded that the Australian species of Physignathus shows enough differing characteristics to classify it in its own genus, since Physignathus was first assigned to P. cocincinus, a new genus hand to be created for the Australian Water Dragons. In 2012 the species was officially renamed Itellagama lesueurii.
The Water Dragon can be identified by a distinctively deep angular head and nuchal crest of spinose scales that joins the vertebral crest extending down the length of its body to the tail. Enlarged spinose scales are also present across the lateral surface, unevenly distributed amongst regular keeled scales. The jowls are large and ear is exposed and of almost equal size of the eye. The dorsal ridge and tail are laterally compressed and the limbs are strong and robust with particularly long toes on the hind legs. The tail is capable of regeneration when lost, furthermore, regenerated tails can also grow back when severed.
Colouration differs between the subspecies; the Eastern Water Dragon, Itellagama lesueurii lesueurii, has a grey to brownish-grey colour above with patterns of black stripes along the dorsal ridge as well as down the tail. There is also a dark stripe horizontally from the eye back over the tympanum and extending down the neck. The limbs are mostly black with spots and stripes of grey and the tail is patterned with grey and black stripes. The ventral surface is yellowish-brown, with the chest and upper belly becoming bright red in mature males.
The Gippsland Water Dragon, Itellagama lesueurii howittii, is identical in morphology apart from slightly smaller spinose scales but differs in colouration and patterning. Dorsally the body is olive-green to brown in colour with transverse black stripes. The dark stripe from the eye to ear is absent. Mature males have dark blue-green chests and streaks of yellow and blue around the neck and throat.
Size range: Total length of 80 to 90cm
Distribution: Water Dragons are found in eastern Australia as well as southern New Guinea. The Eastern subspecies, Itellagama lesueurii lesueurii, occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland subspecies Itellagama lesueurii howittii, which is distributed as far south and into the Gippsland region of eastern Victoria. There are also at least one anthropologically introduced feral population found in the Mount Lofty Ranges near Adelaide in South Australia.
Habitat: The habitats available to this species differ greatly over its distribution, from tropical rainforest in the north to alpine streams in the south. Flowing water with ample tree cover and basking sites appear to be the key to habitat preference for this species. Water dragons will be found in built-up urban areas provided that the above conditions can be found and water quality is fair.
Feeding and Diet: Water Dragons are completely insectivorous as juveniles, however as they grow they become more omnivorous with vegetable matter gradually making up to almost half of the diet. In the wild Water Dragons have been observed ground feeding on insects such as ants as well as foraging amongst the branches of trees for arboreal invertebrates like cicadas. They may also consume molluscs and crustaceans such as yabbies, and individuals have been reported foraging for algae and crabs in intertidal zones of the Sydney region. Juvenile Water Dragons have also been observed feeding on mosquitoes which they will jump in the air to catch. Types of vegetation reportedly consumed include figs, lilly-pilly fruits, and other fruits and flowers. Water Dragons are believed to forage underwater, however this is based on one observation of diving Water Dragons returning to the surface and moving their jaws.
Other behaviours and adaptations: The Water Dragon is more often heard than seen as it dives into the water when disturbed. It can remain submerged for around one hour. This species has a much lower preferred body temperature than other large dragons and can remain in the water or in shade on hot days. They are often seen on overcast days or in the morning basking in the available heat.
Water Dragons have quite contrasting activity patterns that are dependent on the season and average daily temperature within its range. During spring and summer, Water Dragons of all ages and sizes can be seen in the various riparian environments they inhabit - basking on riverbanks and rocks, lounging in trees, swimming, as well as foraging for food on land. They can sometimes be hard to observe, and even animals accustomed to human attention will be quick to escape if approached too closely, by either dropping from rock ledges and branches into the water or running bipedally to the water or thick cover. Young Water Dragons prefer to be on the ground and appear to be more wary than the larger adults. Juveniles of I. l. lesueurii have been observed staying completely still when discovered in a grassed section metres from the water, relying heavily on their dull grey camouflage to blend in with the grass and fallen leaves.
Life cycle: Growth rate is fastest in the first year with hatchings from one mark-recapture project growing 2.25mm or 1.25g per month. One individual measured in its first season in March 1990 was 78mm from snout to vent and weighed 17g. The following year in January this same individual had a snout to vent length of 101mm and was 34g.
Mating and reproduction
The timing of breeding is determined by the onset of warmer weather in spring which occurs sooner in populations inhabiting northern Queensland and later in populations living in Gippsland. In the Sydney region, the breeding season begins in September, when courtship and mating begins, and concludes in January when the last clutches of eggs are laid.
Males are thought to be sexually mature at a snout-vent length of about 210 mm and a mass of 400 g. In the wild this occurs at approximately 5 years of age; in captivity however this can occur as early as 2 years. A single captive female was recorded reproducing from the age of 4 until it was 27 years of age. It is unclear how long males can remain reproductive.
Males of similar size will fight each other when confronted. A male will first attempt to deter his opponent through intimidation, e.g. by walking tall and puffing out the throat with the mouth open wide (see Image 18), and will try to appear as large as possible. If this does not deter the opponent, then ritual combat will result. Male combat includes both animals siding up to each other on the ground so that each animal has its head next to its opponentâs hip area. Both animals will circle each other while taking short bites at each others hip and neck regions. Then they may stop still before erupting into action and repeating this pattern over several more times. Before the end of the battle both opponents will have wounds from biting and scratching on their hips and necks. Fighting between wild males has been observed lasting for ten minutes.
Females can reproduce twice a season in captivity; however this has not been reported in mark-recapture studies of wild populations.
Females begin digging test holes in sandy soil from a week to three days prior to laying. Water Dragon clutch size ranges from 6 to 18. Mean mass of individual eggs varies from about 4.0 to 5.1g.
Predators, Parasites and Diseases
Small Water Dragons have been observed being taken by Brown Tree Snakes Boiga irregularis which hunt for them in the tree branches as they sleep. Other species of snakes known to prey on juvenile Water Dragons include Death Adders Acanthophis antarcticus, Copperheads Austrelaps superbus and Red-bellied Black Snakes Pseudechis porphyriacus. Hatchlings and young dragons are also known to be cannibalised by adult Water Dragons in some wild populations.
(Source: Australian Museum)
© Chris Burns 2017
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
For more details about Ayodhya Hills check: weekenddestinations.info/2011/location/bankurapurulia/ayo...
