View allAll Photos Tagged INTERCONNECTION
The Leonardo da Vinci is a cable-laying vessel. She has two carousels of 7,000 and 10,000 tonnes, with two independent laying lines, which makes her one of the most powerful cable-laying vessels in the world.
At this moment, she is working on an interconnection between Fuerteventura, Lanzarote and the Saint-Nazaire offshore wind farm in France.
My long off-trail hike in Sequoia National Park past Wales Lake (11,700 ft.) up to Tulainyo Lake wasn't the only time that I used orienteering skills learned from my brother Eric, a four time U.S. orienteering champion. The high country's open visibility and surprising interconnection of easily hikeable terrain makes off trail route-finding an enjoyable experience. I was fortunate to make it back to the distant forest before an early afternoon hailstorm forced me into a tight grove.
The Great Western Divide is the distant ridge and the long slope on the right is Mt Bernard's western ridge.
i think we’re all connected in rich, varied, and sometimes delicate ways. nature is a beautiful reminder of this important truth. i’m grateful to be in this world with all of you; i’m grateful for our connection.
A partir de Barcelinhos, a Capela de Nossa Senhora da Ponte, com a sua cobertura piramidal e alpendre, destaca-se na margem do Cávado, evocando a sua função protetora para os viajantes que outrora atravessavam a ponte medieval, Monumento Nacional construído no século XIV. A paisagem integra o núcleo histórico de Barcelos, onde as ruínas do Paço dos Condes, exemplar da arquitetura gótica e atual Museu Arqueológico, se erguem junto à torre da Igreja Matriz. Este local, ponto nevrálgico do Caminho de Santiago, testemunha a importância do rio Cávado no desenvolvimento urbano e estratégico da cidade. A ponte medieval, outrora essencial para o comércio entre Barcelos e Barcelinhos, reflete a interligação entre infraestrutura, devoção popular e poder senhorial, moldando a paisagem cultural do Minho e mantendo viva a memória de séculos de história e fé.
From Barcelinhos, the Chapel of Nossa Senhora da Ponte, with its pyramidal roof and porch, stands out on the banks of the Cávado River, evoking its protective function for travelers who once crossed the medieval bridge, a National Monument built in the 14th century. The landscape is part of the historic center of Barcelos, where the ruins of the Paço dos Condes, an example of Gothic architecture and now the Archaeological Museum, stand next to the tower of the Mother Church. This location, a key point on the Way of St. James, bears witness to the importance of the Cávado River in the urban and strategic development of the city. The medieval bridge, once essential for trade between Barcelos and Barcelinhos, reflects the interconnection between infrastructure, popular devotion, and seigneurial power, shaping the cultural landscape of Minho and keeping alive the memory of centuries of history and faith.
To see the cosmos in black and white, go to: www.michikofujii.co.uk/blog/m63yxperbzkze7zm36xgmytwtnatnk
En lisière de la place Masséna, à l’emplacement de l’ancien forum Jacques Médecin, un vaste miroir d’eau offre ses reflets et ses scintillements : un lac de 3.000 m2 équipé de 128 jets d’eau.
Des spectacles « son et lumière » peuvent y être organisés, grâce à une interconnexion générale et à un système informatique autorisant de multiples scénographies. Une machinerie complexe et invisible, avec 6 kilomètres de canalisations souterraines, permet l’organisation de shows aquatiques. Sur le bord de l’avenue Félix Faure, 300 m3 de béton ont été coulés pour abriter, en sous-sol, un local technique avec sa réserve d’eau et les commandes des systèmes hydraulique et électrique.
On the edge of Place Masséna, on the site of the former Jacques Médecin forum, a vast mirror of water offers its reflections and sparkles: a lake of 3,000 m2 equipped with 128 water jets.
Sound and light shows can be organized, thanks to a general interconnection and a computer system allowing multiple scenographies. A complex and invisible machinery, with 6 kilometers of underground pipes, allows the organization of aquatic shows. On the edge of Avenue Félix Faure, 300 m3 of concrete were poured to shelter, in basement, a technical room with its reserve of water and the controls of the hydraulic and electrical systems.
This is a collaboration of Joy Heylen, Luke Mallie, Ronda Sharpe, Jacqueline Damon and Agata Mouasher, Qld.
statement: Embryo represents a portal to understanding the past, present and future connections in life. Woven features in the sculpture symbolise the forming of individual identity, through intercultural and intergenerational difficulties. also through the potential of connectedness and represent the interconnections between community, cultures and time. Life repeats itself in patterns, not just because the system of the universe is itself a pattern but because patterns of the behaviour repeat generation after generation unless old destructive patterns are broken and new constructive patterns are created.
