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Painting acrylic on canvas ,size 30+40 cm,2017.The ocean is a huge organism, where everything is interconnected. The ocean is amazing and beautiful, and it has many mysteries.
2016 Vivid Sydney: Songlines - Lighting The Sails #8
World Premiere
Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts
Co-curated by Sydney Opera House and Destination NSW
Visual content and animation created by Artists in Motion
Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes.
Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.
Benjamin Huynh est un.e artiste visuel.le pluridisciplinaire. Son parcours artistique a commencé en 2015 lorsqu’iel quitte sa région natale, la Côte d’Azur, pour poursuivre sa formation artistique à Toulouse et plus tard à l’École de recherche graphique (ERG) à Bruxelles. D’abord attiré.e par la performance, l’exploration artistique de Benjamin s’est orientée vers la peinture, l’installation et le travail du textile en arrivant à Bruxelles. Son travail sert de plateforme de recherche et d’exploration, approfondissant des thèmes tels que l’identité queer, la culture selfie, le recyclage et la positivité de l’espace.
Dans le paysage complexe de la peinture contemporaine, les frontières traditionnelles sont remises en question par des concepts tels que le network painting et transitive painting, qui incitent à réévaluer la structure hiérarchique historique du médium. Le travail de Benjamin Huynh s’inscrit dans cette transformation, cherchant à explorer le potentiel de la peinture dans un paradigme horizontal et interconnecté. L’horizontalité devient un nœud central à travers lequel son travail examine les concepts de care, d’inclusion et soft activism entrelacés avec les enjeux politiques queer contemporains. Ces notions fonctionnent comme des stratégies de survie essentielles dans le capitalisme tardif et font émerger la proposition faite pour la BIP 2024.
Les travaux présentés ici partent de collaborations avec des ami.e.s pour générer des matériaux sources, en particulier des selfies, une approche qui vise à être positive et à remettre en question la représentation des corps. Par ce biais, la peinture sert d’outil pour traverser les mondes des images, oscillant ici entre l’histoire de la peinture figurative occidentale et l’autoreprésentation du XXIe siècle par la photographie.
Rééxaminant l’esthétique traditionnelle et les assignations de genre, le travail de Benjamin Huynh, implique activement les personnes peintes dans une relation horizontale avec l’artiste. Cette proposition met en rapport la peinture et la question du dispositif, les œuvres résistent à leur sanctification conventionnelle par une approche positive de l’espace. Le travail textile et l’installation deviennent des outils pour s’affranchir de la toile tout en redéfinissant la muséographie et l’exposition comme un lieu de passage. La peinture figurative perturbe alors l’interaction distance-objet, culminant dans des installations où les travaux et les regardeur.euse.s convergent. Au cœur de cette exploration se trouve une approche tentaculaire, qui tisse des thèmes contemporains d’interconnection, de vie privée et d’auto-représentation. Les images de référence dérivées des selfies servent de canal pour explorer l’identité, l’incarnation des corps et l’impact de l’ère numérique sur l’expression de soi. La pratique de Benjamin Huynh n’est donc pas conçue comme une série, mais plutôt comme une collection d’objets interconnectés, chacun engageant un dialogue avec les autres. Ce sont des pièces qui interagissent et qui, comme un rhizome, prolifèrent.
Benjamin Huynh is a multidisciplinary visual artist. His artistic journey began in 2015 when he left his native region, the Côte d'Azur, to continue his artistic training in Toulouse and later at the School of Graphic Research (ERG) in Brussels. Initially attracted to performance, Benjamin's artistic exploration shifted to painting, installation and textile work upon arriving in Brussels. His work serves as a platform for research and exploration, delving into themes such as queer identity, selfie culture, recycling and the positivity of space.
In the complex landscape of contemporary painting, traditional boundaries are being challenged by concepts such as network painting and transitive painting, which prompt a reevaluation of the historical hierarchical structure of the medium. Benjamin Huynh's work is part of this transformation, seeking to explore the potential of painting in a horizontal and interconnected paradigm. Horizontality becomes a central node through which his work examines the concepts of care, inclusion and soft activism intertwined with contemporary queer political issues. These notions function as essential survival strategies in late capitalism and bring to light the proposal made for BIP 2024.
The works presented here start from collaborations with friends to generate source materials, in particular selfies, an approach which aims to be positive and to question the representation of bodies. In this way, painting serves as a tool to cross the worlds of images, oscillating here between the history of Western figurative painting and the self-representation of the 21st century through photography.
Reexamining traditional aesthetics and gender assignments, Benjamin Huynh's work actively involves the people painted in a horizontal relationship with the artist. This proposal connects painting and the question of the device, the works resist their conventional sanctification through a positive approach to space. Textile work and installation become tools to free oneself from the canvas while redefining museography and the exhibition as a place of passage. Figurative painting then disrupts the distance-object interaction, culminating in installations where the works and the viewers converge. At the heart of this exploration is a sprawling approach, which weaves together contemporary themes of interconnection, privacy and self-representation. Reference images derived from selfies serve as a channel to explore identity, the embodiment of bodies, and the impact of the digital age on self-expression. Benjamin Huynh's practice is therefore not conceived as a series, but rather as a collection of interconnected objects, each engaging in a dialogue with the others. These are parts that interact and, like a rhizome, proliferate.
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
Ngwe Saung beach is situated near Yangon city and it can be reached within a 5-hour drive from Yangon. The beach itself is approximately 9 miles long and one of the longest beach in South East Asia and newly opened beach in Ayeyarwaddy delta region interconnected with the Andaman Sea. Moreover, Ngwe Saung is located a bit south of Ngapali which is also another popular beach resorts in Myanmar.
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
++++ From Wikipedia, the free encyclopedia ++++
Cattle in religion and mythology
Due to the multiple benefits from cattle, there are varying beliefs about cattle in societies and religions. In some regions, especially most states of India, the slaughter of cattle is prohibited and their meat may be taboo.
Cattle are considered sacred in world religions such as Hinduism, Jainism, Buddhism, and others. Cattle played other major roles in many religions, including those of ancient Egypt, ancient Greece, ancient Israel, ancient Rome, and ancient Germany.
In Indian religions
Legislation against cattle slaughter is in place throughout most states of India except Kerala, West Bengal and parts of the North-East.[1]
Hinduism
If anybody said that I should die if I did not take beef tea or mutton, even on medical advice, I would prefer death. That is the basis of my vegetarianism.
— Mahatma Gandhi, to the London Vegetarian Society on 20 November 1931.[2]
A bull bas relief, Mamallapuram
Hinduism specifically considers the zebu (Bos indicus) to be sacred.[3][4][5] Respect for the lives of animals including cattle, diet in Hinduism and vegetarianism in India are based on the Hindu ethics. The Hindu ethics are driven by the core concept of Ahimsa, i.e. non-violence towards all beings, as mentioned in the Chandogya Upanishad (~ 800 BCE)..[6][7] By mid 1st millennium BCE, all three major religions – Buddhism, Hinduism, and Jainism were championing non-violence as an ethical value, and something that impacted one's rebirth. According to Harris, by about 200 CE, food and feasting on animal slaughter were widely considered as a form of violence against life forms, and became a religious and social taboo.[8][9] India, which has 79.80% Hindu population as of (2011 census),[10] had the lowest rate of meat consumption in the world according to the 2007 UN FAO statistics,[11] and India has more vegetarians than the rest of the world put together.[12]
Vegetarianism in ancient India
India is a strange country. People do not kill
any living creatures, do not keep pigs and fowl,
and do not sell live cattle.
—Faxian, 4th/5th century CE
Chinese pilgrim to India[13]
According to Ludwig Alsdorf, "Indian vegetarianism is unequivocally based on ahimsa (non-violence)" as evidenced by ancient smritis and other ancient texts of Hinduism." He adds that the endearment and respect for cattle in Hinduism is more than a commitment to vegetarianism and has become integral to its theology.[14] The respect for cattle is widespread but not universal. According to Christopher Fuller, animal sacrifices have been rare among the Hindus outside a few eastern states.[14][15] To the majority of modern Indians, states Alsdorf, respect for cattle and disrespect for slaughter is a part of their ethos and there is "no ahimsa without renunciation of meat consumption".[14]
Several scholars explain the veneration for cows among Hindus in economic terms, including the importance of dairy in the diet, the use of cow dung as fuel and fertilizer, and the importance that cattle have historically played in agriculture.[16] Ancient texts such as Rig Veda, Puranas highlight the importance of cattle.[16] The scope, extent and status of cows throughout ancient India is a subject of debate. According to D. N. Jha, cattle, including cows, were neither inviolable nor as revered in ancient times as they were later.[17] A Gryhasutra recommends that beef be eaten by the mourners after a funeral ceremony as a ritual rite of passage.[18] In contrast, according to Marvin Harris, the Vedic literature is contradictory, with some suggesting ritual slaughter and meat consumption, while others suggesting a taboo on meat eating.[8]
Sacred status of cow
The Hindu god Krishna is often shown with cows listening to his music.
The calf is compared with the dawn, in Hinduism. Here, with a sadhu.
Many ancient and medieval Hindu texts debate the rationale for a voluntary stop to cow slaughter and the pursuit of vegetarianism as a part of a general abstention from violence against others and all killing of animals.[19][20]
The interdiction of the meat of the bounteous cow as food was regarded as the first step to total vegetarianism.[21] Dairy cows are called aghnya "that which may not be slaughtered" in Rigveda. Yaska, the early commentator of the Rigveda, gives nine names for cow, the first being "aghnya".[22] According to Harris, the literature relating to cow veneration became common in 1st millennium CE, and by about 1000 CE vegetarianism, along with a taboo against beef, became a well accepted mainstream Hindu tradition.[8] This practice was inspired by the beliefs in Hinduism that a soul is present in all living beings, life in all its forms is interconnected, and non-violence towards all creatures is the highest ethical value.[8][9] Vegetarianism is a part of the Hindu culture. The god Krishna and his Yadav kinsmen are associated with cows, adding to its endearment.[8][9]
According to Nanditha Krishna the cow veneration in ancient India during the Vedic era, the religious texts written during this period called for non-violence towards all bipeds and quadrupeds, and often equated killing of a cow with the killing of a human being specifically a Brahmin.[23] Nanditha Krishna stated that the hymn 8.3.25 of the Hindu scripture Atharvaveda (~1200–1500 BCE) condemns all killings of men, cattle, and horses, and prays to god Agni to punish those who kill.[24][25]
Prithu chasing Prithvi, who is in the form of a cow. Prithu milked the cow to generate crops for humans.
In Puranas, which are part of the Hindu texts, the earth-goddess Prithvi was in the form of a cow, successively milked of beneficent substances for the benefit of humans, by deities starting with the first sovereign: Prithu milked the cow to generate crops for humans to end a famine.[26] Kamadhenu, the miraculous "cow of plenty" and the "mother of cows" in certain versions of the Hindu mythology, is believed to represent the generic sacred cow, regarded as the source of all prosperity.[27] In the 19th century, a form of Kamadhenu was depicted in poster-art that depicted all major gods and goddesses in it.[28][29] Govatsa Dwadashi which marks the first day of Diwali celebrations, is the main festival connected to the veneration and worship of cows as chief source of livelihood and religious sanctity in India, wherein the symbolism of motherhood is most apparent with the sacred cows Kamadhenu and her daughter Nandini.[30]
Historical significance
Main articles: Cattle slaughter in India and Cow protection movement
A pamphlet protesting cow slaughter, first created in 1893. A meat eater (mansahari) is shown as a demon with sword, with a man telling him "don't kill, cow is life-source for all". It was interpreted by Muslims in British Raj to be representing them.[31] Redrawn the Raja Ravi Varma (c. 1897).
The reverence for the cow played a role in the Indian Rebellion of 1857 against the British East India Company. Hindu and Muslim sepoys in the army of the East India Company came to believe that their paper cartridges, which held a measured amount of gunpowder, were greased with cow and pig fat. The consumption of swine is forbidden in Islam and Judaism. Because loading the gun required biting off the end of the paper cartridge, they concluded that the British were forcing them to break edicts of their religion.[32]
A historical survey of major communal riots in India between 1717 and 1977 revealed that 22 out of 167 incidents of rioting between Hindus and Muslims were attributable directly to cow slaughter.[33][34]
In Gandhi's teachings
The cow protection was a symbol of animal rights and of non-violence against all life forms for Gandhi. He venerated cows, and suggested ending cow slaughter to be the first step to stopping violence against all animals.[35] He said: "I worship it and I shall defend its worship against the whole world", and stated that "The central fact of Hinduism is cow protection."[35]
Jainism
See also: Ahimsa in Jainism
Jainism is against violence to all living beings, including cattle. According to the Jaina sutras, humans must avoid all killing and slaughter because all living beings are fond of life, they suffer, they feel pain, they like to live, and long to live. All beings should help each other live and prosper, according to Jainism, not kill and slaughter each other.[36][37]
In the Jain religious tradition, neither monks nor laypersons should cause others or allow others to work in a slaughterhouse.[38] Jains believe that vegetarian sources can provide adequate nutrition, without creating suffering for animals such as cattle.[38] According to some Jain scholars, slaughtering cattle increases ecological burden from human food demands since the production of meat entails intensified grain demands, and reducing cattle slaughter by 50 percent would free up enough land and ecological resources to solve all malnutrition and hunger worldwide. The Jain community leaders, states Christopher Chapple, has actively campaigned to stop all forms of animal slaughter including cattle.[39]
Cattle at a temple, in Ooty India
Cattle making themselves at home on a city street in Jaipur, Rajasthan
Buddhism
The texts of Buddhism state ahimsa to be one of five ethical precepts, which requires a practicing Buddhist to "refrain from killing living beings".[40] Slaughtering cow has been a taboo, with some texts suggest taking care of a cow is a means of taking care of "all living beings". Cattle are seen in some Buddhist sects as a form of reborn human beings in the endless rebirth cycles in samsara, protecting animal life and being kind to cattle and other animals is good karma.[40][41] Not only do some, mainly Mahayana, Buddhist texts state that killing or eating meat is wrong, it urges Buddhist laypersons to not operate slaughterhouses, nor trade in meat.[42][43][44] Indian Buddhist texts encourage a plant-based diet.[9][8]
According to Saddhatissa, in the Brahmanadhammika Sutta, the Buddha "describes the ideal mode of life of Brahmins in the Golden Age" before him as follows:[45]
Like mother (they thought), father, brother or any other kind of kin,
cows are our kin most excellent from whom come many remedies.
Givers of good and strength, of good complexion and the happiness of health,
having seen the truth of this cattle they never killed.
Those brahmins then by Dharma did what should be done, not what should not,
and so aware they graceful were, well-built, fair-skinned, of high renown.
While in the world this lore was found these people happily prospered.