Millions March For Palestine HANDS OFF RAFAH March Step-off from Israeli Embassy along Van Ness Street between International Drive and Connecticut Avenue, NW, Washington DC on Saturday afternoon, 2 March 2024 by Elvert Barnes Photography
Neturei Karta
www.facebook.com/netureikarta2021
2 March 2024 GLOBAL DAY OF ACTON / HANDS OFF RAFAH at www.shutitdown4palestine.org/
Elvert Barnes PROTESTS 2024 at elvertxbarnes.com/protests
Elvert Barnes March 2024 at exbphoto.com/2024
Naughty!
The Alabama State Training School for Girls began operating in 1933 and the facility was mostly destroyed by an act of God many many years later.
The facility was constructed in to house more than 150 youths whose offenses were often noncriminal status violations, such as truancy, and beyond parental control. The 575-acre campus consisted of 12 buildings, including five dormitories, a school, a gymnasium, recreational facilities, a cafeteria and an administration building.
The new covers for my final mix of 2011, with this months mix being a special 4hr mix (as the number of great tunes around at the moment made it near impossible to narrow it down to even a 2hr mix).
The tracklist is as follows:-
1. Mossy - Leaving The Planet (Original Mix)
2. Andy Moor & Ashley Wallbridge featuring Meighan Nealon - Faces (Original Mix)
3. Jonas Steur featuring Julie Thompson - Cold Winds
4. John O'Callaghan featuring Kathryn Gallagher - Mess Of A Machine (Original Mix)
5. Arnej - We Need Them (Club Mix)
6. Armin Van Buuren featuring Winter Kills - Take A Moment (Shogun Remix)
7. Protoculture - Topaz (Max Graham Remix)
8. BT & Adam K - Tomahawk
9. Menno De Jong featuring Ellie Lawson - Place In The Sun (Rube and Tony Remix)
10. W&W featuring Bree - Nowhere To Go (Shogun Remix)
11. Shogun - Skyfire (Alex M.O.R.P.H. Remix)
12. Markus Schulz & Jochen Miller - Rotunda (Original Mix)
13. Jon O'Bir featuring Julie Harrington - Perfect As You Are (Original Mix)
14. David Forbes featuring Antonia Lucas - Because Of You (Pulser Remix)
15. Armin Van Buuren & Laura Jansen Vs Jerome Isma-Ae - Use Somebody Vs Speed
16. Armin Van Buuren - Blue Fear (Orjan Nilsen Remix)
17. Dimension - Yellowstone (Original Mix)
18. Dash Berlin featuring Emma Hewitt - Disarm Yourself (Filo & Peri Remix)
19. Ronski Speed Sun Decade featuring Emma Hewitt - Lasting Light (Original Mix)
20. Mike Koglin, Genix, Above & Beyond - Helion & The Moon (First Effect Mashup)
21. Stuart McNiven featuring Sharon Fehlberg - Surrender (Original Mix)
22. Bjorn Akesson & Jwaydan - Xantic (Aly & Fila Vs Bjorn Akesson Remix)
23. Dash Berlin featuring Jonathan Mendelsohn - Better Half Of Me (Alex M.O.R.P.H. Remix)
24. Jorn Van Deynhoven - Spotlight (Original Mix)
25. Henrik Christensen - New Life (Jorn Van Deynhoven Remix)
26. Luminary - Amsterdam (Smith & Pledger Remix)
27. Paul Gibson - Reactor (Trance Arts Remix)
28. Jacob Hudson featuring Ameera - Lost Without You (Angel Ace Remix)
29. Rene Ablaze featuring Synthesia - Inner Touch (Original Mix)
30. White Water featuring Melinda Gareh - The Unknown (Club Mix)
31. Blue Tente featuring Aelyn - You're Not Mine (Uplifting Mix)
32. Ferry Tayle & Tonks - Vol De Nuit (Manuel Le Saux Remix)
33. Sean Tyas - Banshee (Original Mix)
34. Menno de Jong - Turtle Paradise
35. Super8 & Tab - Helsinki Scorchin' (Alex M.O.R.P.H Remix)
Thanks for the over HALF-A-BILLION views!
🔹•🔹• •🔹•• 🔹• 🔹•🔹• 🔹•
HELLA SEXY DRAG GALS ! ! photographed at the FOLSOM STREET FAIR 2010 ! ( safe photo )
🔹•🔹• •🔹•• 🔹• 🔹•🔹• 🔹• 🔹•🔹• •🔹•• 🔹• 🔹•🔹• 🔹•
THANK YOU for the 523 MILLION VIEWS !
• 🔹• 🔹•🔹• •🔹•
ADDA DADA's VIEW COUNT is :
FIVE HUNDRED TWENTY-THREE MILLION VIEWS !
( 523,000,000+ VIEWS with over 14,900+ followers !!! )
( December 25, 2021 )
( ONWARD to ONE BILLION VIEWS ! )
•🔹•THANK YOU for visiting my virtual art gallery! Enjoy my original 'social documentary' photographs of various events !
•🔹•
•🔹• ADDA DADA's photography presents a variety of adults at different public events . These photographs do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed and posted
•🔹•.
•.🔹•The photographs are properly marked SAFE or RESTRICTED ( 18+ only / nudity). There are NO porn nor stolen photos !
•🔹•
•.🔹•Viewers should be aware that these photographs are viewed by a wide variety of folks . Inappropriate, negative, RUDE, 'X' or 'R' rated comments shall be removed forthwith & you will be blocked.
•🔹•
•🔹•.MY photographs are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal.
•🔹•
Check out ADDA DADA's other ALBUMS•
🔹 • 🔹• 🔹• 🔹•🔹• •🔹•• 🔹•🔹• •🔹••
ADDA DADA's photographs are all about the freedom to be LGTBTQ+ & express YOUR LGTBTQ+ freely
For a short moment the sun beams lit up the sceen like a revelation on this gloomy evening at Uttakleiv Beach. All of a sudden I got very busy making several exposures to combine in post in order to get the waves as dramatic as possible.
All the credits for model and set up should go to the Aspire Photography Training (www.aspirephotographytraining.co.uk) who granted me a free Childhood Styled Shoot.
For more details of Tridibnagar please check: weekenddestinations.info/2020/location/sunderbans/tridibn...