Swell Sculpture Festival
My Website : Twitter : Facebook : Instagram : Photocrowd
A photo of the 7m diameter revolving 'Gaia' art installation in Southwark Cathedral.
I saw it earlier in the year in Oxford but unfortunately despite making a special trip to see it on it's last day I got there only to realise I didn't have a battery in my camera....... Luckily I knew the installation toured so I'd hoped to catch it again at some point. Currently there's two of these installed in Grimsby and Leeds and if it's going to be in your area it's definitely worth a visit with your (battery filled) camera.
More info and touring dates for Gaia here : my-earth.org/tour-dates/
From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.
The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."
© D.Godliman
"Interconnection"
Duttlenheim (Bas-Rhin)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
My Website : Twitter : Facebook : Instagram : Photocrowd
A photo of someone taking a photo of the 7m diameter revolving 'Gaia' art installation in Southwark Cathedral.
I didn't have long to take photos but given how everyone seemed to be taking the same symmetrical shot with their phones I wanted to get a few 'different' shots. I'd say this falls into that category as at first glance it just looks like an out of focus photo.
I saw it earlier in the year in Oxford but unfortunately despite making a special trip to see it on it's last day I got there only to realise I didn't have a battery in my camera....... Luckily I knew the installation toured so I'd hoped to catch it again at some point. Currently there's two of these installed in Grimsby and Leeds and if it's going to be in your area it's definitely worth a visit with your (battery filled) camera.
More info and touring dates for Gaia here : my-earth.org/tour-dates/
From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.
The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."
© D.Godliman
ACL EMD E-7A locomotive 533 is seen in the platform area with train 38, (aka: Jax Mail) while it is being loaded with mail, express & baggage prior to its early evening departure from the downtown station, situated between 2nd and 3rd Street on First Avenue South in Saint Petersburg, Florida, April, 1960. The station tracks were situated on First Avenue South and were on a continuous up-grade from the South Mole to 16th Street, and the locomotive really had to work hard when departing the station. It appears that two employees standing by the front of the locomotive are involved with one of the interconnection hoses on the pilot. In the background you can see a mail truck delivering bags of mail that has been placed on a baggage float. The trains consist has five headend cars along with one rider coach that travels on a slow schedule with numerous stops enroute to Jacksonville. The car next to the mail truck is a RPO. If you notice the train has been split at Second Street to allow vehicles to pass until departure time. The station's actual platform was constructed of red brick while the track area was covered with asphalt to serve as platform area and to make it possible for vehicles to load or unload. Behind the employees standing by the front of the locomotive there was a siding with a platform for the old Harrison Hardware building, but this track was often used by express cars. This station was taken out of service in 1963 with the building being torn down after that along with most of the downtown area tracks being removed.
This photo came from the Internet and the photographers name Norrell Colln, or the photo may be from his collection.
Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
This work symbolizes the deep interconnection of all things. The mirrored birds in flight symbolize unity, transformation and the relationship between land, water and sky.
The work also highlights the vital role of water in Inuit culture, as a source of life, travel and sustenance.
The theme of the reflection extends beyond the imagery. By displaying both the front and the back, the work itself becomes a reflection, revealing the hidden stitching that holds it all together, just as unseen forces bind the world around us.
The garden at Sissinghurst Castle in the Weald of Kent, near Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England.
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of "rooms", each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and "doors" are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient— "hurst" is the Saxon term for "an enclosed wood". A manorhouse with a three-armed moat was built here in the Middle Ages. By 1305, Sissinghurst was impressive enough for King Edward I to spend the night. In 1490, Thomas Baker purchased Sissinghurst.The house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and hugely enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In 1573, Queen Elizabeth I spent three nights at Sissinghurst.
body (noun): the physical structure and material substance of an animal or plant, living or dead; the trunk or main mass of a thing
I am not my body, yet I am endlessly encouraged to take care of it for its intricate interconnections with the other facets of myself
This is the latest piece (Trans Am Totem) to be installed for the 2014-2016 Vancouver Biennale. Its on Quebec Street and Milross Avenue near the east end of False Creek. It took two days to put it in place during which neighborhood traffic was gridlock.
The scar in the north shore mountains in the background is Grouse Mountain Ski hill.