— Buddha, Brahmanadhammika Sutta 13.24, Sutta Nipāta[46][45][47]
Saving animals from slaughter for meat, is believed in Buddhism to be a way to acquire merit for better rebirth.[41] According to Richard Gombrich, there has been a gap between Buddhist precepts and practice. Vegetarianism is admired, states Gombrich, but often it is not practiced. Nevertheless, adds Gombrich, there is a general belief among Theravada Buddhists that eating beef is worse than other meat and the ownership of cattle slaughterhouses by Buddhists is relatively rare.[48][note 1]
Meat eating remains controversial within Buddhism, with most Theravada sects allowing it, reflecting early Buddhist practice, and most Mahayana sects forbidding it. Early suttas indicate that the Buddha himself ate meat and was clear that no rule should be introduced to forbid meat eating to monks. The consumption, however, appears to have been limited to pork, chicken and fish and may well have excluded cattle.[50]
Bhubaneswar (/ˌbʊbəˈneɪʃwər/; Odia: [ˈbʱubɔneswɔɾɔ] (About this soundlisten)) is the capital and largest city of the Indian state of Odisha. The region, especially the old town, was historically often depicted as Ekamra Kshetra (area (kshetra) adorned with mango trees (ekamra)).[9] Bhubaneswar is dubbed the "Temple City"[10][11]—a nickname earned because of the 700 temples which once stood there. In contemporary times, it has emerged as an education hub[12][13] and an attractive business destination.[14][15][16]
Although the modern city of Bhubaneswar was formally established in 1948, the history of the areas in and around the present-day city can be traced to the 7th century BCE and earlier. It is a confluence of Hindu, Buddhist and Jain heritage and includes several Kalingan temples, many of them from 6th-13th century CE. With Puri and Konark it forms the 'Swarna Tribhuja' ("Golden Triangle"), one of eastern India's most visited destinations.[17][18]
Bhubaneswar replaced Cuttack as the capital on 19 August 1949, 2 years after India gained its independence from Britain. The modern city was designed by the German architect Otto Königsberger in 1946. Along with Jamshedpur and Chandigarh, it was one of modern India's first planned cities.[19] Bhubaneswar and Cuttack are often referred to as the 'twin cities of Odisha'. The metropolitan area formed by the two cities had a population of 1.7 million in 2011.[20] Recent data from the United Nations released in 2016 states that Bhubaneswar's metro area has a population of around a million people.[6] Bhubaneswar is categorised as a Tier-2 city. Bhubaneswar and Rourkela are the only cities in smart city mission from Odisha.
Etymology
Bhubaneswar is the anglicisation of the Odia name "Bhubaneswara"(ଭୁବନେଶ୍ୱର), derived from the word Tribhubaneswara (ତ୍ରିଭୁବନେଶ୍ୱର), which literally means the Lord (Eeswara) of the Three Worlds (Tribhubana), which refers to Shiva.[21]
History
Remains of the ancient city of Sisupalagada, on the outskirts of Bhubaneswar, dated to 7th century BCE
Inscription on rock in Brahmi language
Hathigumpha inscriptions at the Udayagiri and Khandagiri caves near Bhubaneswar
Bhubaneswar stands near the ruins of Sisupalgarh, the ancient capital of the erstwhile province of Kalinga. Dhauli, near Bhubaneswar was the site of the Kalinga War (c. 262-261 BCE), in which the Mauryan emperor Ashoka invaded and annexed Kalinga.[22] One of the most complete edicts of the Mauryan Emperor, Ashoka, dating from between 272 and 236 BCE, remains carved in rock, 8 kilometres (5.0 mi) to the southwest of the modern city.[23] After the decline of the Mauryan empire, the area came under the rule of Mahameghavahana dynasty, whose most well-known rule is Kharavela. His Hathigumpha inscription is located at the Udayagiri and Khandagiri Caves near Bhubaneswar. The area was subsequently ruled by several dynasties, including Satavahanas, Guptas, Matharas, and Shailodbhavas.[22]
In the 7th century, Somavamshi or Keshari dynasty established their kingdom in the area, and constructed a number of temples. After the Kesharis, the Eastern Gangas ruled Kalinga area until the 14th century CE. Their capital Kalinganagara was located in present-day Bhubaneswar City. After them, Mukunda Deva of the Bhoi dynasty – the last Hindu ruler of the area until the Marathas – developed several religious buildings in the area.[22] Most of the older temples in Bhubaneswar were built between 8th and 12th centuries, under Shaiva influence. The Ananta Vasudeva Temple is the only old temple of Vishnu in the city.[24] In 1568, the Karrani dynasty of Afghan origin gained control of the area. During their reign, most of the temples and other structures were destroyed or disfigured.[22]
In the 16th century, the area came under pachamani Mughal control. The Marathas, who succeeded the Mughals in the mid-18th century, encouraged pilgrimage in the region. In 1803, the area came under British colonial rule, and was part of the Bengal Presidency (until 1912), Bihar and Orissa Province (1912-1936) and Orissa Province (1936-1947).[22] The capital of the British-ruled Orissa Province was Cuttack, which was vulnerabile to floods and suffered from space constraints. Because of this, on 30 September 1946, a proposal to move the capital to a new capital was introduced in the Legislative Assembly of the Odisha Province. After independence of India, the foundation of the new capital was laid by Prime Minister Jawaharlal Nehru on 13 April 1948.[22]
The name of the new capital came from "Tribhubaneswara" or "Bhubaneswara" (literally "Lord of the Earth"), a name of Shiva, the deity of the Lingaraja temple.[21] The Legislative Assembly of Odisha was shifted from Cuttack to Bhubaneswar in 1949.[22] Bhubaneswar was built as a modern city, designed by German architect Otto Königsberger with wide roads, gardens and parks.[25] Though part of the city followed the plan, it grew rapidly over the next few decades, outstripping the planning process.[26] According to the first census of independent India, taken in 1951, the city's population was just 16,512. From 1952 to 1979, it was administered by a Notified Area Council or a nagar panchayat; a municipality was established only on 12 March 1979. By the 1991 census, the population of Bhubaneswar had increased to 411,542. Accordingly, on 14 August 1994, the Bhubaneswar Municipal Corporation was established.[22]
Geography
Daya River at the foothills of Dhauli
Bhubaneswar is in Khordha district of Odisha.[27] It is in the eastern coastal plains, along the axis of the Eastern Ghats mountains.[28] The city has an average altitude of 45 m (148 ft) above sea level.[28] It lies southwest of the Mahanadi River that forms the northern boundary of Bhubaneswar metropolitan area, within its delta.
City of Bhubaneswar from Khandagiri hill
The city is bounded by the Daya River to the south and the Kuakhai River to the east;[28] the Chandaka Wildlife Sanctuary and Nandankanan Zoo lie in the western and northern parts of Bhubaneswar, respectively.[25]
Bhubaneswar is topographically divided into western uplands and eastern lowlands, with hillocks in the western and northern parts.[28] Kanjia lake on the northern outskirts, affords rich biodiversity and is a wetland of national importance.[29] Bhubaneswar's soils are 65 per cent laterite, 25 per cent alluvial and 10 per cent sandstone.[30] The Bureau of Indian Standards places the city inside seismic zone III on a scale ranging from I to V in order of increasing susceptibility to earthquakes.[31] The United Nations Development Programme reports that there is "very high damage risk" from winds and cyclones.[31] The 1999 Odisha cyclone caused major damage to buildings, the city's infrastructure and cost many human lives.[32] Floods and waterlogging in the low-lying areas have become common due to unplanned growth.[30][33]
Bhubaneswar Schematic Map
Bhubaneswar schematic tourist map
Urban structure
See also: List of neighbourhoods in Bhubaneswar
Rajpath, Bhubaneswar
Pathani Samanta Planetarium Bhubaneswar
The Bhubaneswar urban development area consists of the Bhubaneswar Municipal Corporation area, 173 revenue villages and two other municipalities spread over 1,110 km2 (430 sq mi).[3][34] The area under the jurisdiction of the Bhubaneswar Municipal Corporation covers 186 square kilometres (72 sq mi).[2] The city is somewhat dumbbell-shaped with most of the growth taking place to the north, northeast and southwest.[35] The north–south axis of the city is widest, at roughly 22.5 kilometres (14.0 mi). Growth in the east is restricted due to the presence of Kuakhai River and by the wildlife sanctuary in the northwestern part.[35] The city can be broadly divided into the old town, planned city (or state capital), added areas and outer peripheral areas. It is subdivided into Units and Colonies.
The old town or "Temple Town", the oldest part of the city, is characterised by many temples, including the Lingaraja, Rajarani and Muktesvara temples, standing alongside residential areas. This area is congested, with narrow roads and poor infrastructure.[35] Among neighbourhoods in the old town are Rajarani Colony, Pandaba Nagar, Brahmeswara Bagh, Lingaraja Nagar, Gouri Nagar, Bhimatangi and Kapileswara. The planned city was designed in 1948 to house the capital. It is subdivided into units, each with a high school, shopping centres, dispensaries and play areas. While most of the units house government employees, Unit V houses the administrative buildings, including the State Secretariat, State Assembly, and the Raj Bhavan. Private residential areas were later built in other areas of the planned city, including Saheed Nagar and Satya Nagar. Unit I, popularly known as the Market Building, was formed to cater to the shopping needs of the new capital's residents. Later, markets and commercial establishments developed along the Janpath and Cuttack-Puri Road at Saheed Nagar, Satya Nagar, Bapuji Nagar and Ashok Nagar. A dedicated institutional area houses educational and research institutes, including Utkal University, the Institute of Physics, the Institute of Minerals and Materials Technology and Sainik School. Indira Gandhi Park, Gandhi Park and the Biju Patnaik Park are located in the unit.[35]
The added areas are mostly areas lying north of National Highway 5, including Nayapalli, Jayadev Vihar, Chandrasekharpur and Sailashree Vihar, #Niladri vihar which were developed by Bhubaneswar Development Authority to house the growing population.[35] With the development of the new areas such as Chandrasekharpur the city is now divided roughly into North(newer areas) and South Bhubaneswar (older areas) by the NH-5 highway.
The peripheral areas are outside the municipal boundary or have subsequently been included within the extended boundary, including Tomando, Patia and Raghunathpur. Most of these areas were developed in a haphazard manner, without proper planning.[36] The Master Planning Branch of the Bhubaneswar Development Authority developed the Comprehensive Development Plan (CDP) in 2010.[37] According to the Odisha Development Authorities Act, 1982, the Development Authority has control over the planning for municipal areas.[38] Apart from the CDP, BDA has also created Zonal Development Plans for some of the areas under the CDP.[37] Bhubaneswar secured the top rank in the Smart city list in India.[39][40]
Deras Dam
Climate
A one storied building with decorative plants and landscaping around it
Meteorological Centre, Bhubaneswar
Bhubaneswar has a tropical savanna climate, designated Aw under the Köppen climate classification. The annual mean temperature is 27.4 °C (81.3 °F); monthly mean temperatures are 22–32 °C (72–90 °F).[41] Summers (March to June) are hot and humid, with temperatures in the low 30s C; during dry spells, maximum temperatures often exceed 40 °C (104 °F) in May and June.[41] Winter lasts for only about ten weeks, with seasonal lows dipping to 15–18 °C (59–64 °F) in December and January. May is the hottest month, when daily temperatures range from 32–42 °C (90–108 °F). January, the coldest month, has temperatures varying from 15–28 °C (59–82 °F). The highest recorded temperature is 46.7 °C (116.1 °F), and the lowest is 8.2 °C (47 °F).[42]
Rains brought by the Bay of Bengal branch of the south west summer monsoon[43] lash Bhubaneswar between June and September, supplying it with most of its annual rainfall of 1,638 mm (64 in). The highest monthly rainfall total, 404 mm (16 in), occurs in August.[44]
Economy
East Coast Railway Headquarters in Bhubaneswar
Bhubaneswar is an administrative, information technology, education and tourism city.[28] Bhubaneswar was ranked as the best place to do business in India by the World Bank in 2014.[46] Bhubaneswar has emerged as one of the fast-growing, important trading and commercial hub in the state and eastern India.[14] Tourism is a major industry, attracting about 1.5 million tourists in 2011.[28][47] Bhubaneswar was designed to be a largely residential city with outlying industrial areas. The economy had few major players until the 1990s and was dominated by retail and small-scale manufacturing. With the economic liberalisation policy adopted by the Government of India in the 1990s, Bhubaneswar received investment in telecommunications, information technology (IT) and higher education.[28]
As of 2001, around 2.15% of the city's workforce was employed in the primary sector (agriculture, forestry, mining, etc.); 2.18% worked in the secondary sector (industrial and manufacturing); and 95.67% worked in the tertiary sector (service industries).[28]
In 2011, according to a study by Associated Chambers of Commerce and Industry of India, Bhubaneswar had the highest rate of employment growth among 17 Tier-2 cities in India.[48] It has been listed among the top ten emerging cities in India by Cushman and Wakefield, taking into consideration factors like demographics, physical, social and real estate infrastructure, current level and scope of economic activities and government support.[15] In 2012, Bhubaneswar was ranked third among Indian cities, in starting and operating a business by the World Bank.[16] Bhubaneswar has been traditionally home to handicrafts industry, including silver filigree work, appliqué work, stone and wood carvings and patta painting, which significantly contributes to the city's economy.[28] The late 2000s saw a surge of investments in the real estate, infrastructure, retail and hospitality sectors; several shopping malls and organised retails opened outlets in Bhubaneswar.[49][50][51][52]
The Department of Industries established four industrial areas in and around Bhubaneswar, in the Rasulgarh, Mancheswar, Chandaka, and Bhagabanpur areas.[28] In the informal sector, 22,000 vendors operate in regulated or unregulated vending zones.[53][54]
In 2009, Odisha was ranked ninth among Indian states in terms of software export by NASSCOM, with most IT/ITES companies established in Bhubaneswar. In 2011–12, Odisha had a growth rate of 17% for software exports.[55] According to a 2012 survey, among the tier-2 cities in India, Bhubaneswar has been chosen as the best for conducting IT/ITES business.[56] The government fostered growth by developing of IT parks such as Infocity-1, Infovalley, STPI-Bhubaneswar and JSS STP.[57][58] Infocity was conceived as a five-star park, under the Export Promotion Industrial Parks (EPIP) Scheme to create infrastructure facilities for setting up information technology related industries. Infosys and Tech Mahindra have been present in Bhubaneswar since 1996. Other software companies include TCS, Wipro, IBM, Genpact, Firstsource, Mindtree, MphasiS, Ericsson, Semtech and Reliance Communications, AnantaTek and SA Intellect. Apart from the big multinationals, some 300 small and mid-size IT companies and business startups have offices in Bhubaneswar.[58]
Demographics
Population
Bhubaneswar population
CensusPopulation%±
195116,512
As per the 2011 census of India, Bhubaneswar had a population of 837,737, while the metropolitan area had a population of 881,988.[62] As per the estimate of IIT Kharagpur, which made a development plan, the Bhubaneswar–Cuttack Urban complex, consisting of 721.9 square kilometres (278.7 sq mi), has a population of 1.9 million (as of 2008).[63] As of 2011, the number of males was 445,233, while the number of females were 392,504. The decadal growth rate was 45.90 per cent.[citation needed]
Literacy
Effective male literacy was 95.69 per cent, while female literacy was 90.26 per cent. About 75,237 were under six. Bhubaneswar's literacy rate is 93.15 per cent[62]—significantly higher than the national average of 74.04 per cent.[64]
Language
The main language spoken in the city is Odia. However, English and Hindi are understood by most residents. Although Odias comprise the vast majority, migrants from other states like Andhra Pradesh, Bihar, West Bengal and Jharkhand also dwell in the city. Growth in the information technology industry and education sector in Bhubaneswar changed the city's demographic profile; likely infrastructure strains and haphazard growth from demographic changes have been a cause of concern.