CE CHARMANT "JEUNE CHAT" NOUS A SUIVI DURANT UNE HEURE LORS d'une PROMENADE à BERGHEIM en ALSACE, FRANCE
----- ( THANK'S for Comment ) ------ ( MERCI de Commenter )
For this weeks shoot, the theme was floral and the girls had free will to interpret that how they wanted. Leave your callout!
Placement: 8th
In 1962, the US Navy issued a requirement for an eventual replacement for the A-4 Skyhawk. Of the proposals submitted by various companies, Vought’s design won the competition in February 1964. What became the A-7 Corsair II was based on the already successful F-8 Crusader fighter, a decision which figured heavily in the Navy’s selection of the aircraft. The A-7, however, was smaller and shorter, with a much less sleek fuselage but a larger wing. It was the first operational American aircraft to use a turbofan engine, a HUD, and an internal INS linked to the bombing radar, permitting very accurate bombing in all weathers. After a remarkably trouble-free development, the YA-7A first flew in September 1965 and entered service a year later, with a combat debut in December 1967 over Vietnam. Because the A-4 was more maneuverable, the A-7 only supplemented the Skyhawk in US Navy service until the early 1980s; likewise, it was not chosen by the US Marine Corps for the light attack role, as the Marines preferred upgraded A-4s and later the AV-8A/B Harrier series.
The USAF, however, would acquire the A-7 in large numbers, at first as an interim to bridge the gap between the F-105 Thunderchief and the F-111 Aardvark, and to replace the ancient A-1 Skyraiders then serving as COIN, close air support, and rescue support aircraft. The A-7D made a number of changes, including USAF-style boom/plug refueling port, the more reliable and powerful Allison TF41 engine, and deletion of the A-7A’s twin 20mm cannon for a single M61A1 Vulcan 20mm gatling cannon. The A-7D entered USAF service in September 1968, and its combat service over Vietnam impressed the US Navy enough that the follow-on A-7E Corsair II incorporated both the TF41 engine and the M61A1 gun armament. Aside from the two-seat TA-7C/A-7K conversion trainers and EA-7L electronic warfare trainers, the A-7E was the penultimate Corsair II variant. Vought proposed an advanced, supersonic long-range strike variant, the A-7F, but this only went to the prototype stage.
The A-7 served in every conflict the United States entered into from 1968 to 1991, including Vietnam, operations against Lebanon, Libya, and Iran in the 1980s, and the First Gulf War. The latter was the swansong for the type in US service, with only two US Navy A-7E squadrons seeing service. With the drawdown of the 1990s, the A-7D was rapidly retired from USAF and Air National Guard units in favor of the F-16 Falcon; the A-7E left US Navy service in favor of the F/A-18 Hornet. The aircraft was exported in the 1970s to Greece as the A-7H and Portugal as the A-7P, both of which saw service in the Third World War. Thailand received ex-US Navy A-7Es in the mid-1990s. Greece retired the last operational A-7s in the world in 2014.
(The following is a fictional history of a fictional naval air arm.)
With the adoption of the US Navy-style carrier battlegroup by the FIRN/FIRNAA in the late 1970s, the FIRNAA also adopted the Navy-style carrier air wing of F-14 Tomcats, A-6 Intruders, and A-7 Corsair IIs. The latter were deemed to be of low priority, with the FIRNAA acquiring and upgrading ex-US Navy A-4E Skyhawks, and there was some controversy over the need to buy the A-7 at all. The sale went through because of the A-7’s ability to carry more ordnance further, and the first order for 36 A-7Es and five two-seat TA-7Cs were placed in 1985. As the A-7 production line had closed by that time, these came from ex-US Navy stocks and were refurbished before delivery; the only addition to the aircraft was a Pave Penny laser designator, which allowed the A-7E to drop precision guided weaponry. TA-7Cs were also in short supply, so instead Vought converted five ex-USAF A-7Es to A-7K standard, though these aircraft had a bulged refuelling probe and were designated TA-7K. (The TA-7K retained its boom/plug system, making it a “hermaphrodite.”) The first FIRNAA A-7E entered service in August 1986 with NAS-17, and both it and NAS-18 were fully operational with the Corsair II before the end of the Third World War. The last batch entered service with NAS-19, with the last being delivered in July 1988. These aircraft would provide yeoman service during the First Gulf War.
Though the United States was rapidly retiring the A-7, the FIRNAA decided to keep the aircraft due to its range instead of acquiring more F/A-18 Hornets. Because of its lack of speed and the desire to keep the aircraft in service at least until 2005, the FIRNAA commissioned a study to upgrade its Corsair IIs. Vought had gone out of business by this time (1993), but the A-7F study was resurrected and the contract given to Predator Propulsion. Initially designated A-7P (for Predator Propulsion, but dropped due to confusion with the Portuguese A-7Ps) and then A-7S, this upgrade included completely updating the avionics, with a new HUD system, LANTIRN compatibility, the ability to carry the AGM-84 Harpoon and AGM-84E SLAM, and most importantly, the A-7F’s Pratt and Whitney F100 turbofan. Since the A-7S lacked the lengthened fuselage and modified tail of the A-7F, the engine was derated to 24,000 pounds, though the afterburner was retained. This increased the top speed and range of the A-7E, as the F100 was more fuel efficient. The first A-7S flew in July 1994 and entered service in December 1995; by 1996 the entire fleet had been upgraded.
Despite the expense of the upgrade, the A-7S’ career was to be brief. The decision to acquire the F/A-25 Rafale to replace it was made only two years after the A-7S entered service, and it began to be withdrawn from service in 1999. The outbreak of war in Afghanistan and Iraq only delayed withdrawal for a short time, though the A-7S would fly combat missions in what was the Corsair II’s final combat deployment. Both NAS-17 and NAS-18 would convert to the Rafale, while NAS-19 retained it’s A-7s until the squadron’s disbandment in 2004. The last FIRNAA Corsair IIs made a four-ship flypast of Viper Lake IFAAS in August 2004, marking 18 years of faithful service. Eleven A-7s were lost during the aircraft’s career, six in combat during the Third World War and the First Gulf War, and the remainder in accidents; these were replaced from US Navy stocks, making total procurement 52 aircraft.
(Back in the real world...)
