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28/04/16 #1214. Every day we see these guys loading their trucks oh so high with pine straw collected from the forest on the lower slopes of Mount Teide. I'm not sure what they do with it though.
Includes teams from Deuel, Hot Springs, Madison, Parkston/Ethan/Hanson/Mt. Vernon. Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting.
©2021 SDPB
Includes 10 minifigures: Finael, Orion, Nynia, 2 Ardun soldiers, Vorash, Rothut, and 3 Ustokal warriors
The Blue Tit (Cyanistes caeruleus), often simply called "blue tit," is a small and colorful bird belonging to the family Paridae, which includes tits, chickadees, and titmice.
Scientific classification: Cyanistes caeruleus
Kingdom: Animalia
Phylum: Chordata
Class: Aves
Order: Passeriformes
Family: Paridae
Genus: Cyanistes
Species: C. caeruleus
Physical Description:
Size: Blue Tits are small birds, measuring around 10 to 12 centimeters (4 to 4.7 inches) in length.
Weight: They typically weigh between 9 to 12 grams (0.3 to 0.4 ounces).
Coloration: They have vibrant blue and yellow plumage, with blue wings and tail, a yellow belly, and a distinctive blue cap on the head. The intensity of their colors can vary among individuals and populations.
Distribution: Blue Tits are native to Europe and parts of North Africa and Asia. They are widespread throughout their range.
Habitat: They inhabit a variety of wooded and shrubby areas, including forests, woodlands, parks, gardens, and urban areas. They are adaptable birds and can thrive in diverse habitats.
Diet: Blue Tits are primarily insectivorous, feeding on insects, caterpillars, spiders, and other invertebrates. They also consume seeds, nuts, berries, and occasionally feed on small fruits.
Foraging: They are agile and acrobatic birds, often seen hopping from branch to branch while foraging for food. They may also visit bird feeders, particularly during the winter months.
Breeding: Blue Tits typically breed from late April to June. They nest in tree holes, nest boxes, or other suitable cavities. The female lays a clutch of eggs (usually around 7 to 14 eggs) and incubates them for about two weeks. Both parents participate in feeding the chicks until they fledge, which usually occurs around 16 to 22 days after hatching.
Social Structure: Blue Tits are generally social birds and may form mixed-species flocks, especially during the non-breeding season. They communicate using a variety of vocalizations, including calls and songs.
IUCN Red List Status: Least Concern. Blue Tits have a large and stable population, and their range extends over a significant geographic area. However, local populations may face threats from habitat loss, pollution, and predation.
Cultural Significance:
Blue Tits are beloved by birdwatchers and are commonly featured in art, literature, and folklore across their range.
They are also important in controlling insect populations, making them beneficial to ecosystems and agriculture.
Overall, the Blue Tit is a charming and adaptable bird known for its vibrant colors, agile behavior, and melodious songs.
I've captured some unforgettable moments with my camera, and I hope you feel the same joy viewing these images as I did while shooting them.
Thank you so much for visiting my gallery, whether you leave a comment, add it to your favorites, or simply take a moment to look around. Your support means a lot to me, and I wish you good luck and beautiful light in all your endeavors.
© All rights belong to R.Ertuğ. Please refrain from using these images without my express written permission. If you are interested in purchasing or using them, feel free to contact me via Flickr mail.
Lens - With Nikon TC 14E II - hand held or Monopod and definitely SPORT VR on. Aperture is f8 and full length. All my images have been converted from RAW to JPEG.
I started using Nikon Cross-Body Strap or Monopod on long walks. Here is my Carbon Monopod details : Gitzo GM2542 Series 2 4S Carbon Monopod - Really Right Stuff MH-01 Monopod Head with Standard Lever - Really Right Stuff LCF-11 Replacement Foot for Nikon AF-S 500mm /5.6E PF Lense -
Your comments and criticism are very valuable.
Thanks for taking the time to stop by and explore :)
I encountered this Blue Tit early in the morning and observed it through my small binoculars. I managed to capture this intriguing pose with a shutter speed of 1/640. Its focused demeanor and acrobatic stances are captivating to witness; sometimes, I observe them listening attentively. During this season, they are busy and incredibly active, hastily collecting materials for their nests. The pair I observed divides the labor and coordinates their efforts. The male gathers the necessary materials and brings them to the nest, while the female likely tends to the nest materials for minutes at a time. I believe the female will begin incubating soon. Judging by its stance and expression, I'm inclined to believe it's a male! I found it fascinating and couldn't resist sharing it. I hope you enjoy it as much as I did.
The Blue Tit (Cyanistes caeruleus), often simply called "blue tit," is a small and colorful bird belonging to the family Paridae, which includes tits, chickadees, and titmice.
Scientific classification: Cyanistes caeruleus
Kingdom: Animalia
Phylum: Chordata
Class: Aves
Order: Passeriformes
Family: Paridae
Genus: Cyanistes
Species: C. caeruleus
Physical Description:
Size: Blue Tits are small birds, measuring around 10 to 12 centimeters (4 to 4.7 inches) in length.
Weight: They typically weigh between 9 to 12 grams (0.3 to 0.4 ounces).
Coloration: They have vibrant blue and yellow plumage, with blue wings and tail, a yellow belly, and a distinctive blue cap on the head. The intensity of their colors can vary among individuals and populations.
Distribution: Blue Tits are native to Europe and parts of North Africa and Asia. They are widespread throughout their range.
Habitat: They inhabit a variety of wooded and shrubby areas, including forests, woodlands, parks, gardens, and urban areas. They are adaptable birds and can thrive in diverse habitats.
Diet: Blue Tits are primarily insectivorous, feeding on insects, caterpillars, spiders, and other invertebrates. They also consume seeds, nuts, berries, and occasionally feed on small fruits.
Foraging: They are agile and acrobatic birds, often seen hopping from branch to branch while foraging for food. They may also visit bird feeders, particularly during the winter months.
Breeding: Blue Tits typically breed from late April to June. They nest in tree holes, nest boxes, or other suitable cavities. The female lays a clutch of eggs (usually around 7 to 14 eggs) and incubates them for about two weeks. Both parents participate in feeding the chicks until they fledge, which usually occurs around 16 to 22 days after hatching.
Social Structure: Blue Tits are generally social birds and may form mixed-species flocks, especially during the non-breeding season. They communicate using a variety of vocalizations, including calls and songs.
IUCN Red List Status: Least Concern. Blue Tits have a large and stable population, and their range extends over a significant geographic area. However, local populations may face threats from habitat loss, pollution, and predation.
Cultural Significance:
Blue Tits are beloved by birdwatchers and are commonly featured in art, literature, and folklore across their range.
They are also important in controlling insect populations, making them beneficial to ecosystems and agriculture.
Overall, the Blue Tit is a charming and adaptable bird known for its vibrant colors, agile behavior, and melodious songs.
I've captured some unforgettable moments with my camera, and I hope you feel the same joy viewing these images as I did while shooting them.
Thank you so much for visiting my gallery, whether you leave a comment, add it to your favorites, or simply take a moment to look around. Your support means a lot to me, and I wish you good luck and beautiful light in all your endeavors.
© All rights belong to R.Ertuğ. Please refrain from using these images without my express written permission. If you are interested in purchasing or using them, feel free to contact me via Flickr mail.
Lens - With Nikon TC 14E II - hand held or Monopod and definitely SPORT VR on. Aperture is f8 and full length. All my images have been converted from RAW to JPEG.
I started using Nikon Cross-Body Strap or Monopod on long walks. Here is my Carbon Monopod details : Gitzo GM2542 Series 2 4S Carbon Monopod - Really Right Stuff MH-01 Monopod Head with Standard Lever - Really Right Stuff LCF-11 Replacement Foot for Nikon AF-S 500mm /5.6E PF Lense -
Your comments and criticism are very valuable.
Thanks for taking the time to stop by and explore :)
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Includes teams from Wagner/Bon Homme, Britton-Hecla, Vermillion, Stanley County and West Central. Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting.
©2021 SDPB
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Dahlia is a genus of bushy, tuberous, herbaceous perennial plants native to Mexico. A member of the Asteraceae (or Compositae), dicotyledonous plants, related species include the sunflower, daisy, chrysanthemum, and zinnia. There are 42 species of dahlia, with hybrids commonly grown as garden plants. Flower forms are variable, with one head per stem; these can be as small as 2 in diameter or up to 1 ft ("dinner plate"). This great variety results from dahlias being octoploids—that is, they have eight sets of homologous chromosomes, whereas most plants have only two. In addition, dahlias also contain many transposons—genetic pieces that move from place to place upon an allele—which contributes to their manifesting such great diversity.
The stems are leafy, ranging in height from as low as 12 in to more than 6–8 ft. The majority of species do not produce scented flowers or cultivars. Like most plants that do not attract pollinating insects through scent, they are brightly colored, displaying most hues, with the exception of blue.
The dahlia was declared the national flower of Mexico in 1963. The tubers were grown as a food crop by the Aztecs, but this use largely died out after the Spanish Conquest. Attempts to introduce the tubers as a food crop in Europe were unsuccessful.
Volunteer Park is a 48.3-acre park in the Capitol Hill neighborhood of Seattle, Washington, USA.
Volunteer Park was acquired by the city of Seattle for $2,000 in 1876 from J.M. Colman. In 1885 it was designated a cemetery, but two years later it was named "Lake View Park," and Lake View Cemetery was developed on an adjacent plot of land. The park then became known as "City Park." In 1901, it was renamed "Volunteer Park" to honor the volunteers who served in the Spanish–American War. J. Willis Sayre, a Seattle theatre critic, journalist, and historian, who had fought in the war, had actively lobbied local officials to rename this park. From 1904 to 1909, the Olmsted Brothers prepared formal plans for the park.
The park includes a conservatory (a designated city landmark), completed in 1912; a water tower with an observation deck, built by the Water Department in 1906, a fenced-off reservoir; the dramatic Art Deco building of the Seattle Asian Art Museum (a designated city landmark); a statue of William Henry Seward; a memorial to Judge Thomas Burke; and a sculpture, Black Sun, by Isamu Noguchi (colloquially referred to as "The Doughnut") around which a scenic view of the Seattle skyline that prominently includes the Space Needle can be seen, as well as several meadows and picnic tables. The wading pool is operational in the summer months and operated daily from 11 a.m. to 8 p.m.
Volunteer Park is also well known for its extensive dahlia garden in season. There are also Koi ponds at the park which contain fish during the summer months.
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A Winter Wonderland on Mill and Truleigh Hill today due to an overnight hoar frost. Some of crystal growths, clinging to branches and fences were over an inch long.
Sat. 2nd June 1984 1Z38 - 'The Midland Executive' railtour
A rather excellent railtour that managed to include scheduled stops at Derby and Crewe for the two works open days :)
A rather sad view of one of the short-lived prototype Advanced Passenger Trains (APTs) making an unusual sight at Crewe Works. By 1984, the units were already soon to be withdrawn and scrapped - as chance would have it, this DTS Sc48103 was saved and put together with an assortment of other coaches to form a preserved unit at Crewe Heritage Centre - on the site of Crewe Works! Note the burnt-out 'Roarer' parked next door!
