View allAll Photos Tagged Grounding
there is something about not needing a motorized vehicle for a week that helps free your soul. for one week i traveled by bike, it's grounding and brings me back to basics,...less IS more!
Today I started laying the light green behind the flowers.... I'm really liking how it pops the flowers forward.
Vetiver (a) has a heavy, earthy fragrance similar to patchouli with a touch of lemon. Vetiver oil is psychologically grounding, calming, and stabilizing. Sponsor ID 1069994
Replacing an earlier photo with a better version 28-May-19.
Operating services on behalf of TUI Airways UK (capacity shortage due to the B737 MAX grounding).
First flown with the Boeing test registration N1786B, this aircraft was delivered to Tombo Aviation as N8254G in Feb-00 and leased to Sabre Airways as G-LFJB later that month.
It was wet-leased to Miami Air in Nov-00. Sabre Airways was renamed Excel Airways in Jan-01 and the aircraft returned to Excel in Apr-01. It was re-registered G-XLAC the day after it returned. It was again wet-leased to Miami Air between Dec-01/Apr-02, Dec-02/May-03 and Dec-03/Apr-04.
In Dec-04 it was leased to Miami Air as N904MA and returned to Excel Airways as G-XLAC in Apr-05. This was repeated between Dec-05/Mar-06. At the end of Nov-06 Excel Airways was renamed XL Airways UK. The aircraft was fitted with blended winglets in Oct-07.
It was again leased to Miami Air as N904MA between Dec-07/Apr-08, returning as G-XLAC. XL Airways UK ceased operations in Sep-08 and the aircraft was impounded at Manchester. It was released to the lessor a few days later and ferried to Goose Bay, Newfoundland, Canada for short-term storage.
At the end of Sep-08 it was re-registered N290AN and ferried to San Jose, Costa Rica in early Oct-08 for further storage. In Feb-09 it was re-registed C-FXGG, leased to the IMP Group and sub-leased to CanJet Airlines.
The aircraft returned to the lessor in Jul-14 as EI-FFK and was leased to Meridiana (Italy) two days later. It was returned to the lessor in Aug-18 and was leased to Alba Star Airlines as EC-NAB a week later. Current, updated 17-May-23.
Sometimes confidence is
Black lace over smooth soft skin
And a necklace with a pendant that symbolises
Grounding
Earth
Centredness.
Simplicy, elegance, beauty -
All things I can cultivate
In myself
Zürich (- Kloten) (ZRH / LSZH)
Switzerland 3.2002
"Swissair grounding" in the background
First Flight 1.1986
Del. 2.1986 to Austrian Airlines OE-LMC ✔
Nordic Airlink SE-RDU
Sky Wings SX-BSQ
Air Moldova SX-BSQ
Sky Wings SX-BSQ
Khors Aircompany UR-CDQ
Zagros Air UR-CDQ
Zagros Air EP-ZAG
Jingili Water Gardens day 8-10
In a social environment, each repeating action is slightly different, even when social interactions are limited to a few actors and a limited range of actions is undertaken.
Walking past a stranger and muttering 'good morning' or making a hand or facial gesture, whilst limited is also grounding. Each repeated action improves the experience of the activity. The smile gets bigger and ignoring more pronounced. The gesture shifts from novel to heightened and then to automation. Simple transactions fall into the shadows or normality. The gesture occurs without realization. It is systematized. Is there a way of not plateauing into reductive repetitive activity and to continually improve the experience?
Perhaps gamification? For example, one reaction for one person and another for another person.
My original and prior thoughts were that continuous and repeated actions inhibit each transaction's ability to adapt. So mix it up - change hand & facial gestures - make the play in how the transaction initiates and concludes. Perhaps, switch the which side of the path the transaction occurs. This way the humanness within the transaction transpires the actual activity of walking on a designated and identical path. At what point does this approach breakthrough social norms to become non-sensical or even perceived as a threat?