Though I prefer 1/144 scale for my own personal models, there is not yet a 1/144 kit of the A-7; Tamiya, however, makes a 1/100 kit. After finding one in Indiana in 2010, I built it out of the box as a standard A-7E. I used a darker gunship gray over medium gray color scheme (which would probably be unworkable for carrier operations in real life). I used kit decals, but the tailcodes and crocodile tail motif were hand-painted. It is armed with 12 Mk 82 750-pound bombs and two AIM-9B Sidewinders, which were not as difficult to put on as I had originally thought.
We had been to Hawkhurst before. About a decade ago when we stopped for breakfast on the way to Sissinghurst.
Despite we both thinking we had also been to Cranbrook, I have no memory, nor any photographs.
But the mill, said Jools sai.d I had no idea.
Whilst Hawkhurst was a busy but not pretty place, Cranbrook was just beautiful. The main road dipped down through rows of white clapboard houses and where it turned right 90 degrees, there on the highest point was the church.
It was midday, and I was hungry, and what I felt I needed was a cream tea. Just as well then that there was tea rooms opposite the car park.
A cream tea consisted of a pot of tea, another of hot water, milk and sugar, two scones each, cream and lashings of strawberry jam.
It was a meal.
Once we had eaten, I walk up the street and into the churchyard, where the sandy coloured church rose from the green churchyard.
Old Father Time stood above the tower clock, reminding us he would come for us soon enough.
But not today.
-------------------------------------------
This church grew from a small Saxo-Norman structure in the fourteenth century, using profits from the English cloth-making industry which was based in the town. It is a large church with several unique features, the most important of which is a font for full adult immersion. This was built under a small stone staircase that leads to a room over the south porch. In reality it was like an upright coffin, constructed in 1710 by the then parson, John Johnson, but it seems only to have been used on one occasion. There are very few of these features to be found in England. A table at the back of the church is made from the upturned sounding board of the eighteenth-century pulpit. The very fine carved Royal Arms of George II were given in 1756. In the north aisle is a collection of sixteenth-century stained glass depicting coats of arms of the Guilford family, and some nice windows by Kempe.
www.kentchurches.info/church.asp?p=Cranbrook
-------------------------------------------
CRANBROOKE
LIES the next parish eastward from Goudhurst, a small part of it is in the north borough of the hundred of Great Barnefield, and another small part in the borough of Iborden, in the hundred of Barkley, and all the residue in the hundred of Cranbrooke. It is an the western division of the country.
THIS PARISH is situated in the centre of the Weald, of which it is a principal one as to its wealth, size, and consequence, being about eight miles long, and fix in breadth; it is exceeding healthy, and considering the deepness of the soil, and the frequency of the woods, far from being unpleasant; the oaks interpersed over it, like the adjoining country, are numerous and of a large size, the hedge-rows broad, and the inclosures small. The north and east parts especially are covered with woods, which consist mostly of oak. There are several rises of small hill and dale throughout it; the soil is in general, excepting in that part of it northward of the church, about Anglye, where it is a light sand, and the lands of course poor, a kindly fort of clay, which is rendered more fertile by its native rich marle, of which there is much throughout it; besides arable, there is much rich pasture and fatting land, and some hundred acres of good hop-ground. The principal high roads from London, Maidstone and Tunbridge, by Brenchley, Yalding, and Stylebridge, meet here near the town, and lead from hence by different branches to Tenterden and Romney Marsh; to Hawkhurst and Suffex, and to Smarden, Charing, and the eastern parts of Kent. They are wholly made with sand, and though in wet weather they are exceedingly firm and good, yet in dry seasons, from the looseness of the sand, they become very deep and heavy, and by the heat and dust arising from them, are so very offensive and painful, as to become almost intolerable; the bye roads are very bad in winter, and so very deep and miry, as to be but barely passable till they are hardened by the drouth of summer. It is well watered by several small Streamlets, the principal ones of which joint the branch of the Medway just below Hedcorne.
There are three chalybeate springs in the parish, at Sifinghurt, Glassenbury, and Anglye. The waters of them are much like those at Tunbridge, and when weighed prove heavier, but they have not near so much spirit. The town of Cranbrook is situated on the western side of the parish, on the road leading from Maidstone by Stylebridge towards Hawkhurst and Suffex. at the 52d mile-stone, and consists of one large wide street, of about a mile in length, having the church nearly in the centre of it. There is but a very small part of it paved, from the market-place eastward, which was begun in 1654, being done through mere necessity; the depends and mire of the soil before, being not only a great hindrance to the standing of the market people, but to the passing of all travellers in general. The market is still held on a Saturday, for corn and hops, and is a very plentiful one for meat and other provisions. It was obtained by archbishop Peckham, anno 18 Edward I. And there are two fairs held yearly, on May 30, and Sept. 29, for horned cattle, horses linen drapery, toys, &c. but the latter is the largest, at which there is a great deal of business done in the top trade.
¶Here was the centre of the cloathing trade, one of the pillars of the kingdom, which formerly flourished in these parts, and greatly enriched not only this county, but the nation in general. The occupation of it was formerly of considerables consequences and estimation, and was exercised by persons who possessed most of the landed property in the Weald, insomuch that almost all the antient families of these parts, now of large estates, and genteel rank in life, and some of them ennobled by titles, are sprung from, and owe their fortunes to ancestors who have used this great staple manufacture, now almost unknown here. Among others, the Bathursts, Ongleys, Courthopes. Maplesdens, Gibbons's, Westons, Plumers, Austens, Dunkes, and Stringers. They were usually called, from their dress, the grey coats of Kent, and were a body to numerous and united, that at county elections, whoever had their votes and interest was almost certain of being elected. It was first introduced here by king Edward III who, in his 10th year, invited some of the Flemings into England, by promises of large rewards, and grants of several immunities, to teach the English the cloth manufacture; but this trade, after flourishing here for so many centuries, is now almost disused in these parts, there being only two houses of it remaining in this parish; but there is yet some little of the woolstapling business carried on. The inhabitants throughout the parish, who are in general wealthy and substantial, are computed to be about 3000, of which a great part are differenters from the church of England, for whose use there are four meeting-houses in the town, one for Presbyterians, the second for Methodistical Baptists, the third for Cavinistical Baptists, and the fourth for Independants. The Presbyterians formerly were the most numerous fect throughout this county; but they are greatly diminished of late years, and the Methodistical Baptists are the prevailing sect, and greatly increasing every year, through every part of it. Besides these there is a meeting-house for the Quakers, with a burying ground, but I beleive there is not one of this fact in the parish, though they yet hold an annual meeting here.