Something new for 2023...Sound & Vision on SoundCloud - more memories from a mis-spent youth 😎
A rather rare recording of what must have been the last operational Advanced Passenger Train (APT-P) unit that I managed to capture on tape on 14th Oct 1986. The unit had arrived at Crewe station from the north on a test train, near the end of its working life, and I managed to get my trusty 'Boom Box' set up in time to record it for posterity, as it slid out of the station and into the sidings of Crewe Electric Depot (CE). Not the most exciting of my railway tapes, but pretty rare nevertheless :)
Just checking my original notebooks, and I noted the entire unit as follows: 370006 (Sc48106) - Sc48602 - Sc49006 - Sc49002 - Sc48603 - Sc48404 - (Sc48103) 370003. The unit departed around 17.30. Visit here for the authentic sound of an APT-P: soundcloud.com/sound-vision-10193594/apt-p-advanced-passe...
Advanced Passenger Train
British Rail's Class 370 tilting trains, also referred to as APT-P (meaning Advanced Passenger Train Prototype), were the pre-production Advanced Passenger Train units. Unlike the earlier experimental gas-turbine APT-E unit, these units were powered by 25 kV AC overhead electrification and were used on the West Coast Main Line between London Euston and Glasgow Central. The APT-P is the most powerful domestic train to have operated in Britain, the eight traction motors fitted to the two central Motor Cars giving a total output of 8,000 horsepower (6,000 kW). This enabled the train to set the UK rail speed record of 162.2 miles per hour (261.0 km/h) in December 1979, a record that stood for 23 years until broken by a Eurostar Class 373 on the newly completed High Speed 1.
The APT-P was unveiled to the public on 7 June 1978 but by 1981 the trains were still under test and undergoing modifications. After Margaret Thatcher's arrival at 10 Downing Street, in 1979, the project was facing the possibility of cancellation, and so BR management decided to put the prototypes into service, with the first runs along the London-Glasgow route finally taking place in December 1981. However, the result was a media circus when every problem large or small received front-page coverage and the entire project derided as an example of BR's incompetence. The trains were quickly withdrawn from service again by the end of the month, to the great amusement of the press. The problems were eventually solved and the trains quietly reintroduced in 1984 with much greater success. However, by this time the competing High Speed Train (HST), powered by a conventional diesel engine and lacking the APT's tilt and performance, had gone through development and testing at a rapid rate and was now forming the backbone of BR's Inter City passenger services. All support for the APT project collapsed as anyone in authority distanced themselves from what was being derided as a failure. The three APT-Ps ran for just over a year before being withdrawn again over the winter of 1985/6. One set was retained and continued to be used for testing into 1986. Two of the three sets were broken up, and parts of the third were eventually sent to the National Railway Museum where it joined the APT-E.
Due to ongoing technical problems with the pre-production units, and a lack of cash or political will to take the project forward, the planned APT-S (Advanced Passenger Train Squadron Service) production-series units were never built, but the project did influence the design of the later InterCity 225 sets designed for the East Coast Main Line electrification. The influence is strongest with the Class 91 locos which took many features from the APT powercars. The technology was later sold to Fiat Ferroviaria and used for improving their second generation Pendolino trains which are used worldwide, including on the West Coast Main Line as the Class 390. More info here: en.wikipedia.org/wiki/Advanced_Passenger_Train
Units were numbered 370001-370006 (plus two spare cars labelled 370007 and were formed as follows:
48101 - 48107 - Driving Trailer Second
48201-48206 - Trailer Second
48401-48406 - Trailer Restaurant Second Buffet
48301-48306 - Trailer Unclassified
48501-48506 - Trailer First
48601-48607 - Trailer Brake First
49001-49006 - Non-Driving Motor
Taken with a Zenith TTL SLR camera and standard lens. Scanned from the original negative with no digital restoration
You can see a random selection of my railway photos here on Flickriver: www.flickriver.com/photos/themightyhood/random/
Includes Teams from Wagner/Bon Homme, Britton-Hecla, Vermillion, Stanley County and West Central. Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting.
©2021 SDPB
Notable architectural features include the conspicuous columns, the horseshoe-shaped arches, and the innumerable murqarnas embellishing the ceilings. The dome, arches and walls give a grand ambiance to the mosque. The first-class sound system is discreetly hidden. The ablution room and a vast public hammam are in the basement, with its own entrance. Tadelakt, a plastering technique which adds egg yolks and black soap into mixed plaster, was used in the hammam baths
Taken @Casablanca, Morocco, North Africa
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Includes teams from Deuel, Hot Springs, Madison, Parkston/Ethan/Hanson/Mt. Vernon. Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting.
©2021 SDPB
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1. The Mind-Body Problem and the History of Dualism
1.1 The Mind-Body Problem
The mind-body problem is the problem: what is the relationship between mind and body? Or alternatively: what is the relationship between mental properties and physical properties?
Humans have (or seem to have) both physical properties and mental properties. People have (or seem to have)the sort of properties attributed in the physical sciences. These physical properties include size, weight, shape, colour, motion through space and time, etc. But they also have (or seem to have) mental properties, which we do not attribute to typical physical objects These properties involve consciousness (including perceptual experience, emotional experience, and much else), intentionality (including beliefs, desires, and much else), and they are possessed by a subject or a self. Physical properties are public, in the sense that they are, in principle, equally observable by anyone. Some physical properties – like those of an electron – are not directly observable at all, but they are equally available to all, to the same degree, with scientific equipment and techniques. The same is not true of mental properties. I may be able to tell that you are in pain by your behaviour, but only you can feel it directly. Similarly, you just know how something looks to you, and I can only surmise. Conscious mental events are private to the subject, who has a privileged access to them of a kind no-one has to the physical. The mind-body problem concerns the relationship between these two sets of properties. The mind-body problem breaks down into a number of components. The ontological question: what are mental states and what are physical states? Is one class a subclass of the other, so that all mental states are physical, or vice versa? Or are mental states and physical states entirely distinct?
The causal question: do physical states influence mental states? Do mental states influence physical states? If so, how?
Different aspects of the mind-body problem arise for different aspects of the mental, such as consciousness, intentionality, the self. The problem of consciousness: what is consciousness? How is it related to the brain and the body? The problem of intentionality: what is intentionality? How is it related to the brain and the body? The problem of the self: what is the self? How is it related to the brain and the body? Other aspects of the mind-body problem arise for aspects of the physical. For example:
The problem of embodiment: what is it for the mind to be housed in a body? What is it for a body to belong to a particular subject?
The seemingly intractable nature of these problems have given rise to many different philosophical views.
Materialist views say that, despite appearances to the contrary, mental states are just physical states. Behaviourism, functionalism, mind-brain identity theory and the computational theory of mind are examples of how materialists attempt to explain how this can be so. The most common factor in such theories is the attempt to explicate the nature of mind and consciousness in terms of their ability to directly or indirectly modify behaviour, but there are versions of materialism that try to tie the mental to the physical without explicitly explaining the mental in terms of its behaviour-modifying role. The latter are often grouped together under the label ‘non-reductive physicalism’, though this label is itself rendered elusive because of the controversial nature of the term ‘reduction’.
Idealist views say that physical states are really mental. This is because the physical world is an empirical world and, as such, it is the intersubjective product of our collective experience.
Dualist views (the subject of this entry) say that the mental and the physical are both real and neither can be assimilated to the other. For the various forms that dualism can take and the associated problems, see below.
In sum, we can say that there is a mind-body problem because both consciousness and thought, broadly construed, seem very different from anything physical and there is no convincing consensus on how to build a satisfactorily unified picture of creatures possessed of both a mind and a body.
Other entries which concern aspects of the mind-body problem include (among many others): behaviorism, consciousness, eliminative materialism, epiphenomenalism, functionalism, identity theory, intentionality, mental causation, neutral monism, and physicalism.
1.2 History of dualism
In dualism, ‘mind’ is contrasted with ‘body’, but at different times, different aspects of the mind have been the centre of attention. In the classical and mediaeval periods, it was the intellect that was thought to be most obviously resistant to a materialistic account: from Descartes on, the main stumbling block to materialist monism was supposed to be ‘consciousness’, of which phenomenal consciousness or sensation came to be considered as the paradigm instance.
The classical emphasis originates in Plato’s Phaedo. Plato believed that the true substances are not physical bodies, which are ephemeral, but the eternal Forms of which bodies are imperfect copies. These Forms not only make the world possible, they also make it intelligible, because they perform the role of universals, or what Frege called ‘concepts’. It is their connection with intelligibility that is relevant to the philosophy of mind. Because Forms are the grounds of intelligibility, they are what the intellect must grasp in the process of understanding. In Phaedo Plato presents a variety of arguments for the immortality of the soul, but the one that is relevant for our purposes is that the intellect is immaterial because Forms are immaterial and intellect must have an affinity with the Forms it apprehends (78b4–84b8). This affinity is so strong that the soul strives to leave the body in which it is imprisoned and to dwell in the realm of Forms. It may take many reincarnations before this is achieved. Plato’s dualism is not, therefore, simply a doctrine in the philosophy of mind, but an integral part of his whole metaphysics.
One problem with Plato’s dualism was that, though he speaks of the soul as imprisoned in the body, there is no clear account of what binds a particular soul to a particular body. Their difference in nature makes the union a mystery.
Aristotle did not believe in Platonic Forms, existing independently of their instances. Aristotelian forms (the capital ‘F’ has disappeared with their standing as autonomous entities) are the natures and properties of things and exist embodied in those things. This enabled Aristotle to explain the union of body and soul by saying that the soul is the form of the body. This means that a particular person’s soul is no more than his nature as a human being. Because this seems to make the soul into a property of the body, it led many interpreters, both ancient and modern, to interpret his theory as materialistic. The interpretation of Aristotle’s philosophy of mind – and, indeed, of his whole doctrine of form – remains as live an issue today as it was immediately after his death (Robinson 1983 and 1991; Nussbaum 1984; Rorty and Nussbaum, eds, 1992). Nevertheless, the text makes it clear that Aristotle believed that the intellect, though part of the soul, differs from other faculties in not having a bodily organ. His argument for this constitutes a more tightly argued case than Plato’s for the immateriality of thought and, hence, for a kind of dualism. He argued that the intellect must be immaterial because if it were material it could not receive all forms. Just as the eye, because of its particular physical nature, is sensitive to light but not to sound, and the ear to sound and not to light, so, if the intellect were in a physical organ it could be sensitive only to a restricted range of physical things; but this is not the case, for we can think about any kind of material object (De Anima III,4; 429a10–b9). As it does not have a material organ, its activity must be essentially immaterial.