Religion
Panoramic view of Mukteshvara Temple, Bhubaneswar
Bhubaneswar is a very religiously diverse city. Hindus form the majority in it. It also has large minorities of Christians and Muslim.
Governance and Politics
Krushi Bhavan building in Bhubaneswar
Civic Administration
The Bhubaneswar Municipal Corporation (BMC) oversees and manages civic infrastructure for the city's 67 wards.[65] It started as a Notified Area Committee in 1946 and was upgraded to a municipal corporation in 1994.[66] Orissa Municipal Corporation Act, 2003 is the governing act.[67] Residents of each ward elect a corporator to the BMC for a five-year term. Standing committees handle urban planning and maintain roads, government-aided schools, hospitals and municipal markets.[68]
As Bhubaneswar's apex body, the corporation discharges its functions through the mayor-in-council, which comprises a mayor, a deputy mayor and other elected members. The executive wing is headed by a Commissioner. There are 13 administrative departments under BMC: PR & Communication, Disaster Management, Finance, Health & Sanitation, Engineering, Revenue & Tax, Electrical, Environment, Social Welfare, IT and Social Projects, Establishment, Land & Assets, Enforcement & Recovery.[69] The responsibilities of the municipal body include drainage and sewerage, sanitation, solid waste management and street lighting.[28]
The tenure of the last elected body ended in January 2019 and new elections have not taken place yet, because the High Court struck down the delimitation process that was carried out for exceeding 50% reservations of seats.[70][71] Ward committees have been formed in Bhubaneswar and are very active.[72] The Committees are responsible for issues such as public health, sanitation, street lighting and conservancy in their respective wards. There is no fixed number of members in the committees.
The processes for the municipal budget 2020-21 was initiated in February 2020, but it is unclear if they have continued after the lockdown was accounced.[73] The budget for 2020-21 was supposed to be aroound Rs. 700, an increase of 51.8% from the 2019-20 budget. The increase was suppsoedly to fund the various socio-economic welfare schemes in the city. The key revenue sources for BMC are: Holding Taxes, tax from advertisements, rent from municipal properties such as markets, shopping complexes, and kalyan mandaps (marriage halls), fees and user charges, and grants from state and central governments.[74]
Lok Sabha and Vidhan Sabha Constituencies
Citizens of Bhubaneswar elect one representative to India's lower house, the Lok Sabha, and three representatives to the state legislative assembly, through the constituencies of Bhubaneswar North, Ekamra-Bhubaneswar, and Bhubaneswar Central.[75][76] The last Lok Sabha election was in 2019, when Aparajita Sarangi from Bharatiya Janata Party won the seat.[77] The last state assembly election took place in 2019 as well, when all three Vidhan Sabha seats in Bhubaneswar were won by Biju Janata Dal: Susant Kumar Rout from North, Ashok Chandra Panda from Ekamra, and Ananta Narayan Jena from Central.[78][79][80]
Judicial and Police Institutions
As the seat of the Government of Odisha, Bhubaneswar is home to the Odisha Legislative Assembly and the state secretariat. Bhubaneswar has lower courts: the Court of Small Causes and the District Civil Court decide civil matters; the Sessions Court rules in criminal cases.[81] The Bhubaneswar–Cuttack Police Commissionerate, established in 2008, is a city police force with primary responsibilities in law enforcement and investigation in the Bhubaneswar-Cuttack area.[82][83] Shri S.K. Priyadarshi, IPS is the police commissioner.[84]
A wide four storied building with landscaped lawn and garden in the foreground
Odisha State Secretariat building
Public utilities
Electricity is supplied by the state-operated Central Electricity Supply Utility of Odisha, or CESU.[30] TATA Power as a private entity started Power distribution in the city by the end of 2020.[85] Fire services are handled by the state agency Odisha Fire Service. Drinking water is sourced from the Mahanadi, Kuakhai and Daya rivers. Water supply and sewerage are handled by the Public Health Engineering Organisation.[28] As of 2015, 35% of the city was covered by piped water connections, 1.4% of the households had metered water connection, and the extent of non-revenue water in the city ran to 62.5%.[86] The Engineering Department of BMC creates and maintains roads.[87]
26.7% of the city is covered by sewage network, while more than 50% of the households are dependent on onsite containment systems, such as septic tanks.[88] There is no sewage treatment plant in Bhubaneswar right now,[when?] but one is being built using JNNURM funds.[86][89] The waste from the limited sewage network flows untreated into the Daya river. There is one septage treatment plant for fecal sludge with a capacity of 75 KLD.[90]
The municipal corporation is responsible for the solid waste management in the city. The average municipal waste generated in the city is 480 kg/m3 for wet waste and 600 kg/m3 for wet waste.[91] Bhubaneswar Municipal Corporation BMC has introduced door to door collection through battery operated garbage collection vehicle.[92] It is trying to introduce segregation at source by providing two waste bins to every household, one each for dry and wet waste.[93] Landfilling is the most common method of waste disposal in Bhubaneswar.[91] State-owned Bharat Sanchar Nigam Limited, or BSNL, as well as private enterprises, among them Reliance Jio, Vodafone, Bharti Airtel, Reliance, Idea Cellular, Aircel and Tata DoCoMo, are the leading telephone, cell phone and internet service providers in the city.[94][95]
Education
See also: List of institutions of higher education in Odisha
Academic Block of Xavier Institute of Management, Bhubaneswar
Institute of Physics Bhubaneswar library
NISER, Bhubaneshwar
Indian Institute of Technology Bhubaneswar
All India Institute of Medical Sciences Bhubaneswar
Utkal University Bhubaneswar
Bhubaneswar is a centre for higher education in the Eastern Region and is considered the education hub of Eastern India with several government and privately funded Universities and colleges.[12][13] IIT Bhubaneswar, NISER Bhubaneswar, AIIMS Bhubaneswar and NIFT Bhubaneswar are some of the elite institutions of country which are located in the city. Utkal University Bhubaneswar is the oldest university in Odisha and the 17th oldest university in India.
Primary and secondary education
Odia and English are the primary languages of instruction. Schools in Bhubaneswar follow the "10+2+3" plan for Regular Graduates and "10+2+4" plan for Technical studies. Schools in Bhubaneswar are either run by the state government or private organisations. Students typically enroll in schools that are affiliated with any of the following mediums of education.
BSE, Odisha
CHSE, Odisha
CBSE
Council for the Indian School Certificate Examinations
SCTE&VT, Odisha
Notable union government schools in the city include
Kendriya Vidyalaya No. 1, Bhubaneswar,
Kendriya Vidyalaya No 2 CRPF,
Kendriya Vidyalaya, Mancheswar,
Kendriya Vidyalaya, Niladrivihar,
Kendriya Vidyalaya, Pokhriput,
Sainik School,
Notable state government schools in the city include
Badagada Government High School, Bhubaneswar
Capital High School, Bhubaneswar
Government High School, Saheed Nagar
Notable private schools in the city include
Aditya Birla School, Bhubaneswar,
BJEM School, Bhubaneswar,
DAV Public School, Unit-8, Bhubaneswar,
D.A.V. Public School, Chandrasekharpur,
D.A.V. Public School, Pokhariput
Delhi Public School, Bhubaneswar,
D M School, Bhubaneswar
KIIT International School, Bhubaneswar,
Loyola School, Bhubaneswar,
O D M School, Bhubaneswar
Prabhujee English Medium School, Bhubaneswar,
Sai International School, Bhubaneswar,
St. Joseph's High School, Bhubaneswar,
St. Xavier's High School, Bhubaneswar
Higher education
Several colleges are affiliated with universities or institution based in Bhubaneswar or elsewhere in India. Most offer a wide range of programs in STEM and applied research and are rated highly by the Ministry of Human Resource Development, India.
Engineering and applied sciences institutions
C. V. Raman Global University
Central Institute of Freshwater Aquaculture
College of Engineering and Technology, Bhubaneswar
Eastern Academy of Science and Technology
Indian Institute of Technology Bhubaneswar
Institute of Chemical Technology, Mumbai (off campus in collaboration with IndianOil and IIT Kharagpur)
Institute of Minerals and Materials Technology (IMMT, erstwhile RRL)
Institute of Physics
International Institute of Information Technology, Bhubaneswar (IIIT-BH)
Kalinga Institute of Industrial Technology
National Institute of Fashion Technology (NIFT)
National Institute of Science Education and Research (NISER)
Orissa Engineering College
Regional Institute of Education
Medical institutions
All India Institute of Medical Sciences Bhubaneswar
Hi-Tech Medical College & Hospital, Bhubaneswar
Institute of Medical Sciences and Sum Hospital
Kalinga Institute of Medical Sciences
Regional Medical Research Center
Universities
Birla Global University, Bhubaneswar
Centurion University of Technology and Management, Bhubaneswar
College of Engineering and Technology[96]
Kalinga Institute of Industrial Technology
Odisha State Open University[97]
Odisha University of Agriculture and Technology
Rama Devi Women's University
Regional College of Management[98]
Siksha 'O' Anusandhan
Utkal University of Culture
Utkal University
Xavier Institute of Management, Bhubaneswar(XIM) university
Tourism education is another field of study emerging. The Eastern Regional Centre of Indian Institute of Tourism and Travel Management (IITTM), the second in the country after Gwalior, was established in 1996. One IATA Authorised Training Centre (ATC) is also located in the city premises. Several regional management educational institutions also have travel and tourism related courses in their curriculum.[citation needed]
Transport
Mo Cycle
Bicycle
A public bicycle sharing project named Mo Cycle has been started by the Bhubaneswar Smart City Limited (BSCL) and the Capital Region Urban Transport (CRUT). The scheme aims to reduce traffic congestion, promote non-motorized transport in the city and ensure better last mile connectivity. Chief minister Naveen Patnaik in November 2011 inaugurated Mo Cycle. Around 400 cycle stands have been set up across the city. Around 2,000 bicycles have been ordered from three companies - Hexi, Yaana and Yulu. Hexi (from Hero Cycles) will provide 1,000 bicycles and Yaana and Yulu will provide 500 each. The availability of rentals Bicycles are accessed by the Dedicated mobile app - "mo app".[99]
Bus
Mo Bus
Internal public transport is maintained by "Mo Bus (My Bus)" service administrated by CRUT(Capital Region Urban Transport) along with connecting nearest cities like Cuttack and Puri. The headquarters of the Odisha State Road Transport Corporation (OSRTC) is in Bhubaneswar. The main Bhubaneswar inter-state bus terminus is at Barmunda, 8 kilometres (5.0 mi) from the city centre, from where OSRTC and private operators run buses connecting Bhubaneswar to cities in Odisha and with the neighbouring states of Andhra Pradesh, Jharkhand, West Bengal and Chhattisgarh.[100] Bhubaneswar is connected to the rest of Odisha and India by National Highway-NH 16, which is a part of the Kolkata-Chennai prong of the Golden Quadrilateral, NH 203, State Highway 13 (Odisha) and State Highway 27 (Odisha). Asian Highway- AH 45 passes through the city.[34]
Road
One of the many fly-overs in the city.
Bhubaneswar has roads in grid form in the central city. Bhubaneswar has approximately 1,600 kilometres (990 mi) of roads, with average road density of 11.82 square kilometres (4.56 sq mi).[28] Baramunda Inter State Bus Terminus (ISBT) is the major bus terminus in the city from where buses ply to all the districts in Odisha as well as to neighbouring state's cities like Hyderabad, Kolkata, Visakhapatnam, Raipur and Ranchi. City bus service (Mo Bus) runs across Bhubaneswar by Capital Region Urban Transport Authority run by Bhubaneswar Development Authority .[101] A fleet of 300+ buses cover all major destinations including Cuttack, Puri and Khordha.[101] Auto rickshaws are available for hire and on a share basis throughout the city. In parts of the city, cycle rickshaws offer short trips.[102] To ease traffic jams, over-bridges at major road junctions and expansion of roads are under construction.[103][104] In a study of six cities in India, Bhubaneswar was ranked third concerning pedestrian infrastructure. The city scored 50 points out of a maximum of 100.
Rail
Bhubaneswar railway station
Bhubaneswar has the following stations:
Station name Station code Railway zone Number of platforms
Bhubaneswar BBS East Coast Railway 6
Mancheswar MCS East Coast Railway 4
Lingaraj Temple Road LGTR East Coast Railway 3
Vani Vihar BNBH East Coast Railway 2
Patia PTAB East Coast Railway 2
New Bhubaneswar BBSN East Coast Railway 7
The East Coast Railway has its headquarters in Bhubaneswar. Bhubaneswar railway station is one of the main stations of the Indian railway network. It is connected to major cities by daily express and passenger trains and daily service to all metro cities is available from here. However, the station is overloaded by existing traffic. Currently, the station has six platforms. There are plans to add two more platforms.[105]
A satellite station New Bhubaneswar railway station is opened near Barang in July 2018 to decongest the existing installation.[106]
Air
Biju Patnaik International Airport
Biju Patnaik International Airport (IATA: BBI, ICAO: VEBS) also known as Bhubaneswar Airport, 3 kilometres (1.9 mi) south of the city centre, is the major and sole international airport in Odisha. There are daily domestic flights from Bhubaneswar to Delhi, Hyderabad, Mumbai, Kolkata, Vishakhapatnam, Chennai and Bangalore. There are international flights from Bhubaneswar to Bangkok and Kuala Lumpur thrice a week. The major carriers from Bhubaneswar are Indigo, Vistara, GoAir, AirAsia Berhad, AirAsia India and Air India. In March 2013, a new domestic terminal with a capacity of handling 30 million passengers per year was inaugurated to handle increased air traffic.[107] On 10 July 2015, the first international flight took off from terminal 2 of Biju Patnaik International Airport.