SISSINGHURST is a manor of great note here. It was antiently called Saxenburst, and is very early times was in the possessions of a family of the same name, as appears by the Testa de Nevil, kept in the exchequer, being an account of all those who, holding their lands by knight's service, paid their relief, in the 20th year of Edward III. towards the marriage of the king's sister; in which John de Saxenhurst is there taxed, towards that did, for his lands at Cranebrook, which certainly were those of Sissinghurst, with the two small appendant manors of COPTON and STONE, which always have had the same owners. By a female heir of Saxenhurst, this manor, with its appendages above-mentioned, passed into the name of Berham. Richard, son of Henry de Berham, resided here in the reign of Edward III. and in his descendants it continued down till the latter end of Henry VII. When one of them alienated part of Sissinghurst, with Copton and Stone, to Thomas Baker, esq. who was before settled in this parish. This family had been settled in Cranbrooke so early as the reign of Edward III. as appears by the records of the court of king's bench, in the 44th year of which reign Thomas Bakere, of this parish, was possessed of lands in it, and was then fued by the prior of Christ-church in a plea of treaspass, for cutting down trees, which grew on his own soil here, in a place called Omendenneshok, within the prior's lodge of Cranbrooke, which was a drosdenne, the prior prescribing for all oak and beech in the drovedens within his lordship, together with the pannage; and the jury found for the plaintiff, &c. (fn. 5) Sir John Baker, grandson of Thomas first before-mentioned, was bred to the law, and became eminent in that profession, as well as in his promotion to different high posts of trust and honour in the service of the crown and state; being in several parts of his life recorder of London, attorney general, chancellor of the exchequer, and privy counsellor in king Henry VIII. and the three following reigns, and ambassador to the court of Denmark in 1526. He died in London in 1558, and was brought hither in great state, and buried in the vault in Cranbrooke church, in which his several descendants lie deposited likewise. They bore for their arms, Azure, on a fess, or, three cinquesoils pierced, gules, between three swans heads, erased, or gorged with coronets, gules. (fn. 6) He had procured his lands to be disgavelled by the acts both of 31 king Henry VIII. and 2 and 3 Edward VI. and before the latter year, at least, had purchased the remainder of this manor and estate, and becoming thus possessed of the entire fee of it, he built a most magnificent seat on it, the ruins of which still remind us of its former splendor, and he inclosed a large park round it. He left two sons, Richard; and John, who was father of Sir Richard Baker, the English Chronicler, and from this family likewise was descended the learned John Selden, born in 1584, whose mother was the only daughter and heir of Thomas Baker, of Rushington. (fn. 7) Sir Richard Baker, the eldest son, resided at Sissinghurst, where he entertained queen Elizabeth, in her progrels into this county, in July 1573. His eldest grandson Sir Henry Baker, of Sissinghurst, was created a baronet in 1611, Sir John Baker, of Sissinghurst, knight and baronet, his grandson, the last of his name here, died in 1661, leaving only four daughters, who became his coheirs, Anne, married to Edmund Beaghan, esq. Elizabeth, to Robert, Spencer, esq. Mary, to John Dowel, esq. of Over, in Gloucestershire, and Katherine, to Roger Kirkby, esq. whose respective husbands became in their rights jointly entitled to this estate.
A moiety of this estate, as well as two-thirds of it, by the deaths of Robert Spencer, and Elizabeth his wife, s. p. and by the conveyance of Catherine, widow of Roger Kirkby, afterwards coming into the possession of Edmund Hungate Beaghan, esq. (son of Edmund above-mentioned) who resided at Sissinghurst, and bore for his arms, Argent, a chevron, gules, within a bordure, sable, bezantee, were by him passed away by sale in 1730, an act having passed to enable him so to do, to the trustees of Sir Horace Mann, bart. who is the present possessor of them.
The fourth part of John Dowel, esq. came on his death in 1698, to his son John Baker Dowel, esq. of Over, who bore for his arms, Argent, a lion rampant, within a bordure engrailed, sable. (fn. 8) He died possessed of it in 1738, as he likewise did of the remaining third of the fourth part, which had descended to him by the deaths of Robert Spencer, and Elizabeth his wife, s. p. in both which he was succeeded by his son John Baker Bridges Dowel, esq. of the same place. At this death in 1744, he devised his interest in this estate to the Rev. Staunton Degge, who conveyed them to Galfridus Mann, esq. whose son Sir Horace Mann, bart. being thus entitled to all the several interests as abovementioned in this estate, is become the possessor of the entire fee of these manors, the mansion of Sissinghurst, and the lands and estates belonging to them.
¶The mansion of Sissinghurst stands towards the northeast boundaries of this parish, in a situation far from pleasant, lying low in a wet clayey soil, without prospect, and enveloped with large tracts of surrounding woodland. The house having been long uninhabited was let out during the late war for the confinement of the French prisoners, whence it gained the name of Sissingburst castle, after which it became again uninhabited, and has since been pulling down piecemeal from time to time, for the sake of the materials, so that what is left of it is now no more than ruins. The park has been disparked many years since. There was a chapel founded at Sissinghurst by John de Saxenhurst, which was re-edified by Sir John Baker, bart. in the reign of king Charles I. and by a deed delivered in 1627 to John Bancrost, bishop of Oxford, was devoted to the service of God, and dedicated, as it was before, to St. John the Evangelist; upon which it was consecrated by the bishop, with the usual ceremonies and benedictions.
CRANBROOKE is within the ECCLESTASTICAL. JURISDICTION of the diocese of Canterbury, and deanry of Charing.
The church is dedicated to St. Dunstan, confessor, and is very large and handsome. It consists of three isles and three chancels. The pillars on each side of the middle isle are beautifully slender and well proportioned. The west end has a gallery over it, ornamented with printing. The pews are uniform, and made of wainscot, and the pavement black and white marble. The high chancel is well ceiled, and decorated with paintings. The east window is full of fine stained glass, many of the rigures of it being entire, and richly ornamented as to their drapery, &c. There are several shields of arms remaining in it, among which are those of Wilsford, Guldeford, quartered with Halden, within the order of the garter, and archbishop Bourchier, being those of the see of Canterbury, impaling first and fourth, Bouchier, second and third, gules, a fess between twelve billets, or. Archbishop Tenison, in 1710, was a benefactor in repairing of the high chancel. (fn. 12) Against the east wall of the south chancel is a very high and broad pyramid of white marble, on which there is a full account of the family of Roberts, inscribed by a most pompous scheme of pedigree, with the numerous coats of arms properly emblazoned. At the west end is a square tower steeple, in which are eight bells and a set of chimes. On the west side of the tower were formerly carved in the stone-work, though now decayed by time, the arms of Berham, Bectenham and Wilsford, in antient times owners of lands, as has been already mentioned, in this parish. In the south isle over the vault, in which the remains of the Bakers and their descendants lie, is a superb pyramid of white, marble, on which are the names and the dates of their deaths, and at the top of it their arms. It was erected by John Baker Dowel, esq. of Over, son of John and Mary, in 1736.