It is common for modern Aristotelians, who otherwise have a high view of Aristotle’s relevance to modern philosophy, to treat this argument as being of purely historical interest, and not essential to Aristotle’s system as a whole. They emphasize that he was not a ‘Cartesian’ dualist, because the intellect is an aspect of the soul and the soul is the form of the body, not a separate substance. Kenny (1989) argues that Aristotle’s theory of mind as form gives him an account similar to Ryle (1949), for it makes the soul equivalent to the dispositions possessed by a living body. This ‘anti-Cartesian’ approach to Aristotle arguably ignores the fact that, for Aristotle, the form is the substance.
These issues might seem to be of purely historical interest. But we shall see in below, in section 4.5, that this is not so.
The identification of form and substance is a feature of Aristotle’s system that Aquinas effectively exploits in this context, identifying soul, intellect and form, and treating them as a substance. (See, for example, Aquinas (1912), Part I, questions 75 and 76.) But though the form (and, hence, the intellect with which it is identical) are the substance of the human person, they are not the person itself. Aquinas says that when one addresses prayers to a saint – other than the Blessed Virgin Mary, who is believed to retain her body in heaven and is, therefore, always a complete person – one should say, not, for example, ‘Saint Peter pray for us’, but ‘soul of Saint Peter pray for us’. The soul, though an immaterial substance, is the person only when united with its body. Without the body, those aspects of its personal memory that depend on images (which are held to be corporeal) will be lost.(See Aquinas (1912), Part I, question 89.)
The more modern versions of dualism have their origin in Descartes’ Meditations, and in the debate that was consequent upon Descartes’ theory. Descartes was a substance dualist. He believed that there were two kinds of substance: matter, of which the essential property is that it is spatially extended; and mind, of which the essential property is that it thinks. Descartes’ conception of the relation between mind and body was quite different from that held in the Aristotelian tradition. For Aristotle, there is no exact science of matter. How matter behaves is essentially affected by the form that is in it. You cannot combine just any matter with any form – you cannot make a knife out of butter, nor a human being out of paper – so the nature of the matter is a necessary condition for the nature of the substance. But the nature of the substance does not follow from the nature of its matter alone: there is no ‘bottom up’ account of substances. Matter is a determinable made determinate by form. This was how Aristotle thought that he was able to explain the connection of soul to body: a particular soul exists as the organizing principle in a particular parcel of matter.
The belief in the relative indeterminacy of matter is one reason for Aristotle’s rejection of atomism. If matter is atomic, then it is already a collection of determinate objects in its own right, and it becomes natural to regard the properties of macroscopic substances as mere summations of the natures of the atoms.
Although, unlike most of his fashionable contemporaries and immediate successors, Descartes was not an atomist, he was, like the others, a mechanist about the properties of matter. Bodies are machines that work according to their own laws. Except where there are minds interfering with it, matter proceeds deterministically, in its own right. Where there are minds requiring to influence bodies, they must work by ‘pulling levers’ in a piece of machinery that already has its own laws of operation. This raises the question of where those ‘levers’ are in the body. Descartes opted for the pineal gland, mainly because it is not duplicated on both sides of the brain, so it is a candidate for having a unique, unifying function.
The main uncertainty that faced Descartes and his contemporaries, however, was not where interaction took place, but how two things so different as thought and extension could interact at all. This would be particularly mysterious if one had an impact view of causal interaction, as would anyone influenced by atomism, for whom the paradigm of causation is like two billiard balls cannoning off one another.
Various of Descartes’ disciples, such as Arnold Geulincx and Nicholas Malebranche, concluded that all mind-body interactions required the direct intervention of God. The appropriate states of mind and body were only the occasions for such intervention, not real causes. Now it would be convenient to think that occasionalists held that all causation was natural except for that between mind and body. In fact they generalized their conclusion and treated all causation as directly dependent on God. Why this was so, we cannot discuss here.
Descartes’ conception of a dualism of substances came under attack from the more radical empiricists, who found it difficult to attach sense to the concept of substance at all. Locke, as a moderate empiricist, accepted that there were both material and immaterial substances. Berkeley famously rejected material substance, because he rejected all existence outside the mind. In his early Notebooks, he toyed with the idea of rejecting immaterial substance, because we could have no idea of it, and reducing the self to a collection of the ‘ideas’ that constituted its contents. Finally, he decided that the self, conceived as something over and above the ideas of which it was aware, was essential for an adequate understanding of the human person. Although the self and its acts are not presented to consciousness as objects of awareness, we are obliquely aware of them simply by dint of being active subjects. Hume rejected such claims, and proclaimed the self to be nothing more than a concatenation of its ephemeral contents.
In fact, Hume criticised the whole conception of substance for lacking in empirical content: when you search for the owner of the properties that make up a substance, you find nothing but further properties. Consequently, the mind is, he claimed, nothing but a ‘bundle’ or ‘heap’ of impressions and ideas – that is, of particular mental states or events, without an owner. This position has been labelled bundle dualism, and it is a special case of a general bundle theory of substance, according to which objects in general are just organised collections of properties. The problem for the Humean is to explain what binds the elements in the bundle together. This is an issue for any kind of substance, but for material bodies the solution seems fairly straightforward: the unity of a physical bundle is constituted by some form of causal interaction between the elements in the bundle. For the mind, mere causal connection is not enough; some further relation of co-consciousness is required. We shall see in 5.2.1 that it is problematic whether one can treat such a relation as more primitive than the notion of belonging to a subject.
One should note the following about Hume’s theory. His bundle theory is a theory about the nature of the unity of the mind. As a theory about this unity, it is not necessarily dualist. Parfit (1970, 1984) and Shoemaker (1984, ch. 2), for example, accept it as physicalists. In general, physicalists will accept it unless they wish to ascribe the unity to the brain or the organism as a whole. Before the bundle theory can be dualist one must accept property dualism, for more about which, see the next section.
A crisis in the history of dualism came, however, with the growing popularity of mechanism in science in the nineteenth century. According to the mechanist, the world is, as it would now be expressed, ‘closed under physics’. This means that everything that happens follows from and is in accord with the laws of physics. There is, therefore, no scope for interference in the physical world by the mind in the way that interactionism seems to require. According to the mechanist, the conscious mind is an epiphenomenon (a notion given general currency by T. H. Huxley 1893): that is, it is a by-product of the physical system which has no influence back on it. In this way, the facts of consciousness are acknowledged but the integrity of physical science is preserved. However, many philosophers found it implausible to claim such things as the following; the pain that I have when you hit me, the visual sensations I have when I see the ferocious lion bearing down on me or the conscious sense of understanding I have when I hear your argument – all have nothing directly to do with the way I respond. It is very largely due to the need to avoid this counterintuitiveness that we owe the concern of twentieth century philosophy to devise a plausible form of materialist monism. But, although dualism has been out of fashion in psychology since the advent of behaviourism (Watson 1913) and in philosophy since Ryle (1949), the argument is by no means over. Some distinguished neurologists, such as Sherrington (1940) and Eccles (Popper and Eccles 1977) have continued to defend dualism as the only theory that can preserve the data of consciousness. Amongst mainstream philosophers, discontent with physicalism led to a modest revival of property dualism in the last decade of the twentieth century. At least some of the reasons for this should become clear below.
2. Varieties of Dualism: Ontology
There are various ways of dividing up kinds of dualism. One natural way is in terms of what sorts of things one chooses to be dualistic about. The most common categories lighted upon for these purposes are substance and property, giving one substance dualism and property dualism. There is, however, an important third category, namely predicate dualism. As this last is the weakest theory, in the sense that it claims least, I shall begin by characterizing it.
2.1 Predicate dualism
Predicate dualism is the theory that psychological or mentalistic predicates are (a) essential for a full description of the world and (b) are not reducible to physicalistic predicates. For a mental predicate to be reducible, there would be bridging laws connecting types of psychological states to types of physical ones in such a way that the use of the mental predicate carried no information that could not be expressed without it. An example of what we believe to be a true type reduction outside psychology is the case of water, where water is always H2O: something is water if and only if it is H2O. If one were to replace the word ‘water’ by ‘H2O’, it is plausible to say that one could convey all the same information. But the terms in many of the special sciences (that is, any science except physics itself) are not reducible in this way. Not every hurricane or every infectious disease, let alone every devaluation of the currency or every coup d’etat has the same constitutive structure. These states are defined more by what they do than by their composition or structure. Their names are classified as functional terms rather than natural kind terms. It goes with this that such kinds of state are multiply realizable; that is, they may be constituted by different kinds of physical structures under different circumstances. Because of this, unlike in the case of water and H2O, one could not replace these terms by some more basic physical description and still convey the same information. There is no particular description, using the language of physics or chemistry, that would do the work of the word ‘hurricane’, in the way that ‘H2O’ would do the work of ‘water’. It is widely agreed that many, if not all, psychological states are similarly irreducible, and so psychological predicates are not reducible to physical descriptions and one has predicate dualism. (The classic source for irreducibility in the special sciences in general is Fodor (1974), and for irreducibility in the philosophy of mind, Davidson (1971).)
2.2 Property Dualism
Whereas predicate dualism says that there are two essentially different kinds of predicates in our language, property dualism says that there are two essentially different kinds of property out in the world. Property dualism can be seen as a step stronger than predicate dualism. Although the predicate ‘hurricane’ is not equivalent to any single description using the language of physics, we believe that each individual hurricane is nothing but a collection of physical atoms behaving in a certain way: one need have no more than the physical atoms, with their normal physical properties, following normal physical laws, for there to be a hurricane. One might say that we need more than the language of physics to describe and explain the weather, but we do not need more than its ontology. There is token identity between each individual hurricane and a mass of atoms, even if there is no type identity between hurricanes as kinds and some particular structure of atoms as a kind. Genuine property dualism occurs when, even at the individual level, the ontology of physics is not sufficient to constitute what is there. The irreducible language is not just another way of describing what there is, it requires that there be something more there than was allowed for in the initial ontology. Until the early part of the twentieth century, it was common to think that biological phenomena (‘life’) required property dualism (an irreducible ‘vital force’), but nowadays the special physical sciences other than psychology are generally thought to involve only predicate dualism. In the case of mind, property dualism is defended by those who argue that the qualitative nature of consciousness is not merely another way of categorizing states of the brain or of behaviour, but a genuinely emergent phenomenon.
2.3 Substance Dualism
There are two important concepts deployed in this notion. One is that of substance, the other is the dualism of these substances. A substance is characterized by its properties, but, according to those who believe in substances, it is more than the collection of the properties it possesses, it is the thing which possesses them. So the mind is not just a collection of thoughts, but is that which thinks, an immaterial substance over and above its immaterial states. Properties are the properties of objects. If one is a property dualist, one may wonder what kinds of objects possess the irreducible or immaterial properties in which one believes. One can use a neutral expression and attribute them to persons, but, until one has an account of person, this is not explanatory. One might attribute them to human beings qua animals, or to the brains of these animals. Then one will be holding that these immaterial properties are possessed by what is otherwise a purely material thing. But one may also think that not only mental states are immaterial, but that the subject that possesses them must also be immaterial. Then one will be a dualist about that to which mental states and properties belong as well about the properties themselves. Now one might try to think of these subjects as just bundles of the immaterial states. This is Hume’s view. But if one thinks that the owner of these states is something quite over and above the states themselves, and is immaterial, as they are, one will be a substance dualist.