Obviously, the superficialness of the greeting of unknown people within a simple scenario is different than that of a more complex scenario like greeting known co-workers every morning where discussion is likely to occur. However, the question of improving transactions in social media platforms is comparable. At what time does liking the same person's creative post stop having a sense of quality or uplifting emotion and enters the realm of superficial habit. Doing it because that is what you do or gaming up by employing emojis, comments, and self-promotional statements/links. There is creative opportunities within each transaction within systemic understandings acceptable norms.
It would be stupid if I thought that after 10 days of visiting Jingili Water Gardens, at more or less the same time and following the same path my ability to adapt would be stunted. After 10 circuits over 10 days, I am starting to anticipate what I will most likely encounter, and surprises become significant. It is enjoyable crossing paths with the same people, dogs, and birds. I do enjoy how the sun interacts with the trees and other artifacts within the gardens. Like a game of chess, I am seeing possibilities and anticipating what I can do. I can forecast that if I repeated my actions over a year, my structural, physiological, and behavioral insights would become finer and finer. If I could maintain this level of reflection, the data I collect on each and every transaction would compound, and my knowledge would transcend to a new level of expertise. If I do not maintain this level of reflection will the activity become a chore and a lockin
The promise of Artificial Intelligence and automation is about freeing us from the tyranny of repetitive tasks. Is reflection a burden and will AI extend its capacity to respond on my behalf? More importantly, will I employ it? The symbiotic relationship of walking through Jingili Water Gardens and reflective writing has enabled a creative response. Combined, both repetitive activities required time and effort, dedication and discipline to gain a semblance of personal reward. My simple question is - how do humans gain expertise of intrinsic satisfaction without engaging repetition? My more complex question regards the systematization of Artificial Intelligence and the problem of freedom without repetition.
If the promise is, freedom from repetition enables people to engage in more complex endeavors, however, how do we step up to more complex endeavors without repetition? How does that work in teaching? Will that mean teaching will become more complex, learning will increase and creativity will flourish?
In regards to creating great music, can this be done without developing a skills platform? Iterative improvement, through a step and repeat based process, can create exceptional art. Jackson Pollock achieved remarkable paintings through a repetitive action-based methodology. Despite the similarities, not one of his paintings is a replicant. At the heart, Pollock's artistic creativity is both repetition and reflection. On this basis, the complexity of reflection increases the output enriches. This leads to the next question if creativity is based on iterative improvement at what point is improvement non-recognizable.
Baldessari Cremation Project highlights the normality plateau many repetitive creatives find themselves - that is an expression that relies on iterative improvement eventually recycles and becomes reductive.
In regards to Jingili Water Gardens, how many repeated walks and how much reflection can be applied before reduction occurs and I am basically recycling? I will not reach this realization as I know that the repetitive loop will be broken once I return to work. So on this realization, this is my last Jingili Water Garden reflection.
What have I learned from the experience and reflection?
My quest was to discipline myself into a repetitive activity to question 'just doing it' normality, to observe freedom, and to self impose restricted actions within societal restrictions to find a path forward that increased my creatively in the twilight years of my professional career and address ways of re-entering an artistic career post 60. I believe that I have found a nebulous idea and my next logical step is to goal map creative growth across education and artistic expressions. There are two systems I need to reevaluate and build within. My creativity will be essentially adaptive. That is from within.
Since I graduated in 1981 as an artist and 1983 as an educator much has changed. Within the contemporary art realm, narrative, identity, and experience have become an increasingly important design agent. There are more people who are interested in contemporary art, there are more gallery agents, more venues, more ways to publicize and make publication. Studio arts have exponentiated into a wider scoped creative arts industry. What I can observe is that contemporary art is moving from the margin towards the center. The arts industry seems more professional and commercial in that it not only operates in elite circles but on a mass scale based on a smaller price dividend. Art events are becoming more and more spectacular. As this growth has broadened user base, traditional media-based fine art products have shifted from the leading thought to that of the level of craft. It has found it's based on media specialization. Technology has shifted contemporary artists from producing and refining style to seeking new modes of critical dialogue. The artist-as-genius model has expired. Wow - how do I step into this paradigm?