“Trans Am Totem”
Marcus Bowcott
Canada
10 meters high, 11,340 kilograms
5 scrap cars and a cedar tree
Marcus Bowcott is a Vancouver based artist working in painting and sculpture. “Trans Am Totem” is composed of five real scrap cars stacked upon an old growth cedar tree. The artwork considers our consumer “out with the old, in with the new” culture in relation to the site, its history and Vancouver’s evolving identity.
In his artworks Marcus Bowcott arranges what remains of our throw-away consumer culture. As a metaphor his work uncovers an unpleasant darkness in our society, revealing the emotional bankruptcy that results from our dependence on cheap consumer goods which are almost always produced by unseen people on other continents. His beautifully twisting sculptures attempt to find something redeeming in the detris remaining from cycles of consumer desire and planned obsolescence.
“I draw inspiration and support from my family and friends. In the last few years I have made a full time commitment to my art, especially with the Vancouver Biennale installation of Trans Am Totem.”
“The automobile holds a unique position in our culture, It’s a manufactured want and symbol of extremes; practicality and luxury, necessity and waste. We can see this in the muscular Trans Am, the comfortable BMW, and the workhorse Civic. Trans Am Totem also questions the cycle of production and consumption”. – Marcus Bowcott.
By stacking smashed automobiles and levitating them high above the roadway, Bowcott’s sculpture serves to remind us of the ultimate responsibilities we bear to our planet and future generations. Trans Am Totem fantasizes a justified end to car culture even as countless automobiles zoom past on asphalt and concrete ribbons and ooze pollutants and spent carbon fuels into the atmosphere. Bowcott’s vision of nature triumphant subversively reminds ultimately of our ongoing contributions to global warming and further environmental degradation.
Before the introduction of heavy industry, this site was a shoreline of tidal flats and massive forest with old growth cedars and Douglas Firs in the vicinity of Musqueam, Squamish and Tseil-Watuth Nations. Later, False Creek became an industrial zone of sawmills, beehive burners and ringed with ever increasing collections of log booms. Just before Expo ’86 the mills where removed and the area transformed. Now the area is a constant flow of transportation and interconnections: residential tower blocks, commercial business and entertainment centers encircled by cyclists, light rail and most dominant of all – cars.
This wood sculpture was for sale at Sissinghurst's plant and gift shop.
The garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England and is grade I listed.
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it. What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In August 1573 Queen Elizabeth I spent three nights at Sissinghurst.
After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.
Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today. The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country"; and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967. The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008).
For further information please visit en.wikipedia.org/wiki/Sissinghurst_Castle_Garden and www.nationaltrust.org.uk/sissinghurst-castle-garden
My Website : Twitter : Facebook : Instagram : Photocrowd
A photo of the 7m diameter 'Gaia' art installation as seen at the Canary Wharf Winter Lights Festival. I saw it last Autumn installed in Southwark Cathedral so seeing it floating on one of the docks made for an interesting contrast.
More info and touring dates for Gaia here : my-earth.org/tour-dates/
From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.
The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."
© D.Godliman
To view more of my images, of Sissinghurst Castle & Gardensl, please click
"here" !
I would be most grateful if you would not insert images, and/or group invites; thank you.
Vita Sackville-West, the poet and writer, began the transforming Sissinghurst Castle in the 1930s with her diplomat and author husband, Harold Nicolson. Harold's architectural planning of the garden rooms, and the colourful, abundant planting in the gardens by Vita, reflect the romance and intimacy of her poems and writings. Sissinghurst Castle was the backdrop for a diverse history; from the astonishing time as a prison in the 1700s, to being a home to the women’s land army. It was also a family home to some fascinating people who lived here or came to stay. Today you can take in the ruined architecture of the extensive original buildings, vast panoramic views from the top of the Tower, the current working farm and the 450-acre wider estate along with Vita and Harold's gardens. Now we're well into our new season there are lots of events for you to enjoy. The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967. The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008). The garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England. Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting. For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir. The site is ancient— "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. In 1490, Thomas Baker purchased Sissinghurst. The house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In 1573, Queen Elizabeth I spent three nights at Sissinghurst. Rose arbour in Sissinghurst's White Garden room, which set a fashion for 'white gardens' After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers. Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today. The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country"; and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
An oast, oast house or hop kiln is a building designed for kilning hops as part of the brewing process. They can be found in most hop-growing areas and are often good examples of vernacular architecture. Many redundant oasts have been converted into houses
This is my entry into the Blue Mountains Portraits 2021 exhibition, currently on show at the Blue Mountains Cultural Centre in Katoomba.