Substance dualism is also often dubbed ‘Cartesian dualism’, but some substance dualists are keen to distinguish their theories from Descartes’s. E. J. Lowe, for example, is a substance dualist, in the following sense. He holds that a normal human being involves two substances, one a body and the other a person. The latter is not, however, a purely mental substance that can be defined in terms of thought or consciousness alone, as Descartes claimed. But persons and their bodies have different identity conditions and are both substances, so there are two substances essentially involved in a human being, hence this is a form of substance dualism. Lowe (2006) claims that his theory is close to P. F. Strawson’s (1959), whilst admitting that Strawson would not have called it substance dualism.
3. Varieties of Dualism: Interaction
If mind and body are different realms, in the way required by either property or substance dualism, then there arises the question of how they are related. Common sense tells us that they interact: thoughts and feelings are at least sometimes caused by bodily events and at least sometimes themselves give rise to bodily responses. I shall now consider briefly the problems for interactionism, and its main rivals, epiphenomenalism and parallelism.
3.1 Interactionism
Interactionism is the view that mind and body – or mental events and physical events – causally influence each other. That this is so is one of our common-sense beliefs, because it appears to be a feature of everyday experience. The physical world influences my experience through my senses, and I often react behaviourally to those experiences. My thinking, too, influences my speech and my actions. There is, therefore, a massive natural prejudice in favour of interactionism. It has been claimed, however, that it faces serious problems (some of which were anticipated in section 1).
The simplest objection to interaction is that, in so far as mental properties, states or substances are of radically different kinds from each other, they lack that communality necessary for interaction. It is generally agreed that, in its most naive form, this objection to interactionism rests on a ‘billiard ball’ picture of causation: if all causation is by impact, how can the material and the immaterial impact upon each other? But if causation is either by a more ethereal force or energy or only a matter of constant conjunction, there would appear to be no problem in principle with the idea of interaction of mind and body.
Even if there is no objection in principle, there appears to be a conflict between interactionism and some basic principles of physical science. For example, if causal power was flowing in and out of the physical system, energy would not be conserved, and the conservation of energy is a fundamental scientific law. Various responses have been made to this. One suggestion is that it might be possible for mind to influence the distribution of energy, without altering its quantity. (See Averill and Keating 1981). Another response is to challenge the relevance of the conservation principle in this context. The conservation principle states that ‘in a causally isolated system the total amount of energy will remain constant’. Whereas ‘[t]he interactionist denies…that the human body is an isolated system’, so the principle is irrelevant (Larmer (1986), 282: this article presents a good brief survey of the options). This approach has been termed conditionality, namely the view that conservation is conditional on the physical system being closed, that is, that nothing non-physical is interacting or interfering with it, and, of course, the interactionist claims that this condition is, trivially, not met. That conditionality is the best line for the dualist to take, and that other approaches do not work, is defended in Pitts (2019) and Cucu and Pitts (2019). This, they claim, makes the plausibility of interactionism an empirical matter which only close investigation on the fine operation of the brain could hope to settle. Cucu, in a separate article (2018), claims to find critical neuronal events which do not have sufficient physical explanation.This claim clearly needs further investigation.
Robins Collins (2011) has claimed that the appeal to conservation by opponents of interactionism is something of a red herring because conservation principles are not ubiquitous in physics. He argues that energy is not conserved in general relativity, in quantum theory, or in the universe taken as a whole. Why then, should we insist on it in mind-brain interaction?
Most discussion of interactionism takes place in the context of the assumption that it is incompatible with the world’s being ‘closed under physics’. This is a very natural assumption, but it is not justified if causal overdetermination of behaviour is possible. There could then be a complete physical cause of behaviour, and a mental one. The strongest intuitive objection against overdetermination is clearly stated by Mills (1996: 112), who is himself a defender of overdetermination.
For X to be a cause of Y, X must contribute something to Y. The only way a purely mental event could contribute to a purely physical one would be to contribute some feature not already determined by a purely physical event. But if physical closure is true, there is no feature of the purely physical effect that is not contributed by the purely physical cause. Hence interactionism violates physical closure after all.
Mills says that this argument is invalid, because a physical event can have features not explained by the event which is its sufficient cause. For example, “the rock’s hitting the window is causally sufficient for the window’s breaking, and the window’s breaking has the feature of being the third window-breaking in the house this year; but the facts about prior window-breakings, rather than the rock’s hitting the window, are what cause this window-breaking to have this feature.”
The opponent of overdetermination could perhaps reply that his principle applies, not to every feature of events, but to a subgroup – say, intrinsic features, not merely relational or comparative ones. It is this kind of feature that the mental event would have to cause, but physical closure leaves no room for this. These matters are still controversial.
The problem with closure of physics may be radically altered if physical laws are indeterministic, as quantum theory seems to assert. If physical laws are deterministic, then any interference from outside would lead to a breach of those laws. But if they are indeterministic, might not interference produce a result that has a probability greater than zero, and so be consistent with the laws? This way, one might have interaction yet preserve a kind of nomological closure, in the sense that no laws are infringed. Because it involves assessing the significance and consequences of quantum theory, this is a difficult matter for the non-physicist to assess. Some argue that indeterminacy manifests itself only on the subatomic level, being cancelled out by the time one reaches even very tiny macroscopic objects: and human behaviour is a macroscopic phenomenon. Others argue that the structure of the brain is so finely tuned that minute variations could have macroscopic effects, rather in the way that, according to ‘chaos theory’, the flapping of a butterfly’s wings in China might affect the weather in New York. (For discussion of this, see Eccles (1980), (1987), and Popper and Eccles (1977).) Still others argue that quantum indeterminacy manifests itself directly at a high level, when acts of observation collapse the wave function, suggesting that the mind may play a direct role in affecting the state of the world (Hodgson 1988; Stapp 1993).
3.2 Epiphenomenalism
If the reality of property dualism is not to be denied, but the problem of how the immaterial is to affect the material is to be avoided, then epiphenomenalism may seem to be the answer. According to this theory, mental events are caused by physical events, but have no causal influence on the physical. I have introduced this theory as if its point were to avoid the problem of how two different categories of thing might interact. In fact, it is, at best, an incomplete solution to this problem. If it is mysterious how the non-physical can have it in its nature to influence the physical, it ought to be equally mysterious how the physical can have it in its nature to produce something non-physical. But that this latter is what occurs is an essential claim of epiphenomenalism. (For development of this point, see Green (2003), 149–51). In fact, epiphenomenalism is more effective as a way of saving the autonomy of the physical (the world as ‘closed under physics’) than as a contribution to avoiding the need for the physical and non-physical to have causal commerce.
There are at least three serious problems for epiphenomenalism. First, as I indicated in section 1, it is profoundly counterintuitive. What could be more apparent than that it is the pain that I feel that makes me cry, or the visual experience of the boulder rolling towards me that makes me run away? At least one can say that epiphenomenalism is a fall-back position: it tends to be adopted because other options are held to be unacceptable.
The second problem is that, if mental states do nothing, there is no reason why they should have evolved. This objection ties in with the first: the intuition there was that conscious states clearly modify our behaviour in certain ways, such as avoiding danger, and it is plain that they are very useful from an evolutionary perspective.
Frank Jackson (1982) replies to this objection by saying that it is the brain state associated with pain that evolves for this reason: the sensation is a by-product. Evolution is full of useless or even harmful by-products. For example, polar bears have evolved thick coats to keep them warm, even though this has the damaging side effect that they are heavy to carry. Jackson’s point is true in general, but does not seem to apply very happily to the case of mind. The heaviness of the polar bear’s coat follows directly from those properties and laws which make it warm: one could not, in any simple way, have one without the other. But with mental states, dualistically conceived, the situation is quite the opposite. The laws of physical nature which, the mechanist says, make brain states cause behaviour, in no way explain why brain states should give rise to conscious ones. The laws linking mind and brain are what Feigl (1958) calls nomological danglers, that is, brute facts added onto the body of integrated physical law. Why there should have been by-products of that kind seems to have no evolutionary explanation.
The third problem concerns the rationality of belief in epiphenomenalism, via its effect on the problem of other minds. It is natural to say that I know that I have mental states because I experience them directly. But how can I justify my belief that others have them? The simple version of the ‘argument from analogy’ says that I can extrapolate from my own case. I know that certain of my mental states are correlated with certain pieces of behaviour, and so I infer that similar behaviour in others is also accompanied by similar mental states. Many hold that this is a weak argument because it is induction from one instance, namely, my own. The argument is stronger if it is not a simple induction but an ‘argument to the best explanation’. I seem to know from my own case that mental events can be the explanation of behaviour, and I know of no other candidate explanation for typical human behaviour, so I postulate the same explanation for the behaviour of others. But if epiphenomenalism is true, my mental states do not explain my behaviour and there is a physical explanation for the behaviour of others. It is explanatorily redundant to postulate such states for others. I know, by introspection, that I have them, but is it not just as likely that I alone am subject to this quirk of nature, rather than that everyone is?
For more detailed treatment and further reading on this topic, see the entry epiphenomenalism.
3.3 Parallelism
The epiphenomenalist wishes to preserve the integrity of physical science and the physical world, and appends those mental features that he cannot reduce. The parallelist preserves both realms intact, but denies all causal interaction between them. They run in harmony with each other, but not because their mutual influence keeps each other in line. That they should behave as if they were interacting would seem to be a bizarre coincidence. This is why parallelism has tended to be adopted only by those – like Leibniz – who believe in a pre-established harmony, set in place by God. The progression of thought can be seen as follows. Descartes believes in a more or less natural form of interaction between immaterial mind and material body. Malebranche thought that this was impossible naturally, and so required God to intervene specifically on each occasion on which interaction was required. Leibniz decided that God might as well set things up so that they always behaved as if they were interacting, without particular intervention being required. Outside such a theistic framework, the theory is incredible. Even within such a framework, one might well sympathise with Berkeley’s instinct that once genuine interaction is ruled out one is best advised to allow that God creates the physical world directly, within the mental realm itself, as a construct out of experience.
4. Arguments for Dualism
4.1 The Knowledge Argument Against Physicalism
One category of arguments for dualism is constituted by the standard objections against physicalism. Prime examples are those based on the existence of qualia, the most important of which is the so-called ‘knowledge argument’. Because this argument has its own entry (see the entry qualia: the knowledge argument), I shall deal relatively briefly with it here. One should bear in mind, however, that all arguments against physicalism are also arguments for the irreducible and hence immaterial nature of the mind and, given the existence of the material world, are thus arguments for dualism.