Culture
Muktesvara deula, covered with erotic ancient carvings, known for its quality of sculptures
Bindusagara water tank on a winter morning
Ravindra Mandapa, an auditorium in Bhubaneswar
Bhubaneswar is supposed to have had over one thousand temples, earning the tag of the 'Temple City of India'. Temples are made in the Kalinga architectural style with a pine spire that curves up to a point over the sanctum housing the presiding deity and a pyramid-covered hall where people sit and pray.
Famous temples include Lingaraja Temple, Muktesvara Temple, Rajarani Temple, Ananta Vasudeva Temple.[108]
The twin hills of Khandagiri and Udayagiri, served as the site of an ancient Jaina monastery which was carved into cave-like chambers in the face of the hill. These caves, with artistic carvings, date back to the 2nd century BCE. Dhauli hills has major edicts of Ashoka engraved on a mass of rock and a white Peace Pagoda was built by the Japan Buddha Sangha and the Kalinga Nippon Buddha Sangha in the 1970s. Apart from the ancient temples, other important temples were built in recent times include Ram Mandir and ISKCON.
Bhubaneswar along with Cuttack is the home of the Odia cinema industry, dubbed "Ollywood", where most of the state's film studios are situated.
Odia culture survives in the form of Classical Odissi dance, handicrafts, sand artistry and sculpturing as well as theatre and music. Boundary walls and gardens are increasingly being redone to depict the folk art of the state.[109][110] Odissi, the oldest of the eight surviving classical dance forms of India can be traced from archaeological evidence from the temples in Bhubaneswar.[111][112][113]
Odissi dance
Odissi dance is generally accompanied by Odissi music. Srjan, the Odissi dance academy founded by Guru Kelucharan Mohapatra, the legendary Odissi dancer is found here.[114][115] The Rabindra Mandapa in central Bhubaneswar plays host to cultural engagements, theatre and private functions.[116]
Odissi dance
Dress and attire
Though Odia women traditionally wear the sari, shalwar kameez and of late, Western attire is gaining acceptance among younger women.[117] Western-style dress has greater acceptance among men, although the traditional dhoti and kurta are seen during festivals.[118]
The Odisha State Museum offers archaeological artefacts, weapons, local arts and crafts as well as insights into Odisha's natural and indigenous history.[119] The Tribal Research Institute Museum hosts authentic tribal dwellings created by tribal craftsmen.[120] Nandankanan Zoological Park, located on the northern outskirt of the city, is India's first zoo to join World Association of Zoos and Aquariums.[121][122] The State Botanical Garden (Odisha) and Regional Plant Resource Center, popularly known as Ekamra Kanan, a park and botanical garden, has a large collection of exotic and regional fauna. The Ekamra Haat is a hand-loom and handicrafts market. Nicco Park and Ocean World are amusement parks. Other museums include Pathani Samanta Planetarium, Regional Museum of Natural History, Regional Science Center and State Handicrafts Museum.
Festivals
On the day of Ashokashtami in the month of March or April, the image of Lingaraja (Shiva) and other deities are taken in a procession from Lingaraja Temple to the Mausima Temple, where the deities remain for four days.[123] Hundreds of devotees participate in pulling the temple car that carries the deities, known as Rukuna Ratha.[124] Ratha-Yatra, "Temple Car Festival," is the most important festival in Odisha and Bhubaneswar.[125] The festival commemorates Jagannatha, who is said to have been the incarnation of India's revered deities, Vishnu and Krishna. Durga Puja, held in September–October, is an occasion for glamorous celebrations.[126][127]
As a part of the Ekamra Festival, many cultural sub-festivals take place in January in Bhubaneswar which include Kalinga Mahotsaba (for traditional martial arts), Dhauli-Kalinga Mahotsaba (for classical dance forms), Rajarani Music Festival (for classical music) and Mukteswara Dance Festival (for Odishi dance).[128] Residents engage in khattis, or leisurely chats, that often take the form of freestyle intellectual conversation.[129]
Other festivals celebrated include Shivaratri, Diwali, Ganesha Chaturthi, Nuakhai and Saraswati Puja. Eid and Christmas are celebrated by the religious minorities in the city.[130][131][132]
The Adivasi Mela, held in January, is a fair that displays the art, artefacts, tradition, culture, and music of the tribal inhabitants of Odisha.[133] The Toshali National Crafts Mela, held in December, showcases handicrafts from all over India and from foreign countries.[134] Other important fairs in the city include the Rajdhani Book Fair, Dot Fest[135] and Khandagiri Utsav.[136][137] Two international literary festivals are held in the city, Kalinga Literary Festival[138][139] and Mystic Kalinga Festival.[140][141] In modern times Bhubaneswar hosts a literary festival, the Odisha Literary Fest.[142]
Cuisine
Pahala rasagola, a famous sweet which originated in Odisha
Chhena Gaja, another famous sweet of Odisha
Key elements of the city's cuisine include rice and a fish curry known as Machha Jhola, which can be accompanied by desserts such as Rasagola, Rasabali, Chhena Gaja, Chhena Jhilli and Chhena Poda.[143] Odisha's large repertoire of seafood dishes includes various preparations of lobsters and crabs brought in from Chilika Lake.[144]
Street foods such as gupchup (a deep-fried crêpe, stuffed with a mix of mashed potatoes and boiled yellow peas, and dipped in tamarind-infused water), cuttack-chaat, dahi bara-aloo dum (a deep-fried doughnut-shaped lentil dumpling marinated in yogurt-infused water and served alongside potato curry) and bara-ghuguni are sold all over the city.[145] Traditional Oriya food such as dahi-pakhala (rice soaked in water with yogurt and seasonings) which is considered as a body coolant, accompanied by badi chura or saga are consumed during the months of April–June.[146]
The abadha of Lingaraja Temple and Ananta Vasudeva Temple served for devotees is considered a vegetarian culinary delight. Other vegetarian dishes are Dalma (made of lentils and vegetables boiled together and then fried with other spices) and Santula (lightly spiced steamed vegetables).[144]
Sports
Kalinga Stadium, Bhubaneswar
Bhubaneswar Golf Club
Bhubaneswar's major sporting arena is the Kalinga Stadium, having facilities for athletics, football, hockey, basketball, tennis, table tennis and swimming.[147][148][149] It is known for hosting the Odisha Hockey World Cup in November–December 2018. Kalinga Lancers, the sixth franchise of Hockey India League and Odisha FC, a Club of Indian Super League, are based in Bhubaneswar with Kalinga Stadium as their home ground. East Coast Railway Stadium, a prominent cricket stadium hosts Ranji Trophy and other matches.[150]
The construction of a gallery and stadium renovation is under way. An air-conditioned indoor stadium, with a capacity of 2000 spectators for badminton, volleyball, basketball and table tennis games is also being constructed.[147] Barabati Stadium in Cuttack, Odisha's only venue for international cricket matches, is located around 25 kilometres (16 mi) away.[151] Bhubaneswar has a franchise of Odisha Premier League, Bhubaneswar Jaguars, which started in 2010. Bhubaneswar Golf Club, a nine-hole golf course is situated in Infocity.[152]
The Kalinga Institute of Industrial Technology Stadium commonly KIIT Stadium is a new multipurpose stadium located as a part of Kalinga Institute of Industrial Technology University Campus or KIIT University in Bhubaneswar with a capacity of 40,000 currently.
The 2017 Asian Athletics Championships was the 22nd edition of the Asian Athletics Championships. It was held from 6-9 July 2017 at the Kalinga Stadium. Bhubaneswar is the third Indian city to host the Asian Athletics Championships, with Delhi being the first, in 1989, and Pune, the second, in 2013.[153]
Bhubaneswar is emerging as the new sports capital of India, as the FIH and the IOA president, Narindar Batra, recently stated in a ceremony, while unveiling the new logo for the Indian hockey team jersey, which is sponsored by the government of Odisha. The state, Batra mentioned, provides equal importance and opportunity for all sports such as cricket, football, field hockey, tennis, badminton, chess and many more.[154]
Media
The city's widely circulated Odia-language newspapers are Sambad, Dharitri, Pragatibadi, Samaja, Khabara, Orissa Bhaskara, Prameya and Samaya.[155] Orissa Post and Odia Age are the English-language newspaper that is produced and published from Bhubaneswar. Other popular English-language newspapers published and sold in Bhubaneswar include The Times of India, The Statesman, Hindustan Times, The Hindu, The Indian Express and the Asian Age.[155] Bhubaneswar has substantial circulation of financial dailies, including The Economic Times, The Financial Express, Business Line and Business Standard.[155] Vernacular newspapers, such as those in the Hindi, Bengali and Telugu languages are read by minorities.[155] Major periodicals based in Bhubaneswar include Saptahika Samaya, Saptahika Samaja and Kadambini.
All India Radio, the national state-owned radio broadcaster, airs several AM channels from the radio station located in Cuttack.[156] Bhubaneswar has five local radio stations broadcasting on FM, including two from AIR.[156][157] India's state-owned television broadcaster Doordarshan Odia provides two free-to-air terrestrial channels,[158] while a mix of Odia, Hindi, English and other regional channels are accessible via cable subscription and direct-broadcast satellite services. Some of the Odia language television channels are Colors Odia, Sarthak TV and Tarang TV. Odia-language 24-hour television news channels include News 7, Odisha TV, Kanak TV, ETV News Odia, MBC TV and Naxatra News.[159]
Notable people
The following are some of the notable people associated with Bhubaneswar:[clarification needed]
Subroto Bagchi
Ranjib Biswal
Dutee Chand
Nabakrushna Choudhuri
Bidhu Bhusan Das
Prabhat Nalini Das
Pankaj Charan Das
Baidyanath Misra
B. K. Misra
Bhubaneswar Mishra
Aparajita Mohanty
Bijay Mohanty
Debashish Mohanty
Gopinath Mohanty
Saraju Mohanty
Uttam Mohanty
Bibhu Mohapatra
Kelucharan Mohapatra
Mira Nair
Oopali Operajita
Sanjukta Panigrahi
Ramesh Chandra Parida
Prasanna Kumar Patasani
Biju Patnaik
Janaki Ballabh Patnaik
Naveen Patnaik
Sudarsan Pattnaik
Rakesh Pradhan
Trilochan Pradhan
Biswa Kalyan Rath
Mahasweta Ray
Tandra Ray
Archita Sahu
Salabega
Achyuta Samanta
Pathani Samanta
Mayadhar Swain
On the real plane all engines are interconnected through axles and gears, so that the loss of power on a single engine wouldn`t be catastrophic. It also synchronizes the propellers so that each propeller on the same wing-side is offset 45 degrees to each other. All of this, I tried to replicate with my model, and spent way too much time designing it, just to realize that because of a flaw in the LDD designer program, some of the gears had way too much friction to let the propellers spin freely.
The Dixie Highway was planned out in December 1914 to connect the Midwest with the South, from Chicago to Miami.
By the mid-1920s, the project was largely completed with a network of roads interconnected across 10 states with more than 5,000 miles of paved, bricked road. But, by 1927, Dixie Highway became part of the US Route System, and was therefore, mostly abandoned. But, a portion of it still remains in remote Florida, and was added to the National Register of Historic Places on April 20, 2005.
“It’s one of the oldest roads in America,” according to the historian.
Upon on my arrival, I started from south toward north, before I entered, there is a warning: “Travel at your own risk.” And another prohibiting the removal of the bricks in the road. Doing so, it says, warrants prosecution “to the fullest extent of the law.”
The historic stretch of Old Dixie Highway is 10 miles long, and would recommend to drive slowly as there are some thick soft-sand on the road that could cause slide off from the road if driving too fast.
Interesting fact: The brick was manufactured by the Graves Shale Brick Company in Birmingham, Alabama, belonging to a slave-owning man who fought for the Confederacy. It took 237,600 such bricks to build just 1 mile of road, 9 feet wide. Others are with the words "SOUTHERN CLAY MFG CO” for the Southern Clay Manufacturing Company in Tennessee.
Lowest profile (H/L 18%) in sample of eighteen.
It is often asserted that interior shell-layers conceal the outer shell so that, internally, “marginal rays are never conspicuous” (Fretter and Graham, 1994), but this does not apply to many shells below 40 mm length, such as this one from a shore in North Yorkshire where the majority have thin inner layers revealing exterior colour rays.
SPECIES DESCRIPTION part A BELOW
SPECIES DESCRIPTION part B 3Pu flic.kr/p/BRHsiR
Key id. features 4Pu flic.kr/p/BG8hhs
OTHER SPECIES ALBUMS www.flickr.com/photos/56388191@N08/collections/
PDF available at www.researchgate.net/profile/Ian_Smith19/research
Terms in text used with restricted or specialised meaning are marked with hashtag#; refer to GLOSSARY below.
Patella_ulyssiponensis Gmelin, 1791.
Current taxonomy: World Register of Marine Species (WoRMS)
www.marinespecies.org/aphia.php?p=taxdetails&id=140684
Synonyms: Patella aspera Lamarck,1819 (widely used by many authors until 1970s but now considered by WoRMS to be separate Macaronesian species P. aspera Röding, 1798); Patella_athletica Bean, 1844; P. depressa auct.
Jeffreys (1865) mistakenly took the rudimentary description of P. depressa by Pennant (1777) to be what is currently (2015) called P. ulyssiponensis. Until 1923, most authors followed Jeffreys in applying the name P. depressa Pennant to the wrong species, and in using the name P. intermedia Jeffreys for what is now recognised as P. depressa Pennant. Examination of Pennant's type specimen by Tomlin (1923) exposed the error and authors started to use the name P. athletica Bean, 1844, for what is now called P.ulyssiponensis but, probably to avoid confusion, many retained use of P. intermedia Jeffreys for the true P. depressa Pennant, despite Pennant's priority, until the 1970s (e.g.Yonge & Thompson, 1976).
Vernacular names: China limpet (English); Brenigen dorfelen (Welsh); Ruwe schaalhoren (Dutch);
Meaning of name: Patella (Latin) = little pan, ulyssiponensis (Latin) = from Lisbon.
Shell Description
Patellid limpets have great geographical variation within and between species; this account refers to British specimens.