"In this image of Becky, I wanted to capture and combine two key aspects of Becky’s life, her work with the National Parks and Wildlife Service and as a long-time senior performer with Wagana Aboriginal Dancers. Both of these life paths enable Becky to honour and to be on Country, which as a Kamilaroi woman, is very important to her".
Subject- Becky Chatfield
Photographer: Ben Pearse
Medium: Photographic print, AO size.
Special Note: This image has gone on to win the peoples choice award at the Blue Mountains portrait prize in 2021.
Aztec Dancers - November is American Indian Heritage Month. One of the many celebrations held all over North America this year was a weekend-long gathering in San Jose. Tribes from throughout the United States, including Alaska, attended. Stories were told, traditional dances performed, plays in native languages were performed, competitions held, and handcrafts were sold. The event closed out on the third day with a Pow Wow, a gathering of all the tribes honoring their individual cultures as well as their interconnections.
Sculpture by Lindy Lee outside in front of the Art Gallery of South Australia
The immense, egg-shaped sculpture, dotted with countless holes is supposedly "a symbolic representation of the earth, the beginning of life, birth and renewal; an acknowledgement that everything in the universe is interrelated", demonstrating "the idea that well-being naturally springs forth when both the individual and the power of interconnection are in balance".
There's a Japanese female artist, now 90 yrs. old, named Yayoi Kasuma. Her art crosses over into a number of mediums.
She grew up in a loveless, joyless home, suffered abuse both physical and emotional, has endured mental illness, hallucinations, breakdowns, has attempted suicide.....and found her salvation in art. Since 1977, she has voluntarily resided in a mental hospital from which she can come and go.
She became obsessed with polka dots which she was hallucinating and found a meaning in them as a network, a loss of self ego and instead an interconnection to others and the world around her. "My life is a dot lost among thousands of other dots."
She uses her hallucinations as the source of her art.
She's fascinating, she's difficult, she's controversial (once showing up at a Vietnam protest stark naked), at times outrageous and she wears a fire engine red wig.
She knows she's mentally ill and has found a way to live with it, and with art she lives through it.
Whether or not her art appeals to you, it's difficult to not be impressed with her resiliency, her ferocity of spirit and her undaunted capacity to look on her life as beautiful. "I think I will be able to, in the end, rise above the clouds and climb the stairs to heaven, and I will look down on my beautiful life."
I'm not looking to be consumed by polka dots. This just came up while fooling around in photo editing with an old photo,and I remembered reading something years ago about a polka dot artist.
A brief look at her:
www.thejakartapost.com/life/2018/09/06/yayoi-kusama-her-w...
My Website : Twitter : Facebook : Instagram : Photocrowd
A night time photo of the 7m diameter 'Floating Earth'' art installation as seen at the Canary Wharf Winter Lights Festival. I saw it last Autumn installed in Southwark Cathedral so seeing it floating on one of the docks made for an interesting contrast, not least as whilst it was tethered it was still bouncing about a bit like a beachball in a swimming pool.
More info and touring dates for Gaia here : my-earth.org/tour-dates/
From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.
The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."
© D.Godliman
A fabulous and surprising place to visit. The lakes are great place for Dragonflies too. To read more from the official National Trust page:-
www.nationaltrust.org.uk/sissinghurst-castle-garden
en.wikipedia.org/wiki/Sissinghurst_Castle_Garden
The garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England and is grade I listed.
History
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat.[2] Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous.[3] The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls.[4] The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden.[5] Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole,[6] reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it.[7] What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In August 1573 Queen Elizabeth I spent three nights at Sissinghurst.[7]
Rose arbour in Sissinghurst's White Garden room, which set a fashion for 'white gardens'[8]
After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.
Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today.[6] The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country";[9] and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
The National Trust
The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967.[10] The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008).
Excerpt from the plaque:
Yuh Too Sweet by Ada M. Patterson is a visual poem reflecting on some of the crops that define and confine the Barbadian landscape. As a lamentation on the place of sugar and tourism in the Barbadian cultural imaginary, Yuh Too Sweet wonders how long our lived dedication to monocultures will persist. Subverting the images of these complicated crops, the work tells a different story that weaves together dreamy and sombre images of cane, sugar, horizons, and resorts. Against a rumbling percussion of boiling cane syrup, the voiceless narrator is mournful, unable to remember anything before these crops took root. Overall, Yuh Too Sweet is an appeal for something else – anything else – in place of status quos that show no sign of changing.