The knowledge argument asks us to imagine a future scientist who has lacked a certain sensory modality from birth, but who has acquired a perfect scientific understanding of how this modality operates in others. This scientist – call him Harpo – may have been born stone deaf, but become the world’s greatest expert on the machinery of hearing: he knows everything that there is to know within the range of the physical and behavioural sciences about hearing. Suppose that Harpo, thanks to developments in neurosurgery, has an operation which finally enables him to hear. It is suggested that he will then learn something he did not know before, which can be expressed as what it is like to hear, or the qualitative or phenomenal nature of sound. These qualitative features of experience are generally referred to as qualia. If Harpo learns something new, he did not know everything before. He knew all the physical facts before. So what he learns on coming to hear – the facts about the nature of experience or the nature of qualia – are non-physical. This establishes at least a state or property dualism. (See Jackson 1982; Robinson 1982.)
There are at least two lines of response to this popular but controversial argument. First is the ‘ability’ response. According to this, Harpo does not acquire any new factual knowledge, only ‘knowledge how’, in the form of the ability to respond directly to sounds, which he could not do before. This essentially behaviouristic account is exactly what the intuition behind the argument is meant to overthrow. Putting ourselves in Harpo’s position, it is meant to be obvious that what he acquires is knowledge of what something is like, not just how to do something. Such appeals to intuition are always, of course, open to denial by those who claim not to share the intuition. Some ability theorists seem to blur the distinction between knowing what something is like and knowing how to do something, by saying that the ability Harpo acquires is to imagine or remember the nature of sound. In this case, what he acquires the ability to do involves the representation to himself of what the thing is like. But this conception of representing to oneself, especially in the form of imagination, seems sufficiently close to producing in oneself something very like a sensory experience that it only defers the problem: until one has a physicalist gloss on what constitutes such representations as those involved in conscious memory and imagination, no progress has been made.
The other line of response is to argue that, although Harpo’s new knowledge is factual, it is not knowledge of a new fact. Rather, it is new way of grasping something that he already knew. He does not realise this, because the concepts employed to capture experience (such as ‘looks red’ or ‘sounds C-sharp’) are similar to demonstratives, and demonstrative concepts lack the kind of descriptive content that allow one to infer what they express from other pieces of information that one may already possess. A total scientific knowledge of the world would not enable you to say which time was ‘now’ or which place was ‘here’. Demonstrative concepts pick something out without saying anything extra about it. Similarly, the scientific knowledge that Harpo originally possessed did not enable him to anticipate what it would be like to re-express some parts of that knowledge using the demonstrative concepts that only experience can give one. The knowledge, therefore, appears to be genuinely new, whereas only the mode of conceiving it is novel.
Proponents of the epistemic argument respond that it is problematic to maintain both that the qualitative nature of experience can be genuinely novel, and that the quality itself be the same as some property already grasped scientifically: does not the experience’s phenomenal nature, which the demonstrative concepts capture, constitute a property in its own right? Another way to put this is to say that phenomenal concepts are not pure demonstratives, like ‘here’ and ‘now’, or ‘this’ and ‘that’, because they do capture a genuine qualitative content. Furthermore, experiencing does not seem to consist simply in exercising a particular kind of concept, demonstrative or not. When Harpo has his new form of experience, he does not simply exercise a new concept; he also grasps something new – the phenomenal quality – with that concept. How decisive these considerations are, remains controversial.
4.2 The Argument from Predicate Dualism to Property Dualism
I said above that predicate dualism might seem to have no ontological consequences, because it is concerned only with the different way things can be described within the contexts of the different sciences, not with any real difference in the things themselves. This, however, can be disputed.
The argument from predicate to property dualism moves in two steps, both controversial. The first claims that the irreducible special sciences, which are the sources of irreducible predicates, are not wholly objective in the way that physics is, but depend for their subject matter upon interest-relative perspectives on the world. This means that they, and the predicates special to them, depend on the existence of minds and mental states, for only minds have interest-relative perspectives. The second claim is that psychology – the science of the mental – is itself an irreducible special science, and so it, too, presupposes the existence of the mental. Mental predicates therefore presuppose the mentality that creates them: mentality cannot consist simply in the applicability of the predicates themselves.
First, let us consider the claim that the special sciences are not fully objective, but are interest-relative.
No-one would deny, of course, that the very same subject matter or ‘hunk of reality’ can be described in irreducibly different ways and it still be just that subject matter or piece of reality. A mass of matter could be characterized as a hurricane, or as a collection of chemical elements, or as mass of sub-atomic particles, and there be only the one mass of matter. But such different explanatory frameworks seem to presuppose different perspectives on that subject matter.
This is where basic physics, and perhaps those sciences reducible to basic physics, differ from irreducible special sciences. On a realist construal, the completed physics cuts physical reality up at its ultimate joints: any special science which is nomically strictly reducible to physics also, in virtue of this reduction, it could be argued, cuts reality at its joints, but not at its minutest ones. If scientific realism is true, a completed physics will tell one how the world is, independently of any special interest or concern: it is just how the world is. It would seem that, by contrast, a science which is not nomically reducible to physics does not take its legitimation from the underlying reality in this direct way. Rather, such a science is formed from the collaboration between, on the one hand, objective similarities in the world and, on the other, perspectives and interests of those who devise the science. The concept of hurricane is brought to bear from the perspective of creatures concerned about the weather. Creatures totally indifferent to the weather would have no reason to take the real patterns of phenomena that hurricanes share as constituting a single kind of thing. With the irreducible special sciences, there is an issue of salience , which involves a subjective component: a selection of phenomena with a certain teleology in mind is required before their structures or patterns are reified. The entities of metereology or biology are, in this respect, rather like Gestalt phenomena.
Even accepting this, why might it be thought that the perspectivality of the special sciences leads to a genuine property dualism in the philosophy of mind? It might seem to do so for the following reason. Having a perspective on the world, perceptual or intellectual, is a psychological state. So the irreducible special sciences presuppose the existence of mind. If one is to avoid an ontological dualism, the mind that has this perspective must be part of the physical reality on which it has its perspective. But psychology, it seems to be almost universally agreed, is one of those special sciences that is not reducible to physics, so if its subject matter is to be physical, it itself presupposes a perspective and, hence, the existence of a mind to see matter as psychological. If this mind is physical and irreducible, it presupposes mind to see it as such. We seem to be in a vicious circle or regress.
We can now understand the motivation for full-blown reduction. A true basic physics represents the world as it is in itself, and if the special sciences were reducible, then the existence of their ontologies would make sense as expressions of the physical, not just as ways of seeing or interpreting it. They could be understood ‘from the bottom up’, not from top down. The irreducibility of the special sciences creates no problem for the dualist, who sees the explanatory endeavor of the physical sciences as something carried on from a perspective conceptually outside of the physical world. Nor need this worry a physicalist, if he can reduce psychology, for then he could understand ‘from the bottom up’ the acts (with their internal, intentional contents) which created the irreducible ontologies of the other sciences. But psychology is one of the least likely of sciences to be reduced. If psychology cannot be reduced, this line of reasoning leads to real emergence for mental acts and hence to a real dualism for the properties those acts instantiate (Robinson 2003).
4.3 The Modal Argument
There is an argument, which has roots in Descartes (Meditation VI), which is a modal argument for dualism. One might put it as follows:
It is imaginable that one’s mind might exist without one’s body.
therefore
It is conceivable that one’s mind might exist without one’s body.
therefore
It is possible one’s mind might exist without one’s body.
therefore
One’s mind is a different entity from one’s body.
The rationale of the argument is a move from imaginability to real possibility. I include (2) because the notion of conceivability has one foot in the psychological camp, like imaginability, and one in the camp of pure logical possibility and therefore helps in the transition from one to the other.
This argument should be distinguished from a similar ‘conceivability’ argument, often known as the ‘zombie hypothesis’, which claims the imaginability and possibility of my body (or, in some forms, a body physically just like it) existing without there being any conscious states associated with it. (See, for example, Chalmers (1996), 94–9.) This latter argument, if sound, would show that conscious states were something over and above physical states. It is a different argument because the hypothesis that the unaltered body could exist without the mind is not the same as the suggestion that the mind might continue to exist without the body, nor are they trivially equivalent. The zombie argument establishes only property dualism and a property dualist might think disembodied existence inconceivable – for example, if he thought the identity of a mind through time depended on its relation to a body (e.g., Penelhum 1970).
Before Kripke (1972/80), the first challenge to such an argument would have concerned the move from (3) to (4). When philosophers generally believed in contingent identity, that move seemed to them invalid. But nowadays that inference is generally accepted and the issue concerns the relation between imaginability and possibility. No-one would nowadays identify the two (except, perhaps, for certain quasi-realists and anti-realists), but the view that imaginability is a solid test for possibility has been strongly defended. W. D. Hart ((1994), 266), for example, argues that no clear example has been produced such that “one can imagine that p (and tell less imaginative folk a story that enables them to imagine that p) plus a good argument that it is impossible that p. No such counterexamples have been forthcoming…” This claim is at least contentious. There seem to be good arguments that time-travel is incoherent, but every episode of Star-Trek or Doctor Who shows how one can imagine what it might be like were it possible.
It is worth relating the appeal to possibility in this argument to that involved in the more modest, anti-physicalist, zombie argument. The possibility of this hypothesis is also challenged, but all that is necessary for a zombie to be possible is that all and only the things that the physical sciences say about the body be true of such a creature. As the concepts involved in such sciences – e.g., neuron, cell, muscle – seem to make no reference, explicit or implicit, to their association with consciousness, and are defined in purely physical terms in the relevant science texts, there is a very powerful prima facie case for thinking that something could meet the condition of being just like them and lack any connection with consciousness. There is no parallel clear, uncontroversial and regimented account of mental concepts as a whole that fails to invoke, explicitly or implicitly, physical (e.g., behavioural) states.
For an analytical behaviourist the appeal to imaginability made in the argument fails, not because imagination is not a reliable guide to possibility, but because we cannot imagine such a thing, as it is a priori impossible. The impossibility of disembodiment is rather like that of time travel, because it is demonstrable a priori, though only by arguments that are controversial. The argument can only get under way for those philosophers who accept that the issue cannot be settled a priori, so the possibility of the disembodiment that we can imagine is still prima facie open.
A major rationale of those who think that imagination is not a safe indication of possibility, even when such possibility is not eliminable a priori, is that we can imagine that a posteriori necessities might be false – for example, that Hesperus might not be identical to Phosphorus. But if Kripke is correct, that is not a real possibility. Another way of putting this point is that there are many epistemic possibilities which are imaginable because they are epistemic possibilities, but which are not real possibilities. Richard Swinburne (1997, New Appendix C), whilst accepting this argument in general, has interesting reasons for thinking that it cannot apply in the mind-body case. He argues that in cases that involve a posteriori necessities, such as those identities that need discovering, it is because we identify those entities only by their ‘stereotypes’ (that is, by their superficial features observable by the layman) that we can be wrong about their essences. In the case of our experience of ourselves this is not true.