The expansion of education into society has significantly transformed society. When I entered university it was a privilege of the few. Most students did not complete their senior secondary school. Perhaps the biggest change has been in the realm of completion to “lifelong learning. There is no endpoint. The link between national growth and personal growth through formal education is established. National growth, human capital, and educational attainment underlines human prosperity. I need to question my hierarchical status. Do I remain operational in my current position and incrementally improve until I reach reduction or do I break the loop into a new paradigm of improvement?
What I have gained from the repetitive walks through Jingili Water Gardens and applied reflection is that the creative system is the system thinking. For creativity to benefit systems it cannot be as simple as - get another idea and then just do it. The components that form a system must be viewed as a whole and thinking as a whole. A creative system observes itself thinking throughout its own repetitive iterations. It takes time and thinking discipline for systems to realize creativity. Systems lose creative scope and become reductive and deprecatory. These systems need to reflect on their repetitive artifacts.
Read more: www.jjfbbennett.com/2020/07/darwin-jingili-water-gardens-...
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The neon hushed its hum at 6:00 AM, leaving the sidewalk to the gray, impartial light of a cool Chicago morning. She sat on the curb, the concrete’s damp chill seeping through her fishnets, a sensation both grounding and grim. Her feet, arched into five-inch stilettos for the better part of two decades, throbbed with a rhythmic, pulsing heat. At thirty-eight, her beauty had become a sturdy, well-maintained house, though the foundation felt the weight of the years more than the facade let on.She fumbled with a Virginia Slim, the smoke curling upward like the ghosts of a thousand tips. It was finally over. The heavy satin corset, which had held her together like an exoskeleton since she was eighteen, lay folded in her gym bag—a dead skin she had finally , sadly, shed.
Her mind drifted back to the glossy pages of a 1968 spread, The Girls of the Big Ten. She had been the "Michigan Co-ed," an identity bought with a borrowed sweatshirt and a photographer's eye for her particular brand of high-cheekboned innocence. She had never known the vaulted ceilings of Ann Arbor, only the frantic geography of a cocktail tray, yet the lie had been her most enduring currency. She had been "at the college" for three days, a tourist in a life she was never meant to inhabit.
Two marriages had come and gone, both to men who loved the costume but resented the woman inside it—deadbeats who had mistaken her grace for a lack of gravity. Now, the silence of the street felt like a question. There was the Mirage, waiting with a hostess podium that felt like a gilded cage. There were the old friends in the "industry" out in Los Angeles, their voices raspy with the promise of easy money and harder nights; it was a siren song that held a certain jagged appeal, offering a familiar kind of armor for a woman whose primary trade had always been the gaze of others.
She thought of the younger girls, the ones who viewed the ears as a stepping stone rather than a permanent fixture. They were a different breed, clutching textbooks between shifts; one had even finished her bar exam, trading the tail for a briefcase and the courtroom’s more sober theater. The idea of a classroom at her age, in a world turning toward the sharp-shouldered professionalism of the late eighties, felt like a masquerade more daring than any bunny suit.
Yet she looked at her hands, the nails perfectly manicured but the skin beginning to show the fine, lace-like maps of time.As the first bus of the morning hissed to a stop at the corner, she felt a strange, buoyant flicker of possibility. The club was dark, its era ended, but the sun was hitting the glass of the skyscrapers across the street, turning the city into a shimmering, unwritten page.
Folks, please remember to remove the negative battery cable before working with bare wires! Accidently grounding out a hot wire can be a pretty expensive learning experience, or at least lead to a (slightly) frustrating fuse replacement...which of course would be the much more desirable outcome.
As seen here, I didn't take the time to solder the wires together. Certainly if my wiring work weren't hidden behind the new unit, I'd try to make it neater (plus, I was starting to lose daylight with a quickness :P). The wire nuts I used this time will hold much better than the crimp connectors I used when installing the previous unit - some of those fell apart almost too easily once I started the harness rewiring!
And yep, as seen here I temporarily reconnected the hazard/airbag module, as there would be a two-day lag (no tunes in the ride, bummer!) while I figured out exactly how I was going to run the bluetooth mic wire, USB cable, and three RCA cables make that *one* RCA cable! More on this as the series continues...