Excerpt from agb.life/visit/exhibitions/here-comes-the-sun:
Here Comes the Sun traces the origins of extractive tourism industries through the works of contemporary artists whose practices examine the interconnections between colonial legacies of crop plantations and service economies in the Caribbean. Gesturing towards the Caribbean’s complicated relationship with the tourism industry, Irene de Andrés and Katherine Kennedy deliver criticisms of international stakeholders and land developers who stand to benefit from the economic, social, and environmental well-being of the region. Countering the intrusive colonial gaze, Joiri Minaya exposes fictitious representations of the landscape and the exoticization of Caribbean women. Ada M. Patterson subverts images of crops to offer a lamentation on the place of sugar and tourism in the Barbadian cultural imaginary.
The works problematize the paradise trope ascribed to the Caribbean by the West and pose questions about its construction: What are the historical foundations of this trope? Why, and for whom, was it built? Together, these works resist the Western gaze, address the shared complicity between tourists, diasporic communities, and land developers, and critique reductive conceptions of the Caribbean as a site of escapism.
The exhibition title is borrowed from Jamaican-born writer Nicole Dennis-Benn’s titular fictional novel. In Here Comes the Sun (2016), Dennis-Benn narrates the lives of three Jamaican women against a backdrop of power dynamics, economics, and gender inequities to advance conversations in the Global North about the complexity of tourism industries.
St Pancras International Station
UPDATE AUG 2010 - #37 on Explore and Front Page for 04.08.2010 - thank you very much everybody! :-)
One from the vaults this one, never really been sure what I wanted to do with it. In the end I exported the photos from LR3 into Photomatix and did a little tweaking there, reimported it back into LR3. Then exported into Photoshop Elements as it had quite a bit of noise which I wanted removing and then back into LR3. The colour version just didn't do this magnificent place justice so the B&W you see here was the result. Adjusted the contrast and shadows with a very faint vignette and I was very happy with it.
This was done with my kit lens Sony DT 18-70mm f3.5-5.6, I really want to get a Sigma 12-24mm at some point, it will be such an upgrade to my current widest lens, can anybody recommend this lens?
Also view this photo on black, I prefer it on a black background
Information
St Pancras railway station, also known as London St Pancras and since 2007 as St Pancras International is a central London railway terminus celebrated for its Victorian architecture. The Grade I listed building stands on Euston Road in St Pancras, London, between the British Library, King's Cross station and the Regent's Canal. It was opened in 1868 by the Midland Railway as the southern terminus of that company's Midland Main Line, which connected London with the East Midlands and Yorkshire. When it opened, the arched Barlow train shed was the largest single-span roof in the world.
After escaping planned demolition in the 1960s, the complex was renovated and expanded during the 2000s at a cost of £800 million with a ceremony attended by the Queen and extensive publicity introducing it as a public space. A security-sealed terminal area was constructed for Eurostar services to Continental Europe—via High Speed 1 and the Channel Tunnel—along with platforms for domestic connections to the north and south-east of England. The restored station houses fifteen platforms, a shopping centre and a bus station, in addition to London Underground services from King's Cross St Pancras tube station. St Pancras is owned by London and Continental Railways along with the adjacent urban regeneration area known as King's Cross Central.
The station is the terminus of East Midlands Trains for services from London to the cities of Derby, Leicester, Nottingham, Sheffield, and smaller towns in between. The station provides direct passenger interconnection with Eurostar’s high-speed services to Paris, Brussels and Lille and First Capital Connect trains on the cross-London Thameslink route, which stop at platforms beneath the station and offer services going south to Gatwick Airport and Brighton, or north as far as Bedford. Domestic services to Kent (run by Southeastern) began in December 2009.
St Pancras is often termed the 'cathedral of the railways', and includes two of the most celebrated structures built in Britain in the Victorian era. The main train shed, completed in 1868 by the engineer William Henry Barlow was the largest single-span structure built up to that time. The frontage of the station is formed by St Pancras Chambers, formerly the Midland Grand Hotel (by George Gilbert Scott, 1868–1877) an impressive example of Victorian gothic architecture.
Info from the Cathedral site:
Gaia at Chester Cathedral
Gaia is a touring artwork by UK artist Luke Jerram.
Measuring six metres in diameter, Gaia features 120dpi detailed NASA imagery of the Earth’s surface*. The artwork provides the opportunity to see our planet on this scale, floating in three-dimensions.
The installation creates a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment. Watch this great film about the phenomenon.