Now it is true that the essence of Hesperus cannot be discovered by a mere thought experiment. That is because what makes Hesperus Hesperus is not the stereotype, but what underlies it. But it does not follow that no one can ever have access to the essence of a substance, but must always rely for identification on a fallible stereotype. One might think that for the person him or herself, while what makes that person that person underlies what is observable to others, it does not underlie what is experienceable by that person, but is given directly in their own self-awareness.
This is a very appealing Cartesian intuition: my identity as the thinking thing that I am is revealed to me in consciousness, it is not something beyond the veil of consciousness. Now it could be replied to this that though I do access myself as a conscious subject, so classifying myself is rather like considering myself qua cyclist. Just as I might never have been a cyclist, I might never have been conscious, if things had gone wrong in my very early life. I am the organism, the animal, which might not have developed to the point of consciousness, and that essence as animal is not revealed to me just by introspection.
But there are vital differences between these cases. A cyclist is explicitly presented as a human being (or creature of some other animal species) cycling: there is no temptation to think of a cyclist as a basic kind of thing in its own right. Consciousness is not presented as a property of something, but as the subject itself. Swinburne’s claim that when we refer to ourselves we are referring to something we think we are directly aware of and not to ‘something we know not what’ that underlies our experience seemingly ‘of ourselves’ has powerful intuitive appeal and could only be overthrown by very forceful arguments. Yet, even if we are not referring primarily to a substrate, but to what is revealed in consciousness, could it not still be the case that there is a necessity stronger than causal connecting this consciousness to something physical? To consider this further we must investigate what the limits are of the possible analogy between cases of the water-H2O kind, and the mind-body relation.
We start from the analogy between the water stereotype – how water presents itself – and how consciousness is given first-personally to the subject. It is plausible to claim that something like water could exist without being H2O, but hardly that it could exist without some underlying nature. There is, however, no reason to deny that this underlying nature could be homogenous with its manifest nature: that is, it would seem to be possible that there is a world in which the water-like stuff is an element, as the ancients thought, and is water-like all the way down. The claim of the proponents of the dualist argument is that this latter kind of situation can be known to be true a priori in the case of the mind: that is, one can tell by introspection that it is not more-than-causally dependent on something of a radically different nature, such as a brain or body. What grounds might one have for thinking that one could tell that a priori?
The only general argument that seem to be available for this would be the principle that, for any two levels of discourse, A and B, they are more-than-causally connected only if one entails the other a priori. And the argument for accepting this principle would be that the relatively uncontroversial cases of a posteriori necessary connections are in fact cases in which one can argue a priori from facts about the microstructure to the manifest facts. In the case of water, for example, it would be claimed that it follows a priori that if there were something with the properties attributed to H2O by chemistry on a micro level, then that thing would possess waterish properties on a macro level. What is established a posteriori is that it is in fact H2O that underlies and explains the waterish properties round here, not something else: the sufficiency of the base – were it to obtain – to explain the phenomena, can be deduced a priori from the supposed nature of the base. This is, in effect, the argument that Chalmers uses to defend the zombie hypothesis. The suggestion is that the whole category of a posteriori more-than-causally necessary connections (often identified as a separate category of metaphysical necessity) comes to no more than this. If we accept that this is the correct account of a posteriori necessities, and also deny the analytically reductionist theories that would be necessary for a priori connections between mind and body, as conceived, for example, by the behaviourist or the functionalist, does it follow that we can tell a priori that consciousness is not more-than-causally dependent on the body?
It is helpful in considering this question to employ a distinction like Berkeley’s between ideas and notions. Ideas are the objects of our mental acts, and they capture transparently – ‘by way of image or likeness’ (Principles, sect. 27) – that of which they are the ideas. The self and its faculties are not the objects of our mental acts, but are captured only obliquely in the performance of its acts, and of these Berkeley says we have notions, meaning by this that what we capture of the nature of the dynamic agent does not seem to have the same transparency as what we capture as the normal objects of the agent’s mental acts. It is not necessary to become involved in Berkeley’s metaphysics in general to feel the force of the claim that the contents and internal objects of our mental acts are grasped with a lucidity that exceeds that of our grasp of the agent and the acts per se. Because of this, notions of the self perhaps have a ‘thickness’ and are permanently contestable: there seems always to be room for more dispute as to what is involved in that concept. (Though we shall see later, in 5.2.2, that there is a ‘non-thick’ way of taking the Berkeleyan concept of a notion.)
Because ‘thickness’ always leaves room for dispute, this is one of those cases in philosophy in which one is at the mercy of the arguments philosophers happen to think up. The conceivability argument creates a prima facie case for thinking that mind has no more than causal ontological dependence on the body. Let us assume that one rejects analytical (behaviourist or functionalist) accounts of mental predicates. Then the above arguments show that any necessary dependence of mind on body does not follow the model that applies in other scientific cases. This does not show that there may not be other reasons for believing in such dependence, for so many of the concepts in the area are still contested. For example, it might be argued that identity through time requires the kind of spatial existence that only body can give: or that the causal continuity required by a stream of consciousness cannot be a property of mere phenomena. All these might be put forward as ways of filling out those aspects of our understanding of the self that are only obliquely, not transparently, presented in self-awareness. The dualist must respond to any claim as it arises: the conceivability argument does not pre-empt them.......
5.2 The Unity of the Mind
Whether one believes that the mind is a substance or just a bundle of properties, the same challenge arises, which is to explain the nature of the unity of the immaterial mind. For the Cartesian, that means explaining how he understands the notion of immaterial substance. For the Humean, the issue is to explain the nature of the relationship between the different elements in the bundle that binds them into one thing. Neither tradition has been notably successful in this latter task: indeed, Hume, in the appendix to the Treatise, declared himself wholly mystified by the problem, rejecting his own initial solution (though quite why is not clear from the text).
Includes No 28 Wyatt Street. Mid C19. 2 storeys and basement Kentish ragstone
ashlar. Hipped slate roof. 2 sashes and 1 blank to Union Street elevation.
4 sashes to Wyatt Street elevation. Most glazing bars intact. Doorcases have
scrolled console brackets, cornices and rectangular fanlights. Nos 106 and
108 have 3 stone steps to street level and cast iron railings. 'The Rifle
Volunteers' has a colourful late Victorian inn sign.
I takes a special kind of stupid to continue putting your unwanted tat here when clearly the charity bins aren't being emptied. So much for Great British Common Sense.
The breeding range includes northwest Africa, most of Europe and extends eastwards across temperate Asia to the Angara River and the southern end of Lake Baikal in Siberia. There are also a number of distinctive subspecies on the Azores, the Canary Islands and the Madeira Islands in the Atlantic Ocean. The chaffinch was introduced from Britain into several of its overseas territories in the 19th century. In New Zealand the chaffinch has colonised both the North and South Islands.
The Milky Way is the galaxy that includes our Solar System, with the name describing the galaxy's appearance from Earth: a hazy band of light seen in the night sky formed from stars that cannot be individually distinguished by the naked eye. The term Milky Way is a translation of the Latin via lactea, from the Greek γαλακτικός κύκλος (galaktikos kýklos), meaning "milky circle." From Earth, the Milky Way appears as a band because its disk-shaped structure is viewed from within. Galileo Galilei first resolved the band of light into individual stars with his telescope in 1610. Until the early 1920s, most astronomers thought that the Milky Way contained all the stars in the Universe. Following the 1920 Great Debate between the astronomers Harlow Shapley and Heber Curtis, observations by Edwin Hubble showed that the Milky Way is just one of many galaxies.
The teapot shaped constellation low down and just above the lights of Portland is Sagittarius whicvh is one of the constellations of the zodiac and is located in the Southern celestial hemisphere. It is one of the 48 constellations listed by the 2nd-century astronomer Ptolemy and remains one of the 88 modern constellations. Its name is Latin for "archer". Sagittarius is commonly represented as a centaur pulling back a bow. It lies between Scorpius and Ophiuchus to the west and Capricornus and Microscopium to the east.
The center of the Milky Way lies in the westernmost part of Sagittarius (see Sagittarius A).
The brightest object in the sky here is Jupiter which is the fifth planet from the Sun and the largest in the Solar System. It is a gas giant with a mass more than two and a half times that of all the other planets in the Solar System combined, but slightly less than one-thousandth the mass of the Sun. Jupiter is the third brightest natural object in the Earth's night sky after the Moon and Venus. People have been observing it since prehistoric times; it was named after the Roman god Jupiter, the king of the gods, because of its observed size.
To the left of Jupiter and the second brightest object in the sky here is Saturn which is the sixth planet from the Sun and the second-largest in the Solar System, after Jupiter. It is a gas giant with an average radius of about nine and a half times that of Earth.It only has one-eighth the average density of Earth; however, with its larger volume, Saturn is over 95 times more massive.
Across the bay the Isle of Portland is a tied island, 6 kilometres (4 mi) long by 2.7 kilometres (1.7 mi) wide, in the English Channel. The southern tip, Portland Bill lies 8 kilometres (5 mi) south of the resort of Weymouth, forming the southernmost point of the county of Dorset, England. A barrier beach called Chesil Beach joins it to the mainland. The A354 road passes down the Portland end of the beach and then over the Fleet Lagoon by bridge to the mainland. The population of Portland is 12,797.
en.wikipedia.org/wiki/Milky_Way
en.wikipedia.org/wiki/Sagittarius_(constellation)
Schoenthal Monastery, first mentioned in 1145, includes one of the oldest churches in Switzerland. It is considered a showpiece of Romanesque architecture. Its western façade features ashlar masonry, a portal with a depiction of a lamb carrying a cross, and an arch supported by a lion baring its teeth on one side, and by a man on the other. The inscription on the arch reads: HIC EST RODO.
Of the murals on the inside of the church, a depiction of St. Christopher has been preserved above the gateway to the cloister dating from about 1310/20. Behind the eastern façade, fragments can be seen of an angel swinging a censer; these date from around 1430. The bell in the steeple was cast in Aarau in the 15th century. The deconsecrated monastery was used for various commercial purposes over a period of 500 years. As of 1986, the new owner had extensive renovations carried out in collaboration with the canton’s departments of archaeology and the preservation of historical monuments. The latter recommended using the traditional plaster made of slaked lime.
The estate of Gunby Hall, a country house near Spilsby, East Lindsey, in Lincolnshire
The area includes the Grade I listed 42 room Gunby Hall, a Grade II* Listed Clocktower, and a Carriage House and Stable Block which are listed Grade II Listed.
The house is built from red brick, and was constructed in 1700 for Sir William Massingberd. Many of the interiors of the house are wood panelled, and it has 8 acres of Victorian walled gardens, which contain traditional English flowers, fruits and vegetables. The Hall was substantially extended in 1873 and again in 1898 with the addition of the North Wing and Clock Tower.