W. H. Scribner’s Art Gallery, Newton, Iowa,
Albumen silver print from a collodion glass negative, mounted on card
The sitter presents himself with hair neatly parted and brushed back, paired with a closely trimmed beard and integrated mustache typical of postwar male grooming.
He wears a dark coat, high collar, and a small, narrow bow tie—an especially telling detail. This modest, precisely tied bow, lighter and more restrained than earlier antebellum styles and preceding the longer neckties that would become fashionable in the 1870s, strongly supports a date in the mid-to-late 1860s.
The tie introduces a subtle note of personal refinement within an otherwise sober ensemble, consistent with contemporary expectations of respectable adult masculinity.
Meeting him would not feel uncanny. It would feel slightly disappointing at first, then grounding. The shock would be realizing that the man who once held this photograph was not living toward posterity or symbolism at all. He was living forward into a life whose outcomes he did not yet know—marriage, loss, routine, compromise—while you are living backward toward him with knowledge he never had.
Like its companion portrait, the photograph is mounted on a pale card with fine double-rule borders in muted ink, matching the woman’s card in scale, color, and design. The uniformity of mounts strongly suggests production by the same studio within a short time frame, likely using the same batch of card stock. Such consistency was typical of small-town studios in the 1860s and provides further confirmation of the proposed date range.
Silver on Glass and Silver on Paper: Two Independent Systems Joined Only by Light
Mid-19th-century photography relied on silver chemistry at two distinct stages of image-making, using the same element for two different purposes. Understanding the separation between these stages—**image capture on glass** and **image reproduction on paper**—is essential both to the technology itself and to the material traces visible in surviving photographs today.
Image capture: the wet collodion glass negative:
In the wet collodion process, a sheet of glass was coated with collodion containing iodide and/or bromide salts and then sensitized by immersion in silver nitrate. This produced light-sensitive silver halides suspended within a thin collodion film on the glass surface. While the plate remained wet, it was placed in the camera and exposed.
Light reflected from the sitter passed through the lens and struck these silver compounds, creating a **latent image**—an invisible chemical alteration corresponding to the distribution of light and shadow. During development, the exposed silver halides were reduced to **metallic silver**, forming a negative image. After fixing and washing, the plate became chemically stable and insensitive to further light. At this point, the negative was complete: a durable object bearing a silver image embedded in a transparent film on glass. The glass itself served only as a support; the image resided entirely in the collodion layer.
Image reproduction: the albumen paper print:
The finished glass negative was then used to create positive prints on paper. Albumen paper was prepared by coating thin sheets of paper with egg white mixed with salts, then sensitizing the dried coating by floating it on silver nitrate. This produced a second, entirely separate population of light-sensitive silver salts, now embedded in the albumen layer on the paper’s surface.
To make a print, the glass negative was placed directly against the sensitized paper and exposed to sunlight. Light passing through the negative—strong where the glass was clear, weak where it was dense—struck the paper and caused the silver salts in the albumen layer to darken, forming metallic silver in direct proportion to exposure. This process produced a **positive image** without a separate chemical development stage; albumen prints are “printed-out” images, visible as they form under light. After printing, the paper was fixed, washed, dried, and mounted to a card.
Two uses of silver, no interaction between them:
Although silver chemistry appears in both stages, the silver on the glass and the silver on the paper **never interacted physically or chemically**. They participated in independent reactions, at different times, in different materials. No silver moved from the negative to the print; no chemical process crossed from one surface to the other. The glass negative functioned purely as an optical modulator—a stencil for light.
The relationship can be summarized simply:
**Silver → light → silver**
The silver image on glass shaped the light; the silver salts on paper responded to it.
Because the negative remained chemically stable after fixing, it could be reused repeatedly. Each print made from it was a new, independent chemical event, allowing studios to produce dozens or hundreds of identical cartes de visite over months or years, even in different locations. This reproducibility—combined with the small, affordable format—made the carte de visite the dominant photographic form of the 1860s.