Up to 50mm long and 20mm high 1Pu flic.kr/p/BpzHx5 . Strong. Conoid; apex to anterior of centre, base ovoid, widest and sometimes angulated at posterior. Profile usually low (H/L 18-34%, sample of 18) 2Pu flic.kr/p/BG8mKq & 3Pu flic.kr/p/BRHsiR . In profile, anterior and posterior straight 4Pu flic.kr/p/BG8hhs , varying to slightly convex 3Pu flic.kr/p/BRHsiR or slightly concave 5Pu flic.kr/p/AUccwq . When not eroded, often sculpture of single, narrow, pale radiating ribs with varying numbers of intervening weaker ribs 6Pu flic.kr/p/AUicEZ but often obscured by algal growths 7Pu flic.kr/p/AUibCP & 8Pu flic.kr/p/BpznqS . Sometimes ribs project from aperture-rim as points 9Pu flic.kr/p/Bicbta & 10Pu flic.kr/p/BRH5pv , but frequently eroded down 11Pu flic.kr/p/BPsC4f . Dark radiating rays between strong ribs often coalesce into bands 11Pu flic.kr/p/BPsC4f .
Most published descriptions and illustrations are confined to specimens with well-developed, thick, porcellaneous layers on the shell-interior e.g. www.conchsoc.net/spAccount/patella-ulyssiponensis . Some of this form show features defined by differences of orange staining 14 Pu flic.kr/p/BpCkES and/or reflectivity Pu1 flic.kr/p/BpzHx5 resulting from differences in crystal-form of shell-material made by different parts of mantle. Following regions may then be recognised: 1) aperture rim, minute part (or none) of pigmented exterior shell-layer; secreted by mantle-edge, 2) wide peripheral “skirt layer” that reflects light, often iridescing blue, from many short crystalline lines parallel to rim; secreted by mantle-skirt, 3) narrower, matt, opaque, “pallial groove-band”; secreted by mantle roofing groove that contains gills, 4) translucent, horseshoe-shape “pedal-retractor muscle scar”; mark left by muscle attachment, 5) very thin “anterior mantle-attachment scar” connecting ends of pedal-retractor scar; mark left by mantle attachment, 6) central “amphora area” enclosed by scars 4 & 5; secreted by mantle over visceral hump, 7) short mark across pallial groove-band where efferent pallial vessel enters nuchal cavity through gap in pallial gills. On this form, interior layers conceal outer shell so, internally, “marginal rays are never conspicuous” (Fretter and Graham, 1994).
However, on some shores , e.g. in north Yorkshire, majority have thin inner layers revealing exterior colour rays 2Pu flic.kr/p/BG8mKq & 11Pu flic.kr/p/BPsC4f , sometimes across whole shell 16Pu flic.kr/p/BpChy1 (apart from some with length c.40mm and over 12Pu flic.kr/p/AUfeNo ) . On these, the structural features 1-7 described above are usually indiscernible or ill-defined, apart from frequently orange-stained amphora area 13Pu flic.kr/p/BRLd2Z and iridescent lines in skirt-layer 15Pu flic.kr/p/AUm6kt .
Spat, length 1mm, lack ridges on main anteroposterior axis and have broad, prominent, mid-lateral pigment lines running straight (not swept forwards or backwards) from apex to lip.
Body description
Translucent white head, with pink internal odontophore showing through 17Pu flic.kr/p/BJtvfi ; has substantial snout , folds in at posterior, with large mouth (transverse when shut) fringed by thick, yellow, outer lips (whitish when small); inner lips darker yellow, open laterally for protrusion of radula 18Pu flic.kr/p/Bif5cB . Cephalic tentacles similar colour to head and/or mantle-skirt 19Pu flic.kr/p/AUeYf9 & 18Pu flic.kr/p/Bif5cB , with small black eye in slight swelling at base. Eye is primitive (or degenerate) cavity, open to seawater and lined with black retina cells 17Pu flic.kr/p/BJtvfi & 18Pu flic.kr/p/Bif5cB . Mantle skirt translucent, usually darker than body colour; buff-white/cream 5Pu flic.kr/p/AUccwq , buff-grey 20Pu flic.kr/p/AUeX8j , or yellow 21Pu flic.kr/p/AUuNww ; colour most saturated when skirt retracted from shell-periphery 22Pu flic.kr/p/BGqz3N . Skirt contains efferent pallial vessel 23Pu flic.kr/p/BGqwhs . Mantle cavity consists of nuchal cavity over head, and pallial groove filled with pallial gills around entire periphery of foot-head 24Pu flic.kr/p/BS1DhR ; no ctenidium. Each gill is tongue-shaped leaflet attached by stalk to distal wall of pallial-groove and has densely ciliated groove on stalk and thickened rim 25Pu flic.kr/p/BGqt5A (Fretter & Graham, 1994). Mantle-edge has many white, off-white , cream or, on large specimens, yellow or orange pallial tentacles 26Pu flic.kr/p/BGqszN ; basal half opaque becoming translucent and less intensely coloured distally; opaque basal parts distinct from translucent mantle-skirt that they arise from. Length of pallial tentacles alternates around perimeter with two or three short ones between each pair of long ones; length varies with extension 27Pu flic.kr/p/AUuCc3 & 28Pu flic.kr/p/BPGWSQ . Visibility of pallial tentacles, and their position relative to shell, vary with degree of extension of mantle skirt 10Pu flic.kr/p/BRH5pv . Pedal-retractor muscle, a U of white muscle bundles 28Pu flic.kr/p/BPGWSQ demarcated by gaps 24Pu flic.kr/p/BS1DhR , attaches body/foot to shell 22Pu flic.kr/p/BGqz3N . Sole of foot approximately circular with flattened anterior 29Pu flic.kr/p/AUAAHD to broadly elliptical 5Pu flic.kr/p/AUccwq . Colour of sole varies: small whitish ones may have shadow of dark viscera if gonads undeveloped 30Pu flic.kr/p/BGqk4q ; adults, pale-yellow/cream, yellow 31Pu flic.kr/p/BGrKw1 or orange 21Pu flic.kr/p/AUuNww ; sometimes slightly-greenish tinted median zone where foot thinnest if greenish female gonads resting on inner surface of foot. White or yellowish-white 32Pu flic.kr/p/BpU3pC sides of foot lack features such as epipodial tentacles. When crawling, usually only extended pallial tentacles and, perhaps, tips of cephalic tentacles protrude beyond shelter of shell. No penis as fertilization external.
Further detail visible with simple dissection
Shell removal by severing pedal-retractor muscle shows muscle-bundles clearly 28Pu flic.kr/p/BPGWSQ ; anterior bundle on each side is largest and strongest as must firmly pull down shell further to anterior where bundles are absent. Shell removal exposes entire mantle 33Pu flic.kr/p/BJKhmk subdivided into a) pale translucent mantle-skirt, b) narrow black band over pallial-groove containing gills, c) large black amphora-shaped area, sometimes paler near vertex, over viscera and nuchal cavity containing the head 34Pu flic.kr/p/BGrCQW and d) pale anterior mantle-attachment. Removal of black amphora area of mantle reveals viscera 35Pu flic.kr/p/BivTv4 including heart, digestive gland, intestine and, if in breeding condition, gonads protruding from below. When roof of nuchal cavity removed, translucent white head, usually showing pink of internal odontophore, is visible 35Pu flic.kr/p/BivTv4 , and removal of viscera reveals radula, folded to fit in body 36Pu flic.kr/p/AUvMhW . Removal of head's epithelium reveals odontophore and anterior of radula 37Pu flic.kr/p/BGrzwG . Radula long, relative to shell length, ( R/S 80-140%); shorter on average (but with overlapping range) than those of P. vulgata (113-230%) and P. depressa (140-270%) (Fretter & Graham, 1962, p.172). Fully mineralized, rust-coloured radular teeth, ready for action, clearly visible on hyaline shield at anterior; those further back partly obscured as in white radular sac. At anterior of radula, a white chitinous unarticulated jaw#, and white, cuticularized, triangular licker divided into plate-like ridges by deep transverse grooves 38Pu flic.kr/p/BJKboP . Each row of teeth arranged in docoglossan formula, 3+D+2+R+2+D+3: at centre, two pairs of large, unicuspid, pigmented lateral teeth (with small, unpigmented rachidian/median tooth hidden from easy view at their base), and near each margin of ribbon a single, tricuspid, pigmented, dominant-marginal tooth with, close-by, three inconspicuous, unicuspid, marginal teeth. Before and during summer breeding season, large gonads occur in mature adults between viscera and foot; female ovaries granular and yellow to green; male testes pink/orange with numerous interconnected tubules 39Pu flic.kr/p/BGrxio .When fully developed, gonads spread up around periphery of visceral mass 35Pu flic.kr/p/BivTv4 .
SPECIES DESCRIPTION part B at 3Pu flic.kr/p/BRHsiR
GLOSSARY
amphora – (on interior of limpet shell) Roman amphora-shaped area enclosed by scars of pedal-retractor muscle and anterior mantle-attachment.
anteroposterior – (of linear feature) aligned from anterior to posterior.
aperture – mouth of gastropod shell; outlet for head and foot.
apex - earliest formed part of a gastropod shell, the summit of the cone. (In this limpet-account restricted to the exterior of the shell, and “vertex” used for the interior.)
auct. - (abbreviation of “auctorum” = “of authors”) name, often of another valid species, used in error for this one by other author(s). en.wikipedia.org/wiki/Auctorum
cephalic – (adj.) of or on the head.
cilia – (pl.) microscopic linear extensions of membrane that move in rhythmic waves to create locomotion, or move particles and liquids e.g. inhalent water currents. (“cilium” singular). (Electron scanning microscope image at flic.kr/p/qQB5zj )
ciliary – (adj.) relating to or involving cilia.
coll. – in the collection of (named person or institution) (compare with legit).
conoid – shaped like a cone.
ctenidium – comb-like molluscan gill; usually an axis with a row of filaments either side.
ELWS – extreme low water spring tide (usually near March and September equinoxes).
epipodial - (adj.) of the epipodium (collar or circlet running round sides of foot of some gastropods).
epithelium – membranous covering of internal and external surfaces of animal's body, e.g. skin and lining of tubes and cavities.
head scar – term used by many British authors for patch of different shell-material, and often different colour, near vertex of interior of limpet shell; misnomer as the mobile head, free of any attachment to the shell or mantle-roof of the nuchal cavity cannot make a scar. A preferable term is “vertex patch”.
height – (of limpet) perpendicular distance from apex to plane of aperture-rim (best measured with callipers).
hyaline shield – transparent sheet of chitin at anterior of radula that rests on bolsters of odontophore; attachment point for retractor muscles of radula; helps guide food particles into mouth.
jaw - unarticulated chitinous structure that encloses inner lips of Patella spp. at sides and anterior.
legit – (abbreviation; leg.) collected/ found by (compare with coll.)
licker - cuticularized structure with plate-like ridges and deep transverse grooves at tip of radula of Patella spp.; retains and sweeps up food particles.
Macaronesia – Madeira, Canary Islands, Cape Verde Islands and Azores.
mantle – sheet of tissue covering visceral mass of molluscs. Secretes shell of shelled species, and forms part or all of dorsal body surface (notum) of those without shells. (See mantle skirt.)
mantle skirt – extension on gastropods of mantle proper as a flap roofing a cavity containing gills, genital and renal openings, anus etc. On limpets, skirt and cavity extend around periphery of animal.
MLWS - mean low water spring tide level (mean level reached by lowest low tides for a few days every fortnight; Laminaria or Coralline zone on rocky coasts).
nuchal – (adj.) of nape of the neck.
nuchal cavity – cavity roofed by mantle skirt that contains head of limpet; part of mantle cavity (remainder consists of pallial groove on each side of body).
ovoid – egg-shaped, (as a solid or in outline).
ovate – egg-shaped, (as a solid or in outline).
pallial groove band – shell material deposited on interior of shell by strip of black mantle roofing the pallial groove that contains the gills. On British Patella spp. it is often clouded-white.
pedal retractor muscle – strong muscle that retracts foot into shell of most gastropods, but on limpets is used to clamp shell to substrate, a.k.a. “foot muscle”.
porcellaneous – resembling vitreous glazed ceramic material.
retrograde - (of locomotion waves on foot) waves travel from anterior to posterior.
scar – mark on shell made by attachment point of muscle or other body part.
skirt shell layer - shell material deposited on interior of shell by mantle skirt. On British Patella spp. colourless when deposited, and clouded white, or transparent showing the colours of the outer layer. Crystalline structure causes short lines of blue iridescence parallel to the aperture rim on all four British species of Patella when the light is right.
tricuspid - (of tooth) having three points.
trochophore – spherical or pear-shaped larva that swims with aid of girdle of cilia. Stage preceding veliger, passed within gastropod egg in most spp. but free in plankton for patellid limpets, most Trochidae and Tricolia pullus.
unicuspid - (of tooth) having a single point.
veliger – shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).
vertex – angle at highest point on interior of limpet-shell. [Synonym of “apex”, chosen (by IFS) to help avoid confusion with the highest point, apex, on the exterior. In classical Latin “vertex” was used for the “pole of the heavens”, obviously only seen from below.]
vertex patch –layer of different shell-material, and often different colour, at vertex of interior of limpet shell. (See “head scar”.)
I watched a fascinating TV program, the other day, about illusions, the inner workings of the brain and perceptual psychology.
I've seen plenty of optical illusions before but presented here were also auditory and touch illusions too. There was even something about the development of wholy new senses.
Since I was small I've been fascinated by perception and would ponder to myself about riddles like "how do you know what colours others see?" We use language as a way of communicating an idea, thought or feeling from one person to another. But in order to do that you need to reach an agreement on what those words mean. Through education and reinforcement from the moment you are born everyone is telling you how the world is. We must start off as a relative open book but everyone we come in contact with teaches us the shared world view of our culture. This is a table, that is a chair, this is how to behave, that isn't acceptable and so on.
Whenever any of us encounter a baby we get eye contact and talk to them. First of all with simple language (cue silly baby voice) 'hello baby, hello baby!' - "you are a cute one, aren't you? Yes!" Every person an infant comes in contact with is reinforcing how the world is, taking a mass of jumbled, interconnected neurons and weaving them into a map that describes the world as we know it. It happens to us and now we do it to others, its how we keep our culture and community together.
So when I see red I have no idea whether you will see blue but call it red. Agreement was reached when you were young that the word red is used when you see a particular colour so that we can communicate and agree regardless of what you actually "see" in your mind. But then perhaps that is the crux of it. How much of what we believe, know and see is our culture that is taught to us and how much is actual reality? Well , we perceive a very narrow part of the electromagnetic spectrum and in quite a narrow way too. Blue or red light isn't actually blue or red, it is made up of photons travelling at extremely high speeds but our visual cortexes see red and blue and we have designed words for these perceptions so that we can agree on what they are. It is this agreement that is reality, it is all of us reinforcing what we agree and what we perceive, through talking and education and learning. That is what our reality actually is.
Some people think that babies actually have a much wider perception than we have and that through this constant reinforcing, that perception is gradually narrowed until they see the world as it has been described to you.
I read somewhere once, about the differences between western and eastern culture and how important language is. Western languages are very object based but Chinese, for instance, is much more about actions and events. This colours how we see the world. Westerners predominately understand the world as made up of things, whereas the Chinese see it as movements from one state to another.