The Hall contains significant collections of art, furniture, porcelain and silver including original pieces by Sir Joshua Reynolds, Edward Lear, William Morris, Lord Tennyson, William Holman Hunt, James Boswell, Samuel Johnson, Thomas Sheraton and Lucio Rannuci
The last notable resident owner was Lady Montgomery-Massingberd born Diana Langton. Both her parents were direct descendants of Bennet Langton. It was Langton's second son who married Elizabeth Mary Anne Massingberd and changed his name to Peregrine Langton Massingberd. It was his descendants who inherited the hall.
It was given to the National Trust in 1944 by the trustees of the Gunby Hall Estate: Lady Montgomery-Massingberd, Major Norman Leith-Hay-Clarke and Field Marshal Sir Archibald Montgomery-Massingberd together with its contents and approximately 1,500 acres of land.
Gunby Hall is allegedly haunted, and the sightings have been linked with rumours of a brutal murder that occurred during Sir William Massingberd's residency. Sir William discovered that his daughter (some accounts say his wife) was about to run away with one of the servants, a postillion. On the night the lovers intended to flee, Sir William hid in waiting and shot the postillion dead. The servant's body was dragged through the grounds and thrown into the pond.
Some accounts say that Sir William was so enraged he shot his daughter dead as well. Word of the secret murder must have got out because soon locals were whispering that Gunby Hall was cursed and that no male of Massingberd's descent would ever inherit the house. The ghostly form of the murdered servant has been seen haunting the path by the pond, now called 'Ghost Walk', eternally waiting for his lover.
Information Source:
British postcard by Picturegoer, London, no. W. 410. Photo: Columbia. Orson Welles in The Lady from Shanghai (Orson Welles, 1947).
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten, Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy, he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong, he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris, he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia, he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an ageing film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973), a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared in his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Fatpack includes:
▸Savage Love Bed PG or Adult with Color Hud
▸Savage Love Pouf PG or Adult
▸Savage Love Bed Headboard
▸Savage Love BDSM Rack
▸Savage Love Neon Sign Touch ON/OFF Glow
▸Savage Love "Be Naked" Neon Sign Touch ON/OFF Glow
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Savage Love Bed / Pouf
• Over 100+ Animations with Bento (adult)
* Does not include bento facial expressions, allowing you to use the proper facial hud that comes with your unique bento head or your unique purchased animations.
• Re-sizable
• Copy/Mod/No Trans
Animations
▸Single Female Sit / Lay
▸Single Male Sit / Lay
▸Couple
▸Sleep
▸Cuddles
▸Adult Solo
▸Foreplay
▸Oral
▸Missionary
▸Cowgirl
▸Behind
Include Bed Color Changing Hud:
▸Pillows
▸Blanket
▸Mattress
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{Ribbons} Moon Crib
{ 100% Original Mesh }
- 9 Land Impact at default size
- Copy/Mod
-Mystory Compatible
-Includes 11 textures for; Legs, Moon, Rails, Moon Cutouts, Inside Walls, Mattress, Blanket, Blanket Ruffles, Long Pillow & Star Pillow.
-21 poses/animations
-Rotating Mobile with optional light
Extended Info:
*++Disclaimers++*
-Always save a copy in your inventory before resizing, or editing!
-Dont change the name of the prims, because it will ruin the texture change hud, the hud needs the name of the prim to know which ones to change the texture of.
-The Crib was made and posed using the Toddleedoo Fitted Chubby body with Shrinkeedoo enabled, so poses and size may need to be adjusted to fit your avatar.
-The Crib is 9 Land Impact on the default size.
∘{Pose}:
When you first sit in the Crib a pose menu will come up to select your pose, you can cycle through them with this menu and also adjust and save your positions! once you click out of the menu you can bring it up again by clicking on the crib, or standing up and sitting back down again.
there are 21 animations included!
∘{Texture Change}:
There are 11 textures for the Crib; Legs, Moon, Rails, Moon's Star Cutouts, Inside Walls, Mattress, Blanket, Blanket Ruffles, Long Pillow & Star Pillow.
wear (add) the hud to change the textures and mix and match to fit your style or home!
∘{Resizing}:
I have left the Crib Copy/Mod, so you can manually resize it. the Crib says no modify while its in your inventory because of the scripts inside, which are no modify. Once you rez it out the object itself will be modifiable.
DON'T un-link the Crib from its root prim (Shadow prim on the bottom), because it will mess with the animations & texture change hud.
∘{MyStory}:
This item is MyStory compatible! every 60 seconds you will gain 5.0% Energy & 1.0% Happiness by sitting on the Crib.
∘{Accessories}:
Linked to the Crib are a set of glowing star stickers on the interior that pulse glow! Also a cloud/star mobile that slowly rotates, when you click on the cloud itself the cloud will light up and give off faint local lighting to be used as a night-light.
*Coming to Roselline Event November 25th 2025*
StunnerOriginals Outfit Shenna Fatpack
Includes: Corset & Short.
Rigged Mesh for:
- LaraX.
- Legacy.
- Bombshell.
- Reborn.
- Waifu.
- Prima.
100% Mesh / Rigged
Try DEMO before you buy.
This is an original StunnerOriginals product.
Item available at
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.::::::TATTOO ME:::::.
TATTOO ME - G-45
BOM ONLY
FRESH & FADED
For more beautiful tattoos check out the on-line shop
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Primfeed
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The Bearded Guy
CursedRoom Backdrop
C/M/NT - 138LI - (Build sold as backdrop -doesn't have physics) - PBR Materials
Available at Main Store
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Worn~
Lelutka Billie
eBody Reborn
[coconut.] chae skin icy tone
Shi Chabar currently at Uber
en.wikipedia.org/wiki/Llandudno
Llandudno (/θlænˈdɪdnoʊ/ or /lænˈdɪdnoʊ/; Welsh pronunciation: [ɬanˈdɪdnɔ])[1] is a seaside resort, town and community in Conwy County Borough, Wales, located on the Creuddyn peninsula. In the 2011 UK census, the community, which includes Penrhyn Bay and Penrhynside, had a population of 20,710.[2] The town's name is derived from its patron saint, Saint Tudno.
Llandudno, "Queen of the Welsh Resorts", a title first applied as early as 1864,[3] is now the largest seaside resort in Wales, and lies on a flat isthmus of sand between the Welsh mainland and the Great Orme. Historically a part of Caernarfonshire, Llandudno was formerly in the district of Aberconwy within Gwynedd.
History
The town of Llandudno developed from Stone Age, Bronze Age and Iron Age settlements over many hundreds of years on the slopes of the limestone headland, known to seafarers as the Great Orme and to landsmen as the Creuddyn Peninsula. The origins in recorded history are with the Manor of Gogarth conveyed by King Edward I to Annan, Bishop of Bangor in 1284. The manor comprised three townships, Y Gogarth in the south-west, Y Cyngreawdr in the north (with the parish church of St Tudno) and Yn Wyddfid in the south-east.
Great Orme[edit]
Mostly owned by Mostyn Estates. Home to several large herds of wild Kashmiri goats originally descended from several goats given by Queen Victoria to Lord Mostyn. The summit of the Great Orme stands at 679 feet (209 M). The Summit Hotel which is now a tourist attraction was once the home of world middleweight champion boxer Randolph Turpin.
A haven for flora and fauna with some rare species such as peregrine falcons and a species of wild cotoneaster (cambricus) which can only be found on the Great Orme. The sheer limestone cliffs of the Great Orme provide ideal nesting conditions for a wide variety of sea birds, including cormorants, shags, guillemots, razorbills, puffins, kittiwakes, fulmars and numerous gulls.
This great limestone headland has many attractions including the Great Orme Tramway and a cable car system that takes tourists effortlessly to the summit.
Development
By 1847 the town had grown to a thousand people, served by the new church of St George, built in 1840. The great majority of the men worked in the copper mines with others employed in fishing and subsistence agriculture.
In 1848, Owen Williams, an architect and surveyor from Liverpool, presented Lord Mostyn with plans to develop the marsh lands behind Llandudno Bay as a holiday resort. These were enthusiastically pursued by Lord Mostyn. The influence of the Mostyn Estate and its agents over the years was to become paramount in the development of Llandudno and especially after the appointment of George Felton as surveyor and architect in 1857. During the years 1857 to 1877 much of central Llandudno was developed under Felton's supervision. George Felton also undertook architectural design work including the design and execution of Holy Trinity Church in Mostyn Street.
Transport
The town is just off the North Wales Coast railway line which was opened as the Chester and Holyhead Railway in 1848, became part of the London and North Western Railway in 1859, and part of the London, Midland and Scottish Railway in 1923. Llandudno was specifically built as a mid-Victorian era holiday destination and is served by a branch railway line opened in 1858 from Llandudno Junction with stations at Deganwy and Llandudno.
Present
Modern Llandudno takes its name from the ancient parish of Saint Tudno but also encompasses several neighbouring townships and districts including Craig-y-Don, Llanrhos and Penrhyn Bay. Also nearby is the small town and marina of Deganwy and these last four are in the traditional parish of Llanrhos. The ancient geographical boundaries of the Llandudno area are complex. Although they are on the eastern side of the River Conwy (the natural boundary between north-west and north-east Wales), the ancient parishes of Llandudno, Llanrhos and Llangystennin (which includes Llandudno Junction) were in the medieval commote of Creuddyn in the Kingdom of Gwynedd, and afterwards part of Caernarfonshire. Today, Deganwy and Llandudno Junction are part of the town community of Conwy even though they are across the river and only linked to Conwy by a causeway and bridge.
Attractions
Llandudno Bay and the North Shore
This wide sweep of sand, shingle and rock extends two miles in a graceful curve between the headlands of the Great Orme and the Little Orme.
For most of the length of Llandudno's North Shore there is a wide curving Victorian promenade, open to pedestrians and cyclists, and separated from the roadway by a strip of garden. The road, collectively known as The Parade, has a different name for each block and it is on these parades and crescents that many of Llandudno's hotels are built.
Near the centre of the bay is the Venue Cymru. The Llandudno Sailing Club and a roundabout mark the end of this section of The Parade and beyond are more hotels and guest houses but they are in the township of Craig-y-Don.
At Nant-y-Gamar Road, the Parade becomes Colwyn Road with the fields of Bodafon Hall Farm on the landward side but with the promenade continuing until it ends in a large paddling pool for children and finally at Craigside on the lower slopes of the Little Orme.
Llandudno Pier
The award-winning pier is on the North Shore. Built in 1878, at 2,295 feet (700 m) the pier is the longest in Wales and is a Grade II listed building.
Looking back towards the town from the end of the pier, on a clear day one can see the mountains of Snowdonia rising over the town. A curious major extension of the pier in 1884 was in a landwards direction along the side of what was the Baths Hotel (now where the Grand Hotel stands) to provide a new entrance with the Llandudno Pier Pavilion Theatre at the North Parade end of the promenade, thus increasing the pier's length to 2,295 feet (700 m). Attractions on the pier include a bar, a cafe, amusement arcades, children's fairground rides and an assortment of shops & kiosks.