Why this distinction matters today
The dual use of silver explains many features visible in surviving photographs. Glass negatives and paper prints age differently because they contain silver in different physical and chemical environments. Albumen prints yellow as the organic egg-white layer oxidizes; glass negatives do not. Silver migration, speckling, and fiber-following marks occur only where silver is present in the paper’s albumen layer. The paper support decays organically, while the image material behaves as a metal.
In material terms, one is looking not at a single photographic substance, but at two generations of silver, chemically related yet historically and physically separate—linked only by light.
This negative-positive system also marks a fundamental shift from earlier photographic technologies such as the daguerreotype. Where the daguerreotype plate was directly exposed to light reflected from the sitter, later paper photographs are mediated objects: translations of an earlier optical event rather than its direct physical trace. The silver on glass recorded the scene; the silver on paper reproduced it.
Because the negative and paper were the same size, no enlargement was involved; each print was an exact replica of the original exposure.
This negative-positive system allowed studios to produce multiple identical prints from a single sitting with relative efficiency and at modest cost. Its reproducibility, combined with the small, easily exchanged format, made the carte de visite the dominant photographic form of the 1860s.This method allowed studios to produce multiple identical prints efficiently and economically, making cartes de visite the dominant photographic format of the decade.
Portraits of men in this style were often commissioned in conjunction with significant life events—engagement, marriage, relocation, or professional advancement. The sitter’s direct gaze, lack of theatrical props, and careful but understated dress suggest an image intended for personal exchange or inclusion alongside a companion portrait, rather than for casual novelty. Taken together with the matching female carte, this photograph likely formed part of a paired set meant to signify a shared moment and a shared future.
Material Traces of a Social Exchange
As an object, this photograph also bears witness to its own use. Cartes de visite were made to be handled, exchanged, and kept close, and this print was almost certainly held by the sitter himself after it was produced—examined, judged, and possibly given to another person as a token of regard. Although no identifiable biological traces survive, the photograph retains material evidence of touch and circulation in the form of softened edges, surface wear, and subtle disturbances in the image layer. In this sense, the object preserves not the body of its subject, but a record of its participation in lived social relationships, bridging the moment of its making and the present through continued physical presence rather than symbolic association.
A Day in a Life
Morning
He would have woken early, not because of ambition but because the day required it. Light mattered. Studios depended on daylight, and sittings were often scheduled for midmorning. He would already know this was *the day*.
Washing would be brisk and functional. Water carried from a pump or basin, soap sparingly used. Shaving carefully done if he shaved that morning; more likely he had trimmed his beard the night before, knowing how unforgiving the camera could be. Hair brushed, parted, brushed again. He would have looked in a mirror longer than usual — not vainly, but with a mild, uneasy concentration.
Dressing would have been deliberate. Shirt freshly laundered if possible. Collar set firmly. The small bow tie — the one you noticed — tied and retied until it sat just right. This is not the gesture of a man dressing for work. It is the gesture of a man dressing **to be recorded**.
Breakfast would have been plain: bread, perhaps eggs, coffee if available. He would not linger. There is a mild inward pressure on days like this.
Before the sitting>
He would have left the house with time to spare. The photograph was not something to rush. Along the way, he might have thought — not grand thoughts, but practical ones: how stiff he might look, whether his coat sat correctly, whether the photographer would rush him.
If the woman’s portrait was taken the same day — as seems plausible — there may have been a brief meeting beforehand, or a tacit understanding that both would appear separately but with shared intent. Even if they did not speak that morning, the fact of her sitting would have been present in his mind.
At the studio
The studio would have smelled faintly of chemicals, damp wood, and daylight. He would have removed his hat, waited, watched others finish. When called forward, he would have been positioned carefully — shoulders squared, head angled slightly, eyes directed where told.
The photographer would have instructed him to remain still. Exposure times were short by then, but still long enough to demand concentration. He would have fixed his gaze, not dramatically, but with resolve.
In that moment, he would not have been thinking about legacy. He would have been thinking: *hold steady; don’t blink; don’t look foolish*.
The exposure would have ended quietly. No drama. Just a sense of relief.