I don't know how true that is, as I am a product of my western upbringing. I can't step out of my worldview to see how others see things but the concept is fascinating nonetheless.
So on this TV programme, I watched, there was this blind guy who loved riding his bike. He had been blind from birth and quite remarkably he had developed the ability to echo locate. He would use his tongue to send out a flurry of clicks and bounce them off things just like a bat or a dolphin. He had honed this skill so he could cycle around and not crash into anything. He said that his brain created a picture in his head and he could 'see' where he was going.
At a university they devised an experiment where they created a belt that would detect the direction of north and give you a little nudge in your midriff whereever it was pointing. After a few weeks of wearing the belt volunteers brains had adpated to use this information, without being aware of how it was happening, to navigate blindfold around a maze.
So it seems the brain can adapt to new types of sensory input, and it uses this information to create models of the world outside without us having to try.
A clip was shown where someone said the word "bah." After seeing him say this the moving image was replaced with the same person saying "fah" but the audio continued to be "bah" but whilst you are watching him speak it sounds like "fah", as soon as you close your eyes (and am not seeing him say "fah" anymore) then you hear "bah" again. It seems your eyes override what you hear with what you see. It is called the McGurk effect. Look it up on Youtube to see what I mean.
They asked the question "is seeing believing?" And the answer came back as "you don't believe what you see, in fact, you see what you believe."
Only 10% of what our brains receive through the eyes makes up what we see. The other 90% is made up of other parts of our brain which are creating a model of what we think the world to be. Illusions fool us because we are unable to get past What is in our heads, how we believe the world to be. The 10% of optical information that reaches us is just that, a small part of what we think we see. So an illusion cannot override what we believe the world to be. Even when we know how an illusion works we are still unable to stop seeing that illusion.
When we dream we can create fantastical worlds and universes full of life and colour and mythical creatures. Every bit as real to us, as our wakeful world, when we are in the midst of the dream. This is that 90% of our visual brain creating a world just for us. There is no light passing through our eyes and yet the world is as rich and as complex as when we are awake.
So where do we get our wakeful world from? Well I come back to my starting point, how that world is described to us by everyone we encounter whilst we are infants.
Belief is a very powerful thing. We are quite convinced that how we see the world is actually how the world is. But with the brain filling in so many of the gaps how can it be. And yet without our strong belief we would likely be insane, unable to piece together our perceptions into a world that it is possible to live in. This strong belief is something we all share, it is just the details of what we believe that leads us to differ.
Our belief feels so strong to us that we feel it is easily possible to get someone else to believe what we believe. "What I believe IS reality, so surely when I tell you about it you will see reality too?" But if what you believe is different to the person you are telling then there reality is different to yours and they think you are the one that has it wrong.
So much energy is expended in this world trying to convince others of the true reality of the world, whilst missing the fact that your reality is only what you believe. If we spent more time worrying about ourselves and not trying to put the world to rights then I think what we share would be a better place. The downfall of the human race is the "I am right" attitude, and the need to educate all others as to where they are going wrong.
Land art, for me, steps outside of all this. I simply sit down and make something without caring whether it is right or correct or is it how it should be. It just is.
Several times I have had it said to me, that a stack like this one is faked: stuck with glue, photoshopped or whatever. This says much more about the people that say that than it does about me. They are unable to believe something may be possible, their assumptions limit what they can achieve, they are held back by the limits they place around themselves. This is their reality, what they believe. Through this belief then that is what they see. A fake picture. But it strikes me that it is an issue of trust that colours everything they do, a sense of entitlement to attention from the world, leads them to assume that if someone achieves something then they must have cheated in some way. A sad way to be, I think. Isn't it much better to believe that anything may be possible? Even if that can't be the case, isn't life sweeter if you at least open your mind to the possibilities? How sad is your world if you have already decided what is and isn't possible before you have even tried? And yet this is the reality for many people.
I believe that everything that's worthwhile in the world should be about just being. Making something, taking a walk, tending to the garden or just watching clouds float by. If you put your energy into trying to convince the world that you have all the answers and if only they would listen a moment, then you could explain it to them and they would understand, then I think you are missing the point.
Which I guess is quite ironic, seeing as I am sitting here doing just that. But then I guess I am lucky that my upbringing allows me to try and see the magic in the world and not to believe that everyone is taking you for a ride and cheating you out of what you deserve. Or even more insiduously, not being a person who has already decided what is and isn't worthwhile to be spending your time doing without having even tried my hand at any of it.
“‘Lighting the Sails’ for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
“Celebrating First Nations’ spirituality and culture through the songlines of our land and sky, this year’s ‘Lighting the Sails’ is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. ‘Lighting the Sails’ Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
“As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia’s most influential contemporary First Nations artists, exclusive to Vivid Sydney.”
As on the old model, the front and rear rotors are interconnected by a shaft that runs lengthwise through the cabin, so that they turn in tandem.
2016 Vivid Sydney: Songlines - Lighting The Sails #8
World Premiere
Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts
Co-curated by Sydney Opera House and Destination NSW
Visual content and animation created by Artists in Motion
Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes.
Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.
A walking trail "Ladeira dos Moinhos" brought my way an abandoned, desperately crying kitty, hiding among stones and wild vegetation. Her right eye was completely sealed, she was underweight (eating leaves to survive).For me as an animal lover it was a love @ first sight, we interconnected instantly ...:)
Coronavirus era shopping specials/deals/limited time offers. Amazing what is happening in our interconnected world.
“‘Lighting the Sails’ for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
“Celebrating First Nations’ spirituality and culture through the songlines of our land and sky, this year’s ‘Lighting the Sails’ is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. ‘Lighting the Sails’ Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
“As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia’s most influential contemporary First Nations artists, exclusive to Vivid Sydney.”
This theory holds that all forms of life on Earth are interconnected; even the fluttering of a butterfly’s wings in the Amazon can be indirectly associated with a typhoon in Hong Kong…...
Second in the series
Photography by - Pryere
♫ - Bliss - Love, Peace & Wisdom
Acrylic paints, enamel & inks on paper
for Flickriver - Sophie Shapiro
.
2016 Vivid Sydney: Songlines - Lighting The Sails #8
World Premiere
Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts
Co-curated by Sydney Opera House and Destination NSW
Visual content and animation created by Artists in Motion
Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes.
Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.
It's in the news. It's the reality of the interconnected world in which we live hits home at the worst possible time, not to mention the toll it is taking half way around the world on people who didn't deserve it. Privledge means I complain about gas prices. Reality means that people are losing their lives. Every day. I am lucky.
Abel Tasman, on the north coast of New Zealand's south island, incorporates a series of interconnected coastal beach and forest trails that lead to eco-lodges within the park, making it possible to do hiking or kayaking multi-day trips. There is no motor vehicle access inside Abel Tasman. You have to take a boat to start the excursion.
"Every part of this earth is sacred to my people. Every shining pine needle, every sandy shore, every mist in the dark woods, every clearing and humming insect is holy in the memory and experience of my people. . . We are part of the earth and it is part of us. The perfumed flowers are our sister; the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices of the meadows, the body heat of the pony, and man all belong to the same family. . . What is man without the beasts? If all the beasts were gone, men would die from a great loneliness of spirit. For whatever happens to the beasts, soon happens to man. All things are connected."
—Chief Seattle, Chief Seattle’s Testimony
VEGGIE STIRFRY WITH MARINATED TOFU
PREPARE THE TOFU:
Start by pressing it, to get rid of the packing water, so that it'll soak up your marinade. I used two cutting boards (one on the bottom that I'll dice it up on later) and a couple of heavy dictionaries. I don't know if all those words will help make the tofu tastier, or describe its flavour better, but since everything is interconnected...
Press it for at least 1/2 hour, or until no more water is coming out.
FOR THE MARINADE:
Use anything you like. I like to have it deep and rich (maybe a bit strange for tofu, but it's so tasteless I like to really set it off). I used the juice of a lime; a dash of vegetarian 'oyster' (shitake mushroom) sauce, dark soy sauce, Maggi, Hoisin Sauce, and sweet sherry.
Stir it all up; cube the tofu into ±1cm (1/2") cubes, and tumble it in, making sure all sides are covered, and let it marinate for an hour or so, if you can. Turn the pieces a couple of times to make sure the marinade soaks in all sides of the cubes.
VEGGIES
Use anything you want, really. Ever since one of my GP's asked me: "How many colours are on your plate?" I like to have lots of them. Here I used red cabbage, broccoli, Chinese cabbage, green pepper, ginger, and garlic.
Chop them all into bite sized pieces or strips, and arrange them in the order of the time they'll take to cook. (I put broccoli stalks first, followed by diced garlic and ginger, then cabbage and green pepper, steaming the broccoli flowerettes and the Chinese cabbage last.)
SAUCE FOR VEGGIES
Make it to your taste: I used the juice of a lemon, a good dash of premium soy sauce, a bit of fish sauce, Maggi, Chinese cooking wine (you can use dry sherry if you like), and — please forgive me — a little teaspoon of MSG.
SO !
When everything's ready:
Start cooking some rice: I use 150ml (±2/3 cup) for two. A cheap rice cooker works just fine, I find.
I use two woks, both on portable induction plates, because our electricity is (theoretically) 100% renewable.
Heat a big one for the veggies, a smaller one for the tofu, and start your frenetic dance.
When the woks are hot, pour in 1/2 an egg cup of peanut oil into the small wok, 3/4 into the wok for the veggies. (Peanut oil is great for stirfries because of its high smoke point.)
Tumble in the tofu (without the marinade) and fry, turning frequently until it's nice and browned on all sides.
Save the marinade aside for the sauce (see below).
Stir fry the veggies, starting with the broccoli stalks, then adding the diced ginger and garlic, then the veggies (starting with the ones that take the longest to cook, like red cabbage) the green pepper, then broccoli flowerettes (add some water and steam), and finally the light leaves.
Hopefully everything will come together at the right moment for you (practice makes perfect).
When both dishes have finished cooking, stir a fork full (use a 4-tined fork) of corn starch into a little bowl or ramekin containing each of the sauces, mix well, and pour over the two woks.
Stir so that the sauce thickens, turn off the heat.
Blast two nice bowls for a minute in the microwave, put in a bit of rice, some veggies, and top with some tofu and sliced green onion.
Hope you enjoy!
P.S. That red stuff on the plate is sambal oelek, a great chilli paste made by Conimex in the Netherlands.
Source: en.wikipedia.org/wiki/Busan_Tower
Busan Tower is a 120-metre-high tower at Yongdusan Park, located in Jung-gu, Busan, South Korea.
Busan Tower was built in 1973. It's only used for entertainment purposes and doesn't have any transmitting equipment which sets the tower apart from many other towers with observation decks primarily built as TV- and radio towers. The deck features panoramic view and a small cafe, it's only accessible during working hours via two high-speed elevators. The base of the tower is interconnected with a few galleries and souvenir shops. The tower is usually mentioned in tourist guides as a good place to get a view of the city's port.
Source: en.wikipedia.org/wiki/Port_of_Busan
The Port of Busan (Hangul: 부산항; Hanja: 釜山港) is the largest port in South Korea, located in the city of Busan, South Korea. The Port of Busan was established in 1876 as a small port with strict trading between Korea, China and Japan. It is situated at the mouth of the Nakdong River (Hangul: 낙동강) facing the Tsushima Island of Japan. During the Korean War (1950-1953), Busan was among the few places North Korea did not invade, causing war refugees to flee to the city of Busan. At that time Busan’s port was crucial to receive war materials and aid, such as fabrics and processed foods to keep the economy stable. In the 1970s, a rise in the footwear and veneer industries caused factory workers to migrate to Busan, bringing Busan’s population from 1.8 million to 3 million.
The Port of Busan continued to grow and by 2003 the port was the fourth largest container port in the world. South Korea accounted for 0.7% of global trade in 1970, but by 2003 it went up to 2.5%. 50% of the Busan’s manufacturing jobs are related to exports, and 83% of the country’s exports are containerized, making Busan the country’s largest container and general cargo port. Compared to the Port of Busan, Inchon port handles only 7% of containers. Easy access to the Port of Busan between Japan, Singapore, and Hong Kong contribute to its vast growth.
Currently the Port of Busan is the fifth busiest container port in the world and the tenth busiest port in North-east Asia. It is developed, managed, and operated by the Busan Port Authority (BPA) established in 2004. Today the Port of Busan consists of four ports- North Port, South Port, Gamcheon Port, and Dadaepo Port, an International Passenger Terminal and the Gamman container terminal. The North Port provides passenger handling facilities and cargo, and with Gamcheon Port’s help more cargo volumes can be handled (Ship Technology). The South Port is home to the Busan Cooperative Fish Market which is the largest fishing base in Korea, and it handles 30% of the total marine volume. The Dadaepo Port located west of the Busan Port, mainly handles coastal catches.
In 2007 the Busan Port handled cargo containing fertilizers, meat, scrap metal, petroleum and other gases, crude petroleum, coal, leather, fats and oils, iron ore, rough wood, natural sand, milling industry products, and sugar. In 2016, South Korea exported a total of $515B and imported $398B. Top exports of South Korea are integrated circuits, cars, refined petroleum, passenger and cargo ships, and vehicle parts. South Korea exports the most to China, the United States, Vietnam, Hong Kong, and Japan. Imports to South Korea mainly come from China, Japan, the United States, Germany, and other Asian countries. In 2017 Busan processed more than 20 million TEUS, twenty-foot equivalents (a measure used to estimate the compacity of container ships).
Its location is known as Busan Harbor.
2016 Vivid Sydney: Songlines - Lighting The Sails #8
World Premiere
Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts
Co-curated by Sydney Opera House and Destination NSW
Visual content and animation created by Artists in Motion
Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes.
Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.
Honeydukes Sweets Shop is interconnected with Zonko's Joke Shop. So you can walk inside one, and easily venture over to the other. But I gotta say, Zonko's wasn't all that magical. It's quite small in there; and it just doesn't seem to have a great appeal.
The Wizarding World of Harry Potter
Islands of Adventure
Universal Orlando Resort
Orlando, FL
Check out The Wizarding World Of Harry Potter: Photo Tour Blog
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... Featuring: the Flickr Remasters
One of my favourite views of this beautiful garden in Worcestershire. Designed by Capability Brown in the 18th century it has five interconnected lakes mostly covered in water lillies.
Please do not use my photographs without my permission.
Send me an email request through flickr if you would like to use them.
© Mr.Volk
Time is just a web of interconnected realities.
Explore Highest position: 247 on Thursday, May 15, 2008
Rocket Escape - France, 1944
This series of four vignettes took first place in the "Interconnected Vigs" category in the Flickr 2010 Annual Lego Military Build Competition (http://www.flickr.com/groups/1411298@N23/)
It features four small 8x8 stud vignettes which each make sense individually, but tell a larger story when connected together.