The artwork also acts as a mirror to major events in society. In light of the current COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature.
A specially made surround sound composition by BAFTA award winning Composer Dan Jones is played alongside the sculpture. In Greek Mythology Gaia is the personification of the Earth.
Gaia has been created in partnership with the Natural Environment Research Council (NERC), Bluedot and the UK Association for Science and Discovery Centres.
Gaia at Chester Cathedral opens on Tuesday 7 February to Sunday 5 March 2023.
Entry to view Gaia is free of charge, however, donations are welcome. Your donation to Chester Cathedral helps us to maintain our magnificent building and its estate for future generations, but also enables us to host events such as Gaia.
For more information see:
Luke Jerram’s multidisciplinary practice involves the creation of sculptures, installations and live arts projects. Living in the UK but working internationally since 1997, Jerram has created a number of extraordinary art projects which have excited and inspired people around the globe. Jerram has a set of different narratives that make up his practice which are developing in parallel with one another. He is known worldwide for his large scale public artworks.
Learn more about Luke here:
chestercathedral.com/gaia-luke-jerram/
#ChesterCulture
Calpulli Tonalehqueh (Mexica Dancers) - a spiritual, as well as an exciting, experience watching them perform.
November is American Indian Heritage Month. One of the many celebrations held all over North America this year was a weekend-long gathering in San Jose. Tribes from throughout the United States, including Alaska, attended. Stories were told, traditional dances performed, plays in native languages were performed, competitions held, and handcrafts were sold. The event closed out on the third day with a Pow Wow, a gathering of all the tribes honoring their individual cultures as well as their interconnections.
Foto ricordo del viaggio di ritorno per il treno storico dell' Expo della Vallestura 2016, che si tiene annualmente ogni prima domenica di Ottobre. Dopo essere andato a girarsi nel triangolo dell'interconnessione tra le linee Genova - Acqui e Ovada - Alessandria eccolo procedere in direzione del capoluogo ligure appena uscito dalla lunga galleria di valico, che prende il nome dall'omonimo passo, il Turchino, sul tracciato modificato a causa di una grossa frana avvenuta parecchi anni fa e mai ripristinato. Una curiosità...tre quarti d'ora d'attesa vana dal ponte della Veneta con luce favorevole e acque chete per un bel riflesso, ma la manovra si è consumata solo all'imbocco del triangolo senza toccare la stazione di Ovada Nord...e ancora un po' e lo perdo anche qua!!!
There is steam on the Turchino Pass ...
Souvenir photos of the return trip to the historic train of Vallestura Expo 2016, which is held annually on the first Sunday of October. After going to turn around in the triangle between the interconnection lines Genoa - Acqui and Ovada - Alessandria there it proceeds in the direction of Genoa just out of the long tunnel crossing, which takes its name from the Pass, the Turchino, on the modified track due to a large landslide occurred several years ago and never restored. A curiosity ... three quarters of an hour of waiting in vain by the Venetian bridge with favorable light and still waters for quite reflection, but the maneuver was consumed only at the mouth of the triangle without touching the Ovada Nord station .. .and still a bit and I lose here !!!
My Website : Twitter : Facebook : Instagram : Photocrowd
A photo of the 7m diameter 'Floating Earth'' art installation as seen at the Canary Wharf Winter Lights Festival. I saw it last Autumn installed in Southwark Cathedral so seeing it floating on one of the docks made for an interesting contrast, not least as whilst it was tethered it was still bouncing abount a bit like a beachball in a swimming pool.
More info and touring dates for Gaia here : my-earth.org/tour-dates/
From the website, "Gaia is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter and created from 120dpi detailed NASA imagery of the Earth’s surface* the artwork provides the opportunity to see our planet, floating in three dimensions.
The installation aims to create a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
The artwork also acts as a mirror to major events in society. In light of the COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature."
© D.Godliman
The increase of population spurs technological progress and creates that anxiety which sets us against our environment as an enemy; while technology both facilitates increase of population and reinforces our arrogance, or "hubris," vis-à-vis the natural environment.
The attached diagram illustrates the interconnections. It will be noted that in this diagram each corner is clockwise, denoting that each is by itself a self-promoting (or, as the scientists say,"auto catalytic") phenomenon: the bigger the population, the faster it grows; the more technology we have, the faster the rate of new invention; and the more we believe in our "power" over an enemy environment, the more "power" we seem to have and the more spiteful the environment seems to be.