In 1725, part of this church fell down, but was quickly afterwards rebuilt. It was occasioned by some persons digging in the vault belonging to the Baker family, by which two stones, on which one of the main pillars stood, gave way, and the pillar cracked, soon after thirty or forty feet of the middle isle fell in, by which the pews were all crushed, and the cost to repair it was estimated at near 2000l. There is a room; with a staircase to it, adjoining the church, in which there is a large dipping-place, for the use of such Baptists who are desirous of being admitted into the established church; but in seventy years past it has been but twice made use of for this purpose. It was provided by Mr. Johnson, vicar of this church. In this church was a chantry, founded by the will of J. Roberts, esq. of Glassenbury, in 1460, for a priest to say mass here for ever. And he ordered that twenty pounds be laid out to remove the rood-lost, and setting it on the high chancel. And being so considerable a benefactor to this church, his figure was painted in the windows of the north isle, kneeling, in armour, with his helmet lying by him, before a desk, with a book on it, and an inscription, to pray for him and his wife, and his son Walter, and his three wives. Walter Roberts abovementioned, by his will 13 Henry VIII. directed Thomas his son to find a priest to celebrate divine service at St. Giles's altar in this church, for the souls of his father, mother, his wives, and his own; for which service he should have been marcs yearly, payable by his heirs for ever, out of his lands in this parish and Goudhurst. And he gave further to this church towards the making of the middle isle, one half of all the timber of that work.
The church of Cranbrooke was part of the antient possessions of the see of Canterbury, to which it was appropriated in the 6th year of Edward III. with the king's licence; and the same was afterwards confirmed by pope Clement VI. at which time there appears to have been a vicarage endowed here. The archbishop continued owner of the appropriation of this rectory, and of the advowson of the vicarage till the reign of Henry VIII. when archbishop Cranmer, by his deed, anno 31 Henry VIII. granted the rectory, among other premises, in exchange, to that king, reserving the advowson of the vicarage to himself and his successors. Soon after which the king settled it by his dotation charter, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose possessions it now remains. (fn. 13) In 1644 Sir John Roberts was lessee, at the rent of 33l. 6s. 8d. per annum. The present lessee is Mrs. Lawson.
¶When the vicarage of Cranbrooke was endowed, I have not found; but in 1364 and 1371, the portion of the vicar was augmented, and in the latter year the prior and convent of Christ-church, Canterbury, confirmed the confirmation of archbishop William, of the donation of his predecessor archbishop Simon, of 6000 of towod granted to the vicar of Cranbrooke, of the tenths, of silve cedue belonging to the church of Cranbrooke.
It is valued in the king's books at 19l. 19s. 4½d. and the yearly tenths at 1l. 19s. 11¾d. In 1578 here were 1905 communicants. On a survey taken in 1648, after the abolition of deans and chapters, it appeared that there was a parsonage-house, an orchard, little garden, two great barns, and other buildings; and that the late dean and chapter, in 1636, demised to John Roberts, esq. these premises, and all manner of tithes of corn and grass, for twenty-one years, at 33l. 6s. 8d. per annum, but that they were worth, over and above that rent, 228l. 13s. 4d. per annum. The lessees to repair the chancel and the market-cross of the town.
There is no part of this parish which claims an exemption of tithes; but there is a small and irregular modus upon all the lands in it, in lieu of vicarial tithes. There are no tithes paid Specifically for hops, though there are upwards of six hundred acres planted in this parish, as being included in the above mentioned modus.
The glebe land consists of the scite of the vicarage, the garden, and about three quarters of an acre of meadow. There are some old houses belonging to the vicarage, which, when the taxes and repairs are deducted, produce very little clear income.
Anno 1314, a commission was issued for settling a dispute between the rectors of Biddenden and Cranbrooke, concerning the bounds of their respective parishes.
In Rome, Ukrainian President Volodymyr Zelenskyy met with Italian President Sergio Mattarella.
The President of Ukraine expressed gratitude for Italy’s steadfast support for Ukraine’s sovereignty and territorial integrity, as well as its consistent focus on Ukraine during Italy’s presidency of the G7.
"I recall all our meetings, and they always concluded with us finding solutions to very complex issues. One of the most challenging is protecting the rights of people in Ukraine, as well as defending our sovereignty and territorial integrity. I am very pleased that your position in supporting Ukraine, our people, and our children has always remained unwavering," said Volodymyr Zelenskyy.
The Ukrainian President provided an update on the situation at the front lines and on Russia’s ongoing missile terror targeting civilians.
During the meeting, the leaders discussed the continuation of military assistance to Ukraine. Volodymyr Zelenskyy expressed his appreciation to Italy for its significant military-technical support, including the approval of the 10th aid package.
He emphasized the importance of coordinated actions by partner countries to end the war with a just and lasting peace.
The President of Ukraine also commended Italy’s firm stance on maintaining and enforcing sanctions against Russia.
A key topic of negotiations was the return of Ukrainian children abducted by Russia.
The President thanked Italy for its care and support of Ukrainian orphans currently residing in Italy because of the Russian aggression.
The leaders also discussed preparations for the International Ukraine Recovery Conference, scheduled for July 10–11 in Rome. Volodymyr Zelenskyy noted that Italian experts could join the restoration of Ukraine’s cultural heritage.
President Zelenskyy extended an invitation to President Mattarella to visit Ukraine.
Continuing the grey headed flying fox story.
No joke for these folks who are surrounded.
Look closely in the trees, they're full of them.
"There ain't no rest for the wicked,
Money don't grow on trees.
I got bills to pay,
I got mouths to feed,
And ain't nothin' in this world for free.
And no I can't slow down,
I can't hold back,
Though you know I wish I could.
Oh no there ain't no rest for the wicked, until we close our eyes for good."