Indiana Jones and his friend Mac, disguised as couriers, make a daring escape from WWII occupied France by stowing away in a V2 rocket about to launch. Indy gets himself fouled in a rope while dispatching one of the guards on the rocket gantry. Chained to Indy's left arm is a suitcase containing a lost relic of Joan of Arc which he must not let fall into Nazi hands. Mac waits patiently behind the liquid oxygen truck until the right moment, and then releases a valve to freeze the advancing troops.
A mighty V2 rocket. Production rockets were painted in solids or camo patterns... but the black and white paintscheme of the test models photographs well and is probably more recognisable.
The Georgina Basin is a 330 000 km2 erosional remnant of a series of originally interconnected central Australian intracratonic basins, including the Savory, Officer, Ngalia and Amadeus Basins, which range from Neoproterozoic to Palaeozoic. The Georgina Basin covers most of the central-eastern Northern Territory and extends into Queensland. In excess of 1.5 km of Neoproterozoic sedimentary rocks are preserved in downfaulted blocks and half-grabens on the southern margin of the Georgina Basin in the Northern Territory. Depocentres and synclines contain up to 2.2 km of Cambrian to Devonian section. The southern region contains the thickest basinal successions, and demonstrates the strongest structuring related to distal effects of the 320 Ma Alice Springs Orogeny. This part of the basin is the most prospective undeveloped onshore petroleum province in the Northern Territory [see Georgina Basin (southern module) project].
In contrast to the southern region, the central Georgina Basin, north of latitude 21°S, contains a relatively thin stratigraphic succession, up to 450 m thick, deposited on a tectonically quiescent platform. Deposition in the central region commenced with a marine transgression in the early Middle Cambrian and may have extended into the Late Cambrian. This central platform has been subdivided into an eastern Undilla Sub-basin and a western Barkly Sub-basin, separated by the Alexandria-Wonarah Basement High. The northern Georgina Basin is largely concealed beneath Mesozoic sedimentary rocks of the Dunmarra Basin.
Mineralisation:
The Georgina Basin is prospective for a number of mineral commodities. Known Pb-Zn prospects and occurrences are widespread and throughout the succession from Neoproterozoic siliciclastic rocks to Lower Ordovician carbonate and mixed carbonate-siliciclastic rocks. There is a wide range of mineralisation styles. At the Box Hole Mine, galena and barite occur along 6.5 km of strike in the Late Cambrian Arrinthrunga Formation. About 15 t of ore, averaging 65-70% Pb and 60 g/t Ag, has been handpicked. Mineralisation is stratabound epigenetic replacement and vug-fill in a stromatolitic dolostone, possibly localised by proximity to a feeder fault. Similar surface galena and minor pyrite occur at the Trackrider Prospect. Host rocks are vuggy, siliceous and manganiferous dolostone of the Arrinthrunga Formation, just below the contact with the overlying Tomahawk Formation. Mineralisation at both Box Hole and Trackrider is similar to Mississippi Valley-type (MVT) orebodies. Visible Zn-Pb mineralisation (up to 1.2% Zn) occurs in association with hydrocarbons in and just below a shale cap at the contact of the Arthur Creek Formation and Thorntonia Limestone in Baldwin 1 and may have affinities to Century-type, stratiform, shale-hosted base metal mineralisation. A fault breccia at the Boat Hill Prospect contains two intervals with percent levels of Zn. NTGS drilling also intersected percent levels of Zn and visible galena in Thorntonia Limestone in this area, which considerably extends the area of known mineralisation. Previously undocumented visible galena has also been recognised in the Neoproterozoic Elyuah Formation at the Mount Skinner Prospect in ALCOOTA. This core contains 2.44 m assayed at 0.3 m intervals, all of which is >2000 ppm Pb.
Economic phosphate deposits in Middle Cambrian Georgina Basin rocks are being mined at Duchess in Queensland. In the Northern Territory several deposits of collophane mudstone and pelletal phosphorite have been identified in sedimentary intervals on the Alexandria-Wonarah Basement High (see Regional phosphate prospectivity assessment project). These deposits average about 16% P2O5 and could aggregate to similar tonnages to those being exploited at Duchess. Rio Tinto has recently delineated 72 Mt of phosphate ore at the Wonarah deposit on the Alexandria-Wonarah Basement High. Smaller deposits are known at Alexandria, Alroy and Buchanan Creek.
Petroleum geology:
The Georgina Basin is the most prospective undeveloped onshore petroleum province in the Northern Territory, particularly in the southern part of the basin, south of latitude 21°S, where the thickest basinal successions have developed, as well as strong folding related to distal effects of the Alice Springs Orogeny. Most previous petroleum exploration has focused on depocentres on the southern margin, now marked by the Dulcie and Toko Synclines. These depocentres contain regionally extensive, organically rich, oil-mature source rocks, with siliciclastic lenses and some phosphorite-rich layers. The Cambrian succession is the most prospective and is marked at the base by coarse siliciclastic rocks overlain by platform carbonate rocks of Early to Middle Cambrian age. The Middle Cambrian carbonate succession, comprising the Thorntonia Limestone and Arthur Creek Formation, provides a reservoir-source/seal couplet extending over 80 000 km2. Both formations include excellent microbial source rocks, which are mature over wide areas; subordinate reservoir rocks relate to secondary porosity formed in shoal and shoreline deposits. Similar plays occur in the Late Cambrian Chabalowe Formation (Hagen Member), where peritidal carbonate mud and sand are sealed by evaporite. Sediment loading during the Ordovician initiated hydrocarbon generation over wide areas of this very sparsely explored basin, which includes subtle structural traps and large stratigraphic plays.
Source: Northern Territory Government.
Marina Bay Sands is a world-renowned integrated resort located in the heart of Singapore. Designed by architect Moshe Safdie, the resort features three interconnected hotel towers topped by the Sands SkyPark, a 1.2-hectare rooftop garden offering panoramic views of the city skyline. The complex includes a casino, a shopping mall with over 270 stores, celebrity chef restaurants, the ArtScience Museum, and the world’s largest infinity pool located on the 57th floor. Since its opening in 2010, Marina Bay Sands has become a symbol of Singapore’s modernity and architectural innovation.
wiki - Marina Bay Sands
Tower City Center, originally known as Cleveland Union Terminal, is a large mixed-use facility located on Public Square in downtown Cleveland, Ohio. The facility is composed of a number of interconnected office buildings, including the landmark Terminal Tower, a shopping mall, a casino, two hotels, and the main hub of Cleveland's four rapid transit lines. On March 17, 1976, the tower was added to the National Register of Historic Places as the Union Terminal Group. ~ en.wikipedia.org/wiki/Tower_City_Center
Panasonic DMC-GF2
LUMIX G 14/F2.5
ƒ/4.5 14.0 mm 1/10 100
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Its funny how everyone you meet throughout your life seems to be interconnected to one another in some sort of way, no matter how minute or large. the globalization in societies especially in the united states is astronomically mindblowing, you could pass by some stranger on the street and not realize that they could potentially become a good friend.
This night was beyond words in my mind, every adventure with these guys are actually, they fail to show me a bad time. many more memorable nights to come in the future.
The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.
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The dense amalgamation of interconnected corridors and chapels around a central courtyard are known collectively as the Apostolic Palace. The palace in its current state is the result of numerous structural additions under more than a century’s worth of popes; beginning with Pope Nicholas V in 1447, progressing significantly toward its current state during the papacy of Sixtus V, and modified further by Sixtus’ later successors, Pope Urban VII, Pope Innocent XI, and Pope Clement VIII. At its center is the Cortile di San Damaso where Pope Francis has recently held smaller than usual weekly General Audiences outdoors in light of the COVID-19 pandemic. The adjacent multi-story square building directly east (pictured center-right) houses various administrative offices of the Holy See, as well as the Papal Apartments on the third floor. Although, as aforementioned, Pope Francis has bucked tradition by not residing here, he continues to use the apartments as his office and, on occasion, greets crowds gathered in St. Peter’s Square from the second-to-last window on the right – denoted by a dark red tile in the model. Overall, the consolidation of several state offices here has led to the use of “Apostolic Palaces” as a broader reference to the government of Vatican City in much the same way that “White House” is a metonym for the US Presidential administration rather than the building complex itself.
The next stop in my “Road to Infinity War” watchathon is the sequel to the film that started it all, Iron Man 2. Now the first Iron Man jump started my interests into Marvel Comics, but Iron Man 2 was the film blew me away with the fact that Marvel was going to make these movies interconnected, I skipped the end credits scene in the first Iron Man because I didn’t even know it had one, but I still remember when I saw that end credits scene with Thor’s hammer and it blew my MIND. After Iron Man 2, I really got into movie news and finding out everything I could possibly know about the upcoming Marvel movies! Though that end credits scene is the only thing I remember getting excited about, I don’t remember how I felt about the movie as a whole. Iron Man 2 is one of the most disliked of the MCU films, so let’s see if this revisiting of the film has soured the hype that I had for it the first time I watched it. Let’s check it out!
Good: Like how I started my first Iron Man review, I gotta start with Robert Downey Jr. as Tony Stark. This film would not nearly be as good as I found it without him, his characters is just so well written and so well acted that it makes you forget about the various flaws this movie carries with it. In this film we get a continued progression of the Tony Stark that I feel like we lost after the first Avengers, where he’s still a playboy, he’s still cocky, yet this time he’s Iron Man and the world knows it, which is all for his benefit, kinda. We’re introduced to a plotline that the arc reactor is poisoning his blood and if he doesn’t find a suitable replacement, he could die. This plotline brings a new challenge to Robert Downey Jr. and it was one of my favorite subplots of the film. It lead to great scenes like Tony fighting Rhodey at his birthday party. That scene is awesome and speaking of Rhodey, Don Cheadle was such a great replacement from Terrence Howard as War Machine in this film! All the scenes with Iron Man and War Machine together are awesome. My favorite action scene in the movie is when Iron Man and War Machine take on those drones in that indoor garden at the end of the movie. The action is really well shot and I was very surprised how good sure the visual effects are in this film. Iron Man’s suit has slowly downgraded in terms of quality over the years, I remember there’s one shot of Tony wearing the suit in Civil War that looks pretty bad, but in this movie everything looks very realistic. I also think the Iron Man suit in this movie is my favorite one in the MCU, I’m a fan of the triangle arc reactor! Finally, I’d like to give Sam Rockwell some love, I thought he was a pretty decent villain. Rockwell plays Justin Hammer who in this film is such a loser of a character so well and even when Hammer thinks he’s on time, he still acts like a complete loser which lead to some great comedy.
Bad: Now when people say that Marvel has a villain problem, they are 100% valid because the villain in this movie sucks. Unlike villains like Malekith from Thor: the Dark World, this character is not one dimensional, but he’s just so poorly written and acted by Mickey Rourke, I feel like he doesn’t even belong in this movie! It just so bad and then at the end of the film, he’s just another big grey bad guy that Iron Man and War Machine deal with pretty easily. Now the villain is my biggest complaint of the film, but Iron Man 2 deals with a very common problem with other films that try to jump start a cinematic universe, which is cramming too many storylines into one film. We have the Tony dying storyline, we have the War Machine storyline, we have the Whiplash storyline, and we have the Avengers Initiative storyline. Now I think the Black Widow and Avengers stuff could’ve been completely removed and had the other storylines expanded upon because it everything Avenger-related that’s covered in this movie is kinda retreaded in the Avengers. Now I’m a big fan of Black Widow in the MCU, but I don’t think she was very well handled in this movie. Although I like the interactions between Tony and Black Widow, after watching Natasha and her character progression in the following MCU films, her character just feels so off.
Overall, I believe Iron Man 2 is not as bad as people say it is. Despite its huge flaws in the villain and the amount of story that it tries to cram into one two hour flick, it’s still at the end of the day a story about the Tony Stark that we grew to know and love in his first outing with an expanded world and some incredible action. I understand why people would like this movie a lot less than I did, but I think Jon Favreau directed the hell out of a pretty poor script, which is why I’m going to give Iron Man 2 props, but I won’t remember it as one of the greats of the Marvel Cinematic Universe. For these reasons, I’m going to give Iron Man 2 a 7.25/10. Let me know what your thoughts on Iron Man 2 are in the comments below and stay tuned for my review of Thor next week!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Lockheed P-80 Shooting Star was the first jet fighter used operationally by the United States Army Air Forces (USAAF) during World War II. Designed and built by Lockheed in 1943 and delivered just 143 days from the start of design, production models were flying, and two pre-production models did see very limited service in Italy just before the end of World War II. The XP-80 had a conventional all-metal airframe, with a slim low wing and tricycle landing gear. Like most early jets designed during World War II—and before the Allies captured German research data that confirmed the speed advantages of swept-wings—the XP-80 had straight wings similar to previous propeller-driven fighters, but they were relatively thin to minimize drag at high speed.
The Shooting Star began to enter service in late 1944 with 12 pre-production YP-80As. Four were sent to Europe for operational testing (demonstration, familiarization, and possible interception roles), two to England and two to the 1st Fighter Group at Lesina Airfield, Italy. Because of delays in delivery of production aircraft, the Shooting Star saw no actual combat during the conflict. The initial production order was for 344 P-80As after USAAF acceptance in February 1945. A total of 83 P-80s had been delivered by the end of July 1945 and 45 assigned to the 412th Fighter Group (later redesignated the 1st Fighter Group) at Muroc Army Air Field. Production continued after the war, although wartime plans for 5,000 were quickly reduced to 2,000 at a little under $100,000 each. A total of 1,714 single-seat F-80A, F-80B, F-80C, and RF-80s were manufactured by the end of production in 1950, of which 927 were F-80Cs (including 129 operational F-80As upgraded to F-80C-11-LO standards). However, the two-seat TF-80C, first flown on 22 March 1948, became the basis for the T-33 trainer, of which 6,557 were produced.
Shooting Stars first saw combat service in the Korean War, and were among the first aircraft to be involved in jet-versus-jet combat. Despite initial claims of success, the speed of the straight-wing F-80s was inferior to the 668 mph (1075 km/h) swept-wing transonic MiG-15. The MiGs incorporated German research showing that swept wings delayed the onset of compressibility problems, and enabled speeds closer to the speed of sound. F-80s were soon replaced in the air superiority role by the North American F-86 Sabre, which had been delayed to also incorporate swept wings into an improved straight-winged naval FJ-1 Fury.