(for the diagram see: www.colorado.edu/AmStudies/lewis/ecology/sick.htm )
... The ideas which dominate our civilization at the present time date in their most virulent form from the
Industrial Revolution. They may be summarized as:
(a) It's us against the environment.
(b) It's us against other men.
(c) It's the 'individual (or the individual company, or the individual nation) that matters.
(d) We can have unilateral control over the environment and must strive for that control.
(e) We live within an infinitely expanding "frontier."
(f) Economic determinism is common sense.
(g) Technology will do it for us.
We submit that these ideas are simply proved false by the great but ultimately destructive achievements of our technology in the last 150 years. Likewise they appear to be false under modern ecological theory. The creature that wins against its environment destroys itself.
Gregory Bateson, "The Roots of Ecological Crisis" (1972)..YES 1972 !!!!!
A blessing is wafted over all who attended by one of the Calpulli Tonalehqueh dancers. This was more than a performance. This was a scared rite.
November is American Indian Heritage Month. One of the many celebrations held all over North America this year was a weekend-long gathering in San Jose. Tribes from throughout the United States, including Alaska, attended. Stories were told, traditional dances performed, plays in native languages were performed, competitions held, and handcrafts were sold. The event closed out on the third day with a Pow Wow, a gathering of all the tribes honoring their individual cultures as well as their interconnections
30 by 30 is the number of still images you see in the 30 seconds.
At SLEA Music Lab, visible objects credited to Livio Korobase. maps.secondlife.com/secondlife/SLEA4/22/179/1589
Sound by Jazznoize - Interconnection freemusicarchive.org/music/Jazznoize/The_Sounds_of_Power_...
CC BY-SA-NC
Luke Jerram's 'Floating Earth' at Pennington Flash last night.
‘Floating Earth’ is a 10m diameter replica of planet Earth, projected with imagery taken directly from NASA.
Luke aims to evoke the ‘overview effect’, first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.
Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=10507:
The property at 1 Station Road, known as the Huntsville CNR Station, is situated on the eastern shore of Lake Vernon's Hunter's Bay in the Town of Huntsville. The one-storey, brick clad station with a broad hip roof was designed by the Chief Engineer's office of the Canadian National Railway (CNR) and was constructed in 1924. A wood-frame freight shed constructed in the same year also occupies the property.
The exterior and interior of the station, the exterior of the freight shed, and the scenic character of the property are protected by an Ontario Heritage Trust conservation easement (2003).
Located on Station Road, the station's approach by road was originally secondary to its approach by water, due to the adjacent steamship dock. As a result, the orientation of the station's front façade is towards Hunter's Bay rather than towards the street or Town of Huntsville. The elevation that faces the town is unadorned and was without a doorway, until 1947.
The Huntsville Canadian National Railway (CNR) Station was associated with the wave of railway rationalization and revitalization that occurred across Canada in the early 1920s. Built in 1924, the Huntsville CNR Station replaced a wood-frame station, built in 1886, by the Northern and Pacific Junction Railway (N and PJ), which was the first railway to reach Huntsville. In 1923, the federally controlled CNR assumed control of the bankrupt Grand Trunk Railway, successor to the N and PJ, and updated its facilities in Huntsville with the redevelopment of its yards and construction of the depot. At the time, Huntsville was an important regional service centre and a major destination for travellers to the fashionable Muskoka vacation region. With steamships of the Huntsville, Lake of Bays and Lake Simcoe Navigation Company arriving and departing from a dock adjacent to the station, the exchange of passengers made the CNR station a hub of activity. Notably, the station continues to serve its original function as a passenger depot for the Ontario Northland Railway.
The Huntsville CNR Station is an example of a non-standard CNR station.
Reflecting the, then newly formed, company's efficient and profit-driven attitude, the station's design by the office of the CNR's Chief Engineer incorporated both the company's desire, to provide practical and economical facilities, with its wish, to construct a suitably substantial main-line station, at an important and affluent tourist destination. Successfully balancing these considerations, the resulting design produced a larger station, than most standard station plans, with an exterior clad in brick, yet unadorned by ornamentation or expensive materials. The broad hip roof with flared, overhanging eaves is emblematic of period stations, though the lack of large braces is a notable departure from the earlier standard practice, in an attempt to project a modern feel. In place of the large braces, the eaves are embellished with scroll-cut rafter ends, characteristic of the contemporary Craftsman style. Like today, the roof was originally covered in green asphalt shingles, exemplifying the company's inclination to incorporate up-to-date materials. Rather than an ornamental embellishment of the station, the design incorporated functional elements, such as, the porte-cochère off the station's north end, supported by thick brick piers. The straightforward brickwork with crisp soldiered lintels and header course contributes to the station's efficient and rational plan. The utilization of industrial style brown paver brick, pressed buff brick and tooled, red coloured mortar joints that display a 'V' profile, attest to the attention to detail expended on the brickwork. Complementing the exterior, the interior is simply finished with a terrazzo floor and plaster walls, detailed with a plain, wood strap dado. The baggage room survives intact with its tongue-and-groove wall and ceiling cladding. Off the south end of the station is a wood-framed, shiplap-clad freight shed that was also built in 1924.