~Ain't No Rest For The Wicked, Cage The Elephant
without texture, with texture in comments.
view large.
YOU'RE STEALING IF YOU DON'T HAVE MY PERMISSION TO POST THIS PHOTO ANYWHERE.
Annual St. Pat’s for All Parade started over 20 years ago in answer to the Hibernian homophobia of the Manhattan Parade.
This years’ Grand Marshalls were the family of the late Tarlach Macniallais, a longtime activist and leader of the parade .
The parade attracts numerous electeds every year.
This year it was attended by AG Tish James (who marched with Gays Against Guns),
Sen. Chuck Schumer, NYS Controller Tom DiNapoli, NYC Controller Brad Lander, Congresswoman Caroline Maloney, NYS Sen. Tom Duane, co-founder Danny Dromm, numerous city council folks and mere…
For today's Macro Monday theme of 'Obstacles'. A view inside my medicine cupboard, the obstacles to extended symptoms of lurgification. :)
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
20240229_Kiki_KikiAtBathtime_3
licensing dog images
licensing dog photos
licensing dog photo
licensing pet photos
licensing pet photos
stock images of pets
stock images of dogs
commercial dog photographer
commercial pet photographer
commercial dog photography
commercial pet photography
commercial dog photograph
commercial pet photograph
commercial dog photographs
commercial pet photographs
studio dog photograph
studio dog photography
studio dog photographs
studio pet photograph
studio pet photography
studio pet photographs
license images of dogs
license images of pets
commercial license
commercial licenses
commercial licenses for dog photos
commercial licenses for dog photos
buy commercial license for dog photos
buy commercial license for dog photo
buy commercial license for pet photos
buy commercial license for pet photo
commercial licenses for pet photos
commercial licenses for pet photo
pet image archive
dog image archive
stock photos of dogs
stock photos of pets
buy dog photos
buy pet photos
buy cat photos
buy dog images
buy pet images
buy cat images
Fujifilm X camera
Hundefotos
Hundefotos kaufen
kommerzielle Hundefotografie
kommerzieller Hundefotograf
Haustierfotos
Haustierfotos kaufen
Lizenzen für Fotos kaufen
Bildagentur
Haustierbildagentur
Bilderagentur für Haustierfotos
Bildagentur für Hundefotos
Katzenbilder
Katzenfotos
Bildagentur für Katzenfotos
Lizenzierung von Katzenfotos
Fort Hancock's Battery Potter, constructed from 1890-1894, was the first disappearing gun battery in the U. S. Originally called Lift-gun Battery #1, it was the first and only disappearing gun battery powered by a steam hydraulic lift system. There is a YouTube video that shows how this worked here:
youtu.be/PYxqTGxXybA In operation from 1893-1906, it was obsolete by the time it was built because the fastest firing of the gun took over two minutes. Fort Hancock in Sandy Hook, New Jersey.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Technical details:
Sakai Toyo 4 1/2 x 6 1/2" (half-plate) large format metal field camera with 4x5" film back.
150mm Caltar-S II F 5.6 lens in Copal BT shutter.
Arista EDU Ultra 200 (re-branded Fomapan) B&W Negative Film, shot at ISO 160.
1/8th second at F32.
Semi-stand development in Rodinal/Adox Adonal 1:100 dilution for 15 minutes in Mod54 daylight tank.
Negative scanned with Epson V600. Cropped to the desired size in post.
For more information about the camera and/or lens used, or the full resolution of this image, please contact me. Please do not use this image without my written permission.
Copyright © 2014 Sven Kester. All rights reserved.
Chocolate Milk Is Good For Boxer - The Video Chocolate Milk - Cocoa Puffs TV Commercial Great Chocolate milk is sweetened cocoa-flavored milk It Is Good By: Chocolate Milk Rap Parody Displaying search results for Kinder Chocolate (Consumer Product) the number of total video 129386 Three-time IRONMAN world champion Craig Alexander featured in three new ads in the BUILT WITH CHOCOLATE MILK campaign carmelo anthony talks about his 'after' in this 30 second got chocolate milk? The Video Chocolate Milk - Cocoa Puffs TV Commercial Great 00:0:15 Chocolate milk has between 8 and 12 additional grams of sugar added · It Is Good By: Chocolate Milk Posts about Kinder Chocolate (Consumer Product) written by magictoysclub The new Built with Chocolate Milk campaign, the flavored, mustache-free sister of Got Milk The Video Chocolate Milk - Cocoa Puffs Tv Commercial Great (File : 3Gp, Flv, Mp4, WBEM, Mp3) Downing chocolate milk after a tough workout can help replenish exhausted muscles and significantly aid exercise recovery, new research shows It Is Good By: Chocolate Milk Duration: FEDER - Goodbye)) Duration: George Carlin - on airlines and flying Download and play online Kinder Chocolate (Consumer Product) Videos To mp3, mp4, 3gp, flv to your mobile phone, android, iphone, blackberry, tablet "Built With Chocolate Milk" partners with high-profile athletes, but that's not the only reason why its social media is successful Subscribe For More Boxing News: www.youtube.com/channel/UCsQQHa5xRhniFMFMw7O3RHQ youtu.be/z_x7TFBvSNA
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.
Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.
The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").
HISTORY
Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.
According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.
According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.
In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.
In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.
One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."
In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:
"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."
Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.
ARCHITECTURE
SITE AND PLAN
Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.
STYLE
Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.
FEATURES
OUTER ENCLOSURE
The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.
CENTRAL STRUCTURE
The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.
Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.
North and south of the cloister are libraries.
Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.
Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.
DECORATION
Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".
From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.
CONSTRUCTION TECHNIQUES
The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.
Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.
ANGKOR WAT TODAY
The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.
WIKIPEDIA
for my soloshow + book-release: His Most Exquisite Elaborations
Beth Fox, irish artist, says: “Johannes Mundinger’s book ‘His Most Exquisite Elaborations” is so good it cured my cancer”
Oliver Breitenstein, director of Berliner Kunstverein adds: “Slowly I got the impression that every medium was appropriate and the most profane materials were just the right thing. They were best paired with banal themes, like in the example of Nose Picking Pictures. Was it about the avoidance of collaboration with a sublime artistic concept with a bloated theoretical superstructure? Was it simply the joy in creating in the moment without having to consider the reception in the world afterwards? Is the artist picking my nose with his index finger, in order to consume the last traces of the grey matter in my head for dessert with delight?”