Afterward
He may have asked — casually — when the prints would be ready. He would have paid or arranged payment. He might have stepped outside feeling faintly anticlimactic, as though something important had happened without ceremony.
The rest of the day likely returned quickly to normal: work, errands, routine obligations. But the sitting would hover at the edge of his thoughts.
When he received the photograph
This may have been days later.
He would have taken the finished card in his hands and looked at it longer than he expected to. He would have noticed things the camera revealed that the mirror never had. He might have judged it critically. He might have been quietly relieved.
At some point — this is the key — he would have decided **what to do with it**.
To keep it.
To send it.
To place it beside another photograph.
To let it speak on his behalf where he could not.
That decision is why the photograph exists at all.
This beautiful Seagull was just touching down on one of the few houses that remains with a complete roof in Alcatraz. I love how nature and the Earth are taking the Island back.
If you like my work, 'Like' me on Facebook www.facebook.com/hannah.galli.inner.i.art?ref=ts ... Thanks for the support
Two Rolls-Royce RB211-524H high-bypass turbofans, 60,600-lbf each
----
Reportedly leased to Sunwing during Boeing 737 MAX grounding
P3240276 Anx2 Q90 1200h
A favorite cozy moment in a cabin by the Pacific Ocean. Kalaoch, Washington. Solitude at the new year, spent listening, visioning and journaling what will be.
Perhaps it is the very feeling of home, this grounding magic, that causes me to wonder who came into this back door after a long days work or after some time away...sunk into a chair or a bed or someone's embrace...and breathed a sigh of gratitude. Home.
The calm, centered, stable feelings that our home brings us cannot be very different from others...cannot be very different from the people who called this place home.
Explore #298
Global X Cargo
2000 Airbus A321-231P2F
N410GX
Spirt of the Americas
Extra lift for UPS; likely due to the MD11 grounding situation
Plane in the rain, DFW, Dallas Texas
Sitting on the tarmac waiting for takeoff when a storm came through, grounding our flight.
2018 has been a taxing year for airlines operating Rolls-Royce powered Boeing 787s… Airlines have had to endure groundings as airframes await new engines and the suitable modifications.
The second half of 2018 is where there is more pressure on the Boeing 787 fleet as both Rolls-Royce and Boeing are expecting a high influx of Dreamliners being grounded as aircraft expect new engines. Those fitted with General Electric and Rolls-Royce Trent 1000-TEN engines are not affected by the potential groundings.
British Airways are a large Boeing 787 operator and whilst their Boeing 777 fleet have been used when they are not available, they won’t be enough to cover their extensive S18 schedule whilst their Boeing 787s are grounded awaiting modifications and new engines.
Already, British Airways have applied to the UK Civil Aviation Authority to wet-lease up to 3 Airbus A330s from Qatar Airways, but that will become a reality beginning the 9th June 2018 where they will take over 3 flights.
As per Airline Route, British Airways have outlined planned use of 3 Airbus A330-200s being wet-leased from Qatar Airways. The Airbus A330-200s will be operating the following flights commencing 9th June 2018:
-Delhi-Indira Ghandi: Until 20th August 2018, operating BA142/143 daily replacing Boeing 777-200ERs.
-Kuwait City: Until 30th June 2018, operating BA156/157 daily replacing Boeing 777-200ERs.
-Muscat-Seeb: Until 19th August 2018, 5 times weekly BA79/80 replacing mixture of Boeing 787-8/9s.
The interesting part is that the Airbus A330-200s are replacing Boeing 777s on two regular flights and one Boeing 787 flight operating 5 days a week. This will allow Boeing 777-200ERs to provide more slack and possibly fill-in if any Boeing 787s are unavailable, whilst that one Boeing 787 flight removed from the schedule will cover for maintenance.
Due to the nature of the Airbus A330-200s, these flights will not be providing World Traveller Plus (Premium Economy) and First services during this time period. The in-flight crew and catering are to be provided by Qatar Airways staff.
Currently, British Airways operates 58 Boeing 777s, which includes 3 Boeing 777-200s, 43 Boeing 777-200ERs and 12 Boeing 777-300ERs. British Airways have 3 second-hand Boeing 777-300ERs on-order, but this is subject to change owing to IAG ad Boeing negotiating an order for wide-body aircraft.