In the summer, Professor Codman's Punch and Judy show (established in 1860) can be found on the promenade near the entrance to the pier.
Happy Valley
The Happy Valley, a former quarry, was the gift of Lord Mostyn to the town in celebration of the Golden Jubilee of Queen Victoria in 1887. The area was landscaped and developed as gardens, two miniature golf courses, a putting green, a popular open air theatre and extensive lawns. The ceremonies connected with the Welsh National Eisteddfod were held there in 1896 and again in 1963. In June 1969, the Great Orme Cabin Lift, a modern alternative to the tramway, was opened with its base station adjacent to the open air theatre. The distance to the summit is just over one mile (1.6 km) and the four-seater cabins travel at six m.p.h. on a continuous steel cable over two miles (3 km) long. It is the longest single stage cabin lift in Britain and the longest span between pylons is over 1,000 feet (300 m). The popularity of the 'Happy Valley Entertainers' open air theatre having declined, the theatre closed in 1985 and likewise the two miniature golf courses closed and were converted in 1987 to create a 280 metres (920 ft) artificial ski slope and toboggan run. The gardens were extensively restored as part of the resort's millennium celebrations and remain a major attraction.
Marine Drive
The first route round the perimeter of the Great Orme was a footpath constructed in 1858 by Reginald Cust, a trustee of the Mostyn Estate. In 1872 the Great Ormes Head Marine Drive Co. Ltd. was formed to turn the path into a carriage road. Following bankruptcy, a second company completed the road in 1878. The contractors for the scheme were Messrs Hughes, Morris, Davies, a consortium led by Richard Hughes of Madoc Street, Llandudno.[4] The road was bought by Llandudno Urban District Council in 1897.[5] The 4 miles (6.4 km) one way drive starts at the foot of the Happy Valley. After about 1.5 miles (2.4 km) a side road leads to St. Tudno's Church, the Great Orme Bronze Age Copper Mine and the summit of the Great Orme. Continuing on the Marine Drive one passes the Great Orme Lighthouse (now a small hotel) and, shortly afterwards on the right, the Rest and Be Thankful Cafe and information centre. Below the Marine Drive at its western end is the site of the wartime Coast Artillery School (1940-1945) now a scheduled ancient monument
West Shore
The West Shore is the quiet beach on the estuary of the River Conwy. It was here at Pen Morfa that Alice Liddell (of Alice in Wonderland fame) spent the long summer holidays of her childhood from 1862 to 1871. There are a few hotels and quiet residential streets. The West Shore is linked to the North Shore by Gloddaeth Avenue and Gloddaeth Street, a wide dual carriageway.
Mostyn Street
Running behind the promenade is Mostyn Street leading to Mostyn Broadway and then Mostyn Avenue. These are the main shopping streets of Llandudno and Craig-y-Don. Mostyn Street accommodates the high street shops, the major high street banks and building societies, two churches, amusement arcades and the town's public library. The last is the starting point for the Town Trail,[6] a carefully planned walk that facilitates viewing Llandudno in a historical perspective.
Victorian Extravaganza
Every year in May bank holiday weekend, Llandudno has a three-day Victorian Carnival[7] and Mostyn Street becomes a funfair. Madoc Street and Gloddaeth Street and the Promenade become part of the route each day of a mid-day carnival parade. The Bodafon Farm fields become the location of a Festival of Transport[8] for the weekend.
Venue Cymru
The North Wales Theatre, Arena and Conference Centre, built in 1994, extended in 2006 and renamed "Venue Cymru" is located near the centre of the promenade on Penrhyn Crescent. It is noted for its productions of opera, orchestral concerts, ballet, musical theatre, drama, circus, ice shows and pantomimes.
landudno Lifeboat
Llandudno is unique within the United Kingdom in that its lifeboat station is located inland, allowing it to launch with equal facility from either the West Shore or the North Shore as needed. Llandudno's active volunteer crews are called out more than ever with the rapidly increasing numbers of small pleasure craft sailing in coastal waters. The Llandudno Lifeboat is normally on display on the promenade every Sunday and bank holiday Monday from May until October. 2014 A planning application submitted for a new Lifeboat station, with a larger boat, to be built close to the paddling pool on North Shore.
Places of worship
The ancient parish church dedicated to Saint Tudno stands in a hollow near the northern point of the Great Orme and two miles (3 km) from the present town. It was established as an oratory by Tudno, a 6th-century monk, but the present church dates from the 12th century and it is still used on summer Sunday mornings. It was the Anglican parish church of Llandudno until that status was transferred first to St George’s (now closed) and later to Holy Trinity Church in Mostyn Street.
The principal Christian Churches of Llandudno are members of Cytûn (churches together) and include the Church in Wales (Holy Trinity and also Saint Paul's at Craig-y-Don), the Roman Catholic Church of Our Lady Star of the Sea, Saint John’s Methodist Church, Gloddaeth United Church (Presbyterian), Assemblies of God (Pentecostal), Llandudno Baptist Church, St. David's Methodist Church at Craig-y-Don, the Coptic Orthodox Church of Saint Mary and Saint Abasikhiron, and Eglwys Unedig Gymraeg Llandudno (the United Welsh Church of Llandudno).
A member of the local Methodist community is the Revd Roger Roberts, now Lord Roberts of Llandudno, Liberal Democrat Spokesman for International Development in the House of Lords.
Llandudno is home to a Jewish centre in Church Walks, which serves the local Jewish population - one of few in North Wales. The town also boasts a Coptic church (The Coptic Orthodox Church of St Mary and St Abasikhiron on Trinity Avenue) as well as a Buddhist centre, Kalpa Bhadra, on Mostyn Avenue in Craig-y-Don.
Area features
Bodysgallen Hall is a manor house nearby to the south near the village of Llanrhos. This listed historical building derives primarily from the 17th century, and has several later additions. Bodysgallen was constructed as a tower house in the Middle Ages to serve as defensive support for nearby Conwy Castle.
Links with Wormhout and Mametz
Llandudno is twinned with the Flemish town of Wormhout 10 miles (16 km) from Dunkirk. It was there that many members of the Llandudno-based 69th Territorial Regiment were ambushed and taken prisoner. Later, at nearby Esquelbecq on 28 May 1940, the prisoners were shot.[9]
The 1st (North Wales) Brigade was Headquartered in Llandudno in December 1914 and included a battalion of the (Royal Welch Fusiliers), which had been raised and trained in Llandudno. During the 1914–18 war this Brigade, a major part of the 38th Welsh Division, took part in the Battle of the Somme and the Brigade was ordered to take Mametz Wood. Two days of fighting brought about the total destruction of Mametz village by shelling. After the war, the people of Llandudno (including returning survivors from the 38th Welsh Division) contributed generously to the fund for the reconstruction of the village of Mametz.
Cultural connections
Llandudno hosted the Welsh National Eisteddfod in 1864, 1896 and 1963, and from 26–31 May 2008 welcomed the Urdd National Eisteddfod to Gloddaeth Isaf Farm, Penrhyn Bay. The town also hosted the Liverpool Olympic Festival in 1865 and 1866.
Matthew Arnold gives a vivid and lengthy description of 1860s Llandudno – and of the ancient tales of Taliesin and Maelgwn Gwynedd that are associated with the local landscape — in the first sections of the preface[11] to On the Study of Celtic Literature (1867).
Elisabeth of Wied, the Queen consort of Romania and also known as writer Carmen Sylva, stayed in Llandudno for five weeks in 1890. On taking her leave, she described Wales as "a beautiful haven of peace".[12] Translated into Welsh as "hardd, hafan, hedd" it became the town's official motto.
Other famous people with links to Llandudno include the Victorian statesman John Bright and multi-capped Welsh international footballers Neville Southall, Neil Eardley and Joey Jones. Australian ex-Prime Minister Billy Hughes attended school in Llandudno. Gordon Borrie QC (Baron Borrie), Director General of the Office of Fair Trading from 1976 to 1992, was educated at the town's John Bright Grammar School when he lived there as a wartime evacuee.
The international art gallery, Oriel Mostyn is situated in Vaughan Street next to the post office. It was built in 1902 to house the art collection of Lady Augusta Mostyn. It was requisitioned in 1914 for use as an army drill hall and later became a warehouse before being returned to use as an art gallery in 1979. Following a major revamp the gallery was renamed simply 'Mostyn' in 2010.
In January 1984 Brookside character Petra Taylor (Alexandra Pigg) committed suicide in Llandudno.
Keld is a village in the English county of North Yorkshire. It is in Swaledale, and the Yorkshire Dales National Park. The name derives from the Viking word Kelda meaning a spring and the village was once called Appletre Kelde – the spring near the apple trees.
Keld is the crossing point of the Coast to Coast Walk and the Pennine Way long-distance footpaths at the head of Swaledale, and marks the end of the Swale Trail, a 20 km mountain bike trail which starts in Reeth. At the height of the lead-mining industry in Swaledale in the late 19th century, several notable buildings – now Grade II listed – were erected: they include the Congregational and Methodist chapels, the school and the Literary Institute.
A tea room and small shop operate at Park Lodge from Easter to autumn. Out of season, local volunteers provide a self service café for visitors in the village’s Public Hall. Keld’s Youth Hostel closed in 2008 and has since reopened as Keld Lodge, a hotel with bar and restaurant. There is a series of four waterfalls close to Keld in a limestone gorge on the River Swale: Kisdon Force, East Gill Force, Catrake Force and Wain Wath Force.
The Keld Resource Centre, a local charity, is restoring a series of listed buildings in the village centre and returning them to community use. The first phase involved restoring the Manse, the minister's house attached to the United Reformed Church, which was completed in 2009 and is now used as a holiday cottage, proceeds from which support the Centre's work.
In 2010 the Centre created the Keld Well-being Garden in the chapel churchyard. It provides a quiet spot for visitors to contemplate their well-being in the beautiful natural environment of Upper Swaledale.
The Keld Countryside and Heritage Centre opened in 2011; it provides interpretation of the countryside, buildings and social history of Keld, and displays of artefacts relevant to Upper Swaledale. It is open throughout the year, operating alongside The Upper Room which is used for meetings, exhibitions, workshops and social events. A range of guided walks, exhibitions, talks and other activities take place during the summer months.
Further projects will involve restoring Keld’s former school.
The ruins of Crackpot Hall lie about a mile east of Keld on the northern slope of the dale at grid reference NY906008. There may have been a building on this site since the 16th century when a hunting lodge was maintained for Thomas, the first Baron Wharton, who visited the Dale occasionally to shoot the red deer. Survey work by the Yorkshire Dales National Park Authority has shown that the building has changed many times over the years. At one time it even had a heather or "ling" thatched roof.
The current ruin is of