This prompted Lockheed to improve the F-80 to keep the design competitive, and the result became the F-80E, which was almost a completely different aircraft, despite similar outlines. Lockheed attempted to change as little of the original airframe as possible while the F-80E incorporated two major technical innovation of its time. The most obvious change was the introduction of swept wings for higher speed. After the engineers obtained German swept-wing research data, Lockheed gave the F-80E a 25° sweep, with automatically locking leading edge slots, interconnected with the flaps for lateral stability during take-off and landing, and the wings’ profile was totally new, too. The limited sweep was a compromise, because a 35° sweep had originally been intended, but the plan to retain the F-80’s fuselage and wing attachment points would have resulted in massive center of gravity and mechanical problems. However, wind tunnel tests quickly revealed that even this compromise would not be enough to ensure stable flight esp. at low speed, and that the modified aircraft would lack directional stability. The swept-wing aircraft’s design had to be modified further.
A convenient solution came in the form of the F-80’s trainer version fuselage, the T-33, which had been lengthened by slightly more than 3 feet (1 m) for a second seat, instrumentation, and flight controls, under a longer canopy. Thanks to the extended front fuselage, the T-33’s wing attachment points could accept the new 25° wings without much further modifications, and balance was restored to acceptable limits. For the fighter aircraft, the T-33’s second seat was omitted and replaced with an additional fuel cell. The pressurized front cockpit was retained, together with the F-80’s bubble canopy and out fitted with an ejection seat.
The other innovation was the introduction of reheat for the engine. The earlier F-80 fighters were powered by centrifugal compressor turbojets, the F-80C had already incorporated water injection to boost the rather anemic powerplant during the start phase and in combat. The F-80E introduced a modified engine with a very simple afterburner chamber, designated J33-A-39. It was a further advanced variant of the J33-A-33 for the contemporary F-94 interceptor with water-alcohol injection and afterburner. For the F-80E with less gross weight, the water-alcohol injection system was omitted so save weight and simplify the system, and the afterburner was optimized for quicker response. Outwardly, the different engine required a modified, wider tail section, which also slightly extended the F-80’s tail.
The F-80E’s armament was changed, too. Experience from the Korean War had shown that the American aircrafts’ traditional 0.5” machine guns were reliable, but they lacked firepower, esp. against bigger targets like bombers, and even fighter aircraft like the MiG-15 had literally to be drenched with rounds to cause significant damage. On the other side, a few 23 mmm rounds or just a single hit with an explosive 37 mm shell from a MiG could take a bomber down. Therefore, the F-80’s six machine guns in the nose were replaced with four belt-fed 20mm M24 cannon. This was a license-built variant of the gas-operated Hispano-Suiza HS.404 with the addition of electrical cocking, allowing the gun to re-cock over a lightly struck round. It offered a rate of fire of 700-750 rounds/min and a muzzle velocity of 840 m/s (2,800 ft/s).In the F-80E each weapon was provided with 190 rounds.
Despite the swept wings Lockheed retained the wingtip tanks, similar to Lockheed’s recently developed XF-90 penetration fighter prototype. They had a different, more streamlined shape now, to reduce drag and minimize the risk of torsion problems with the outer wing sections and held 225 US gal (187 imp gal; 850 l) each. Even though the F-80E was conceived as a daytime fighter, hardpoints under the wings allowed the carriage of up to 2.000 lb of external ordnance, so that the aircraft could, like the straight-wing F-80s before, carry out attack missions. A reinforced pair of plumbed main hardpoints, just outside of the landing gear wells, allowed to carry another pair of drop tanks for extra range or single bombs of up to 1.000 lb (454 kg) caliber. A smaller, optional pair of pylons was intended to carry pods with nineteen “Mighty Mouse” 2.75 inches (70 mm) unguided folding-fin air-to-air rockets, and further hardpoints under the outer wings allowed eight 5” HVAR unguided air-to-ground rockets to be carried, too. Total external payload (including the wing tip tanks) was 4,800 lb (roughly 2,200 kg) of payload
The first XP-80E prototype flew in December 1953 – too late to take part in the Korean War, but Lockheed kept the aircraft’s development running as the benefits of swept wings were clearly visible. The USAF, however, did not show much interest in the new aircraft since the proven F-86 Sabre was readily available and focus more and more shifted to radar-equipped all-weather interceptors armed with guided missiles. However, military support programs for the newly founded NATO, esp. in Europe, stoked the demand for jet fighters, so that the F-80E was earmarked for export to friendly countries with air forces that had still to develop their capabilities after WWII. One of these was Germany; after World War II, German aviation was severely curtailed, and military aviation was completely forbidden after the Luftwaffe of the Third Reich had been disbanded by August 1946 by the Allied Control Commission. This changed in 1955 when West Germany joined NATO, as the Western Allies believed that Germany was needed to counter the increasing military threat posed by the Soviet Union and its Warsaw Pact allies. On 9 January 1956, a new German Air Force called Luftwaffe was founded as a branch of the new Bundeswehr (Federal Defence Force). The first volunteers of the Luftwaffe arrived at the Nörvenich Air Base in January 1956, and the same year, the Luftwaffe was provided with its first jet aircraft, the US-made Republic F-84 Thunderstreak from surplus stock, complemented by newly built Lockheed F-80E day fighters and T-33 trainers.
A total of 43 F-80Es were delivered to Germany in the course of 1956 and early 1957 via freight ships as disassembled kits, initially allocated to WaSLw 10 (Waffenschule der Luftwaffe = Weapon Training School of the Luftwaffe) at Nörvenich, one of three such units which focused on fighter training. The unit was quickly re-located to Northern Germany to Oldenburg, an airfield formerly under British/RAF governance, where the F-80Es were joined by Canada-built F-86 Sabre Mk. 5s. Flight operations began there in November 1957. Initially supported by flight instructors from the Royal Canadian Air Force from Zweibrücken, the WaSLw 10’s job was to train future pilots for jet aircraft on the respective operational types. F-80Es of this unit were in the following years furthermore frequently deployed to Decimomannu AB on Sardinia (Italy), as part of multi-national NATO training programs.
The F-80Es’ service at Oldenburg with WaSLw 10 did not last long, though. In 1963, basic flight and weapon system training was relocated to the USA, and the so-called Europeanization was shifted to the nearby Jever air base, i. e. the training in the more crowded European airspace and under notoriously less pleasant European weather conditions. The remaining German F-80E fleet was subsequently allocated to the Jagdgeschwader 73 “Steinhoff” at Pferdsfeld Air Base in Rhineland-Palatinate, where the machines were – like the Luftwaffe F-86s – upgraded to carry AIM-9 Sidewinder AAMs, a major improvement of their interceptor capabilities. But just one year later, on October 1, 1964, JG 73 was reorganized and renamed Fighter-Bomber Squadron 42, and the unit converted to the new Fiat G.91 attack aircraft. In parallel, the Luftwaffe settled on the F-86 (with more Sabre Mk. 6s from Canada and new F-86K all-weather interceptors from Italian license production) as standard fighter, with the plan to convert to the supersonic new Lockheed F-104 as standard NATO fighter as soon as the type would become available.
For the Luftwaffe the F-80E had become obsolete, and to reduce the number of operational aircraft types, the remaining German aircraft, a total of 34, were in 1965 passed through to the Türk Hava Kuvvetleri (Turkish air force) as part of international NATO military support, where they remained in service until 1974 and were replaced by third generation F-4E Phantom II fighter jets.
General characteristics:
Crew: 1
Length: 36 ft 9 1/2 in (11.23 m)
Wingspan: 37 ft 6 in (11.44 m) over tip tanks
Height: 13 ft 5 1/4 in (4.10 m)
Wing area: 241.3 sq ft (22,52 m²)
Empty weight: 10,681 lb (4.845 kg)
Max. takeoff weight: 18,464 lb (8.375 kg)
Zero-lift drag coefficient: 0.0134
Frontal area: 32 sq ft (3.0 m²)
Powerplant:
1× Allison J33-A-39 centrifugal compressor turbojet with 4,600 lbf (20 kN) dry thrust
and 27.0 kN (6,070 lbf) thrust with afterburning
Performance:
Maximum speed: 1,060 km/h (660 mph, 570 kn)
Cruise speed: 439 mph (707 km/h, 381 kn)
Range: 825 mi (1,328 km, 717 nmi)
Ferry range: 1,380 mi (2,220 km, 1,200 nmi)
Service ceiling: 50,900 ft (15,500 m)
Rate of climb: 7,980 ft/min (40.5 m/s)
Time to altitude: 20,000 ft (6,100 m) in 4 minutes 50 seconds
Lift-to-drag: 17.7
Wing loading: 51.3 lb/sq ft (250 kg/m²)
Thrust/weight: 0.249 dry
0.328 with afterburner
Armament:
4× 0.79 in (20 mm) M24 cannon (190 rpg)
2x wing tip auxiliary tanks with 225 US gal (187 imp gal; 850 l) each
Underwing hardpoints for a total ordnance load of 4,800 lb (2.200 kg), including
2× 1,000 lb (454 kg) bombs, up to 4× pods with nineteen unguided Mighty Mouse FFARs each,
and/or up to 8× 5” (127 mm) HVAR unguided air-to-ground rockets
The kit and its assembly:
The idea of a swept-wing F-80 had been lingering on my idea list for a while, and I actually tried this stunt before in the form of a heavily modified F-94. The recent “Fifties” group build at whatifmodellers.com and a similar build by fellow forum member mat revived the interest in this topic – and inspired by mat’s creation, based on a T-33 fuselage, I decided to use the opportunity and add my personal interpretation of the idea.
Having suitable donor parts at hand was another decisive factor to start this build: I had a Heller T-33 in store, which had already been (ab)used as a donor bank for other projects, and which could now find a good use. I also had an F-80 canopy left over (from an Airfix kit), and my plan was to use Saab J29 wings (from a Matchbox kit) because of their limited sweep angle that would match the post-WWII era well.
Work started with the fuselage; it required a completely new cockpit interior because these parts had already gone elsewhere. I found a cockpit tub with its dashboard from an Italeri F4U, and with some trimming it could be mounted into the reduced cockpit opening, above the OOB front landing gear well. The T-33’s rear seat was faired of with styrene sheet and later PSRed away. The standard nose cone from the Heller T-33 was used, but I added gun ports for the new/different cannon armament.
For a different look with an afterburner engine I modified the tail section under the stabilizers, which was retained because of its characteristic shape. A generous section from the tail was cut away and replaced with the leftover jet pipe from an Italeri (R)F-84F, slightly longer and wider and decorated with innards from a Matchbox Mystère IV. This change is rather subtle but changes the F-80 profile and appears like a compromise between the F-80 and F-94 arrangements.
The T-33 wings were clipped down to the connection lower fuselage part. This ventral plate with integral main landing gear wells was mounted onto the T-33 hull and then the Saab 29 wings were dry-fitted to check their position along the fuselage and to define the main landing gear wells, which had to be cut into them to match their counterparts from the aircraft’s belly.
Their exact position was eventually fixed when the new swept stabilizers, taken from a Hobby Boss F-86, were mounted to the tail. They match well with the swept wings, and for an odd look I kept their dihedral.
The fin was eventually replaced, too – mat’s build retained the original F-80 fin, but with all other surfaces swept I found that the fin had to reflect this, too. So, I implanted a shortened Italeri (R)F-84F fin onto the original base, blended with some PSR into the rest of the tail.
With all aerodynamic surfaces in place it was time for fine-tuning, and to give the aircraft a simpler look I removed the dog teeth from the late Tunnan's outer wings, even though I retained the small LERXs. The wing tips were cut down a little and tip tanks (probably drop tanks from a Hobby Boss F-5E) added – without them the aircraft looked like a juvenile Saab 32!
The landing gear was mostly taken over from the Heller T-33, I just added small consoles for the main landing gear struts to ensure a proper stance, because the new wings and the respective attachment points were deeper. I also had to scratch some landing gear covers because the T-33 donor kit was missing them. The canopy was PSRed over the new opening and a new ejection seat tailored to fit into the F4U cockpit.
A final addition was a pair of pods with unguided FFARs. AFAIK the Luftwaffe did not use such weapons, but they’d make thematically sense on a Fifties anti-bomber interceptor - and I had a suitable pair left over from a Matchbox Mystère IV kit, complete with small pylons.
Painting and markings:
Since the time frame was defined by the Fifties, early Luftwaffe fighters had to carry a bare metal finish, with relatively few decorations. For the F-80E I gave the model an overall base coat with White Aluminum from a Dupli Color rattle can, a very nice and bright silver tone that comes IMHO close to NMF. Panels were post-shaded with Revell 99 (Aluminum) and 91 (Iron Metallic). An anti-glare panel in front of the windscreen was painted in the Luftwaffe tone RAL 6014, Gelboliv (Revell 42).
For some color highlights I gave the tip tanks bright red (Feuerrot, RAL 3000; Revell 330) outer halves, while the inner halves were painted black to avoid reflections that could distract the pilot (seen on a real Luftwaffe T-33 from the late Fifties). For an even more individual touch I added light blue (Tamiya X-14, Sky Blue) highlights on the nose and the fin, reflecting the squadron’s color code which is also carried within the unit emblem – the Tamiya paint came closest to the respective decal (see below).
The cockpit interior was painted with zinc chromate green primer (I used Humbrol 80, which is brighter than the tone should be, but it adds contrast to the black dials on the dashboard), the landing gear wells were painted with a mix of Humbrol 80 and 81, for a more yellowish hue. The landing gear struts became grey, dry-brushed with silver, while the inside of the ventral air brakes were painted in Feuerrot, too.
Then the model received an overall washing with black ink to emphasize the recessed panel lines, plus additional panel shading with Matt Aluminum Metallizer (Humbrol 27001), plus a light rubbing treatment with grinded graphite that emphasized the (few leftover) raised panel lines and also added a dark metallic shine to the silver base. Some of the lost panel lines were simulated with simple pencil strokes, too.
The decals/markings primarily came from an AirDoc aftermarket sheet for late Fifties Luftwaffe F-84Fs. The tactical code (“BB-xxx” was then assigned to the WaSLw 10 as unit code, but this soon changed to a similar but different format that told about the unit’s task as well as the specific unit and squadron within it; this was replaced once more by a simple xx+yy code that was only connected to a specific aircraft with no unit reference anymore, and this format is still in use today) was puzzled together from single letters/digits from the same decal set. Some additional markings like the red band on the fuselage had to be scratched, but most stencils came from an all-bare-metal Luftwaffe F-84F.
After some more detail painting the model was sealed with semi-gloss acrylic paint, just the anti-glare panel and the di-electric fairings on the nose and the fin tip became matt.
A thorough kitbashing build, but the result looks quite plausible, if not elegant? The slightly swept wings suit the F-80 with its organic fuselage shape well, even though they reveal the designs rather baroque shape. There’s a sense of obsolescence about the F-80E, despite its modern features? The Luftwaffe markings work well on the aircraft, too, and with the red and blue highlights the machine looks more attractive despite its simple NMF livery than expected.