Victor India India Kilo is one of 43 Boeing 777-200ERs in service with British Airways, delivered new to the flag-carrier on 3rd February 1998 and she is powered by 2 General Electric GE90-85B engines. Since new, she carried Animals & Trees World Tail designed by Cgoise and based on the artwork of the Kalahari Desert. She lost her World Tail in October 2004 after being repainted into BA’s standard Chatham Dockyard Union Jack livery.
Boeing 777-236/ER G-VIIK on final approach into Runway 27L at London Heathrow (LHR) on BA80 from Muscat-Seeb (MCT).
Along with a TUI 767-300 G OBYH four Virgin Atlantic 747s grounded due to the Covid-19 situation in late May, front to rear are G VROS, G VLIP, G VROM, & G VAST all have now departed to various locations, the sole remaining Virgin 747 at Manchester at the beginning of October 2020 was G VXLG.
Home is often a place of gathering and grounding. Yet these very qualities have also made it a target for those wishing to eradicate peoples and their cultures. Artists depict how communities resist destructive legacies of government agendas by embracing cherished memories of home and community. In response to the traumas of colonialism, an alternate world of fantastical depictions becomes a site of habitation and diasporic displacement is eased through shared spaces of community and family gatherings. Non-human community is also shown as a reminder that natural sites are shared, cross-species places; to enter these spaces is to enter another’s home. Ultimately artworks remind us that home is a place of respect, enriched through shared experiences, values and memories.
Fidalgo Bay. Cap Sante Marina.
Press Release from USCG:
Coast Guard tows grounded vessel, responds to pollution near Anacortes, Washington.
A Coast Guard Station Bellingham 45-foot Response Boat- Medium crew towed and safely moored the fishing vessel Arline at the Cap Sante Marina in Anacortes after receiving a report that vessel was aground in the Swinomish Channel Thursday evening.
A boarding was conducted by the crew of the Coast Guard Cutter Adelie, an 87-foot patrol boat homeported in Port Angeles, Wash., revealing the master and crewman aboard the Arline to be intoxicated and the local police department took the master of the fishing vessel into custody.
Coast Guard Sector Puget Sound watchstanders received a call from the master of the Arline reporting the grounding near Anacortes. The Coast Guard Cutter Adelie was on a routine patrol at the time and was diverted to assist the crew of the grounded vessel.
Upon boarding the vessel, the Adelie crew suspected the master of the vessel was intoxicated and issued a field sobriety and breathalyzer test revealing a blood alcohol content level of .115, well over the legal limit in Washington State.
“Thanks to the crews of both Station Bellingham and the Coast Guard Cutter Adelie for making our local waterways safer,” said Captain Joe Raymond, Commanding Officer of Sector Puget Sound. “Boating while intoxicated is not only a danger to the crew of the vessel being operated, but it is endangers the lives of any boaters in the area.”
After the vessel was moored a light sheen was discovered coming from the Arline. Further inspection revealed a crack in the vessel’s shaft packing causing oily water to be discharged overboard.
Containment boom has been applied around the vessel. A Coast Guard incident management team from Seattle is working with contractors to contain further pollution and develop a possible salvage plan for the vessel.
The Arline is a 50-foot fishing vessel homeported in Seattle and is reportedly carrying up to 150 gallons of diesel aboard. The Coast Guard is investigating the grounding.
This isn't the first time the F/V ARLINE has run aground and a captian was arrested:
From September 5, 2013
British Columbia: American skipper arrested Monday on suspicion of impaired operation of a vessel after his fishing boat ran aground near Kelsey Bay.
The 58-foot American F/V Arline was heading south when it ran aground and the two remaining crew members apparently tried to abandon ship. Conditions may have been foggy at the time. The two remaining crew were safely evacuated and the captain was escorted to Campbell River while Coast Guard towed his boat. Awaiting the captain at the docks in Campbell River were Mounties, Canadian Border Services, Transport Canada, and Fisheries and Oceans Canada. Police arrested the captain on suspicion of impaired operation of a motor vessel and dangerous operation of a motor vessel.