And Petra Wessbecher, cultural scientist writes:
“Hidden in forgotten places across the City, Johannes Mundinger‘s artworks are found mainly by accident. Colourful faces, fantastic figures and wall-paintings melted totally into decaying facades, create anxiety in dark urban corners. Corresponding to Graffiti, the style of the Artist is in a constant dialogue with this form of the street art. Lyrical and painterly finesse of Mundinger‘s works remains in contradition to the roughness and inexactitude of urban art. They are unique compositions.
The niches of unexpected dazzling beauty hidden between the superficial facades of the buildings are only waiting to be discovered and awakened. Mundinger‘s curiosity about the urban surrounding and the exploration of the city itself, leave not only surprising spaces for His own art. Through inititating and organising various exhibitions, he brings together different artists enabling them on national and international level networking. This vivid cooperation of artists under the Mundinger‘s curation, gives a new meaning to abandoned places in the urban area as well; to discover changing faces of the city.“
Thursday, 2. Feb 7pm - 23:30pm will be the vernissage + book-release at idrawalot, Boddinstr 60, Berlin.
Exhibition 2. - 25. Feb 2012 Tuesday - Friday 12 - 18 Uhr Saturday 13 - 18 Uhr
Idrawalot Boddinstraße 60 12053 Berlin
One more pic from the late November 2013 visit, showing a closeup of the west corner post of the main entryway at the Southaven Goodman Rd. Kroger. I have a feeling the more interesting work here is going to shift back to the exterior very soon!
_________________________________________________
Kroger, 2004-built, Goodman Rd. at Getwell Rd., Southaven MS
A massive earth quake hit the Northern Part of Japan just three hours ago. Tsunami has flooded a lot of coastal area. Casualties and damages are are not clear yet but definitely to be suffered. I would like to pray for my friends and the people there for their safety. I wish people will quickly rebuilt their homes lost in this horrible disaster.
China seffered great casaulties in a earthquake in Sichuan Province three years ago and got tremendous help and support from countries like Canada and Japan.
For the 1st look, I'd brought along this black Tuxedo Dress from Phase Eight. On a couple of my previous makeovers, Cindy had styled me in dresses or jackets from Phase Eight which I had rather liked, prompting me to see if I could find the specific pieces or similarly styled items to add to my wardrobe. Sometime, during late November I was sat in my local coffee shop idly flipping through a newspaper and spotted an article about Tuxedo and Blazer dresses for the upcoming party season - The black and white Phase Eight dresses caught me eye and I decided to see if I could get hold of the Black dress for the upcoming makeover.
For shoes, I'd brought along a favourite pair of patent black mules that I'd worn on a couple of my previous makeovers. As far as accessories were concerned, Cindy had selected a pearl necklace along with a pair of matching bracelets and earrings.
As with the last couple of makeovers, we'd decided to paint my nails rather than use false nails - The colour Cindy selected wasn't quite an exact match for my lipstick, but it was a pleasingly close match.
Once again, Cindy went with blonde for my hair, selecting a lighter shade than we'd used before - For some reason, the styling reminded me of an actress I had seen recently, but I couldn't remember who, but think it might've been either Jennifer Anniston or Gillian Anderson.
Lately, I've been bad with snacking and have put some of the weight that I'd lost back on again - Whilst the overall look is pleasing, the weight gain is showing - If I can regain my will power/discipline and drop the extra weight again, it would be fun to revisit this.
For the photos, we stayed in Cindy's makeup room where she had me pose on the sofa and by the door. For a few of the photos Cindy also had me play with my hair.
Wardrobe: Davina
Makeup, styling and photography: Cindy, BoysWillBeGirls
I am ridiculously proud of this little thing. My partner was gracious in telling me to make something that would make me happy. I did! I had never done traditional piecing by hand (only English Paper Piecing) and had only hand quilted once before. I know it is really basic and far from perfect, BUT every single stitch is by hand! I just still can't believe I did it and had such fun doing it!
Please mark your calendars for our Spring Bread and Cheese Creek which will be are largest cleanup to date! These photos show the current sad condition of this historic stream. We plan to clean up Bread and Cheese Creek form the Berkshire section to North Point Road on Saturday, April 5, 2014 at 8:00 AM - 2:00 PM, All the assistance from volunteers and sponsor is greatly appreciated! We know this is a huge section of stream to tackle but I know we can do it!
This cleanup will be in conjunction with the Alliance for the Chesapeake Bay’s Project Clean Stream and it will be our fifth year working with them! This cleanup will also be in conjunction with American Rivers. We will supply trash bags, gloves, water, snacks and lunch. A limited supply of waders and tools will also be available for sign out during the cleanup.
Remember, there plenty of ways for volunteers to participate. We will need every type of person of every ability level to contribute and assist with the Clean Up. Though it is true we will need people to dig out shopping carts and haul trash to the dumpsters, we can use people to run water, food, tools, and trash bags (both empty and full) to individuals in the creek. People to sort recyclables from the debris removed. People will be needed to work the grills as well as many other less strenuous activities. We are also authorized to sign-off on Community Service and Service Learning Hours for students. The more people we have, the easier the work will be for everyone. Please feel free to pass this information on to other who might be interesting in helping as well. As my grandfather always said, "Many hands makes the work light". We run our cleanups as a family event with all age groups welcome by developing plenty of ways for volunteers to participate.
Our cleanups are part of an ongoing effort clean the entire stream by the 2014 bicentennial celebration of War of 1812 Bicentennial Celebration. (Bread and Cheese Creek has been noted as one of the highlighted location on the Star-Spangled Banner National Historic Trail) The creek played a rather significant part in the Battle of North Point which took place on September 12, 1814. Both the American and British Troops camped along its banks. It is rumored that the young heroes Daniel Wells (19) and Henry McComas (18) used the stream channel to sneak up on British General Robert Ross killing him with their muskets before being killed in return fire. This important part of our history should not be left the eyesore it currently is and those who died defending our country honored in this way.
You can learn more about us through our website at www.BreadandCheeseCreek.org, become our friend on FaceBook, Google+, Instagram, Pinterest or follow us on Twitter and/or join the Clean Break and Cheese Creek Group. You can also see photos of our past cleanups on Flickr and our videos on YouTube. You can also subscribe to out Electronic Newsletter.
If you have any comments or questions please contact us. Thank you again for your interest!