Character defining elements that contribute to the heritage value of the Huntsville CNR Station include its:
- long, rectangular, one-storey plan
- broad hip roof with flared eaves covered in green asphalt shingles
- broad tongue-and-groove clad eaves with exposed scroll-cut rafter tails
- brick veneer cladding of brown paver bricks laid in stretcher bond comprising the base of the station with buff bricks above laid in Flemish bond, separated by a header course
- V-tooled, red coloured mortar joints
- double-hung, wooden sash, 1 over 1 windows and square, multi-pane windows with soldiered brick lintels
- square sided bay window marking the station agent's office
- waiting room doorways with single-pane sidelights and transom lights
- exterior doorway to the baggage room with wooden, panelled, double doors
- open porte-cochère with a hip roof supported by brick piers
- open character of the waiting room
- plaster walls and ceiling of the waiting room with a plain dado and picture rail
- casing of the doors and windows
- terrazzo floor
- glass globe, hanging light fixtures of the waiting room
- baggage room with its wooden floor and tongue-and-groove clad walls and ceiling
- orientation to face Hunter's Bay, indicative of the historic interconnection of the CNR in Huntsville with water transportation
- placement adjacent to the historic location of the dock used by steamships of the Huntsville, Lake of Bays and Lake Simcoe Navigation Company
- placement relative to the CNR tracks
- concrete passenger platform
- adjacent wood-frame freight shed, with shiplap siding, ribbon windows and large sliding doors
Blog: www.miksmedia.net
Facebook: www.facebook.com/miksmedia
Twitter: www.twitter.com/miksmedia
The one time their weather forecast was right it snowed... I tell ya, it's not right!! It's rather cold outside this morning (-6oC and it supposed to "warm up" to -1oC) so here I am surrounding myself with lots of color to forget the misery of approaching winter.. Hope you guys enjoy it as well ;D Happy Monday!!
A fabulous and surprising place to visit. The lakes are great place for Dragonflies too. To read more from the official National Trust page:-
www.nationaltrust.org.uk/sissinghurst-castle-garden
en.wikipedia.org/wiki/Sissinghurst_Castle_Garden
The garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England and is grade I listed.
History
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat.[2] Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous.[3] The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls.[4] The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden.[5] Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole,[6] reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it.[7] What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In August 1573 Queen Elizabeth I spent three nights at Sissinghurst.[7]
Rose arbour in Sissinghurst's White Garden room, which set a fashion for 'white gardens'[8]
After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.
Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today.[6] The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country";[9] and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
The National Trust
The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967.[10] The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008).
The garden at Sissinghurst Castle in the Weald of Kent, near Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England.
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of "rooms", each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and "doors" are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient— "hurst" is the Saxon term for "an enclosed wood". A manorhouse with a three-armed moat was built here in the Middle Ages. By 1305, Sissinghurst was impressive enough for King Edward I to spend the night. In 1490, Thomas Baker purchased Sissinghurst.The house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and hugely enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In 1573, Queen Elizabeth I spent three nights at Sissinghurst.
I'm suddenly feeling very inspired again. :)
I've recently been watching some YouTube videos about Chaos Theory and about how our eyes and brain interpret chaotic scenes. In case you didn't already know, Chaos Theory states that "within the apparent randomness of chaotic complex systems (such as in an indigenous forest), there are underlying patterns, interconnection, constant feedback loops, repetition, self-similarity, fractals, and self-organization" (Wikipedia). I've been stumbling around this forest with my camera for a few years now, trying to find some order in this haphazard randomness. And now you're telling me that nothing is truly random and without repetition? Hmm... I think I'll need to watch a few more videos before I come to my own conclusions on this.
I did however, get some great tips from all these videos, many of which I could apply to my own photography. I'm suddenly feeling very inspired again. :)