Built by BREL York Works in 1971, the Prototype Electro Pneumatic (PEP) vehicles, formed into two 4-car Class 445 and one 2-car Class 446 sets, were the grounding for many new EMU classes. After operating in passenger service for a few years, they entered departmental service as traction development sets. I photographed one of the Class 445s from beyond the boundary at Wimbledon Depot c1980. At this time, it was numbered 935 056 in the deparmental series (but may not have carried this number) and the livery comprised a dark grey upper body with red and blue bands swooping up at the end. That image has long since go, so I’ve adapted a low-quality copy of a monochrome original from Colin J Marsden, which has been used under the fair used provisions of copyright law (22-Nov-25).
This image is protected by copyright law and it would be an offence to publish it elsewhere without prior written permission. Most images have been edited in Photoshop and cannot be relied on as original photographs but no AI has been used in their production. Follow the link below for an explanation of the terms 'fiction', 'digital representation' and 'digitally-coloured':
www.flickr.com/photos/northernblue109/6046035749/in/set-7..
tos/northernblue109/6046035749/in/set-7...
Vancouver's Barch Chilling Beach claims its next "participant"
1950s Zeiss Novar 75mm - Ilford FP4+ - Zeiss Ikon Nettar
On the first part of the journey
I was looking at all the life
There were plants and birds and rocks and things
There was sand and hills and rings
The first thing I met was a fly with a buzz
And the sky with no clouds
The heat was hot and the ground was dry
But the air was full of sound
You guys know I do a bit of energy work, right? My Reiki master told me a long time ago that when I finish a treatment on someone, to help bring them back to the here-and-now and awareness of their bodies (since there is a tendency to be rather light-headed and floaty after) I should visualize deep, strong, grounding energy coming up from the earth through their legs, and bright, light energy coming in through their heads. Let the two energies mix around and weave themselves together in the body, so you're left with someone who is both aware of spiritual and "higher" things, and also grounded, present, and able to drive themselves home safely. I thought what a lovely idea that would make for a photo, but it was quite a while before I was able to make the photo a reality.
I have been a big fan of
Brooke Shaden for a long time now. Not only does she create the most amazing images, she is also incredibly sweet and generous to other artists. She agreed to model for this photo for me, and even took me to one of her favorite spots to photograph. She was also completely fine with me making a puddle of mud and smearing the mess all over her legs and the skirt of the dress and was patient with the sparkly, jewel-encrusted crown I had made just for this shot which required a lot of holding very still of it would come tumbling off. Thanks, Brooke! :)
I am very, very pleased with this photo.
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2 x PASHA BULKER ZENFOLIO GALLERIES - Plus full details of the grounding and Salvage Operation.
The Pasha Bulker was one of 10 vessels (of the 58 anchored off Newcastle awaiting access to bulk coal loading facilities) who defied requests to move to sea by Port Authorities in the serious 1 in 30 year storm of June 7th-8th 2007.She finally dropped her ballast water and attempted to head to sea,to no avail,being washed up on Nobbys Beach just near the harbour entrance.There was great concern for the likely environmental impacts of an unsuccessful salvage but on July 2nd 2007 salvage tugs were,with the aid of on deck winches and sea anchors,able to drag her free,fortunately with minimal environmental impact.
The ship was successfully towed to Asia after basic repairs where she underwent major repairs to the damaged superstructure.The Pasha Bulker was given a new name and now plys the oceans once more.
Greenpeace saw an opportunity at the most critical point of the recovery operation when the world's media was fully locked onto the story to promote the case that coal causes global warming by projecting a large laser projected slogan to that effect across the ships bows.
FSU sophomore infielder Sydney Sherril grounding the ball in the fourth inning of FSU's game against UNCG at Joanne Graf field on February 9, 2019.
Part of a grounding line for the 400kV DC system. It seems that given the ongoing mining in the area, they cannot risk the ground for the DC converter being in an area liable to be excavated for mining, so this line runs to a point a few miles northwest of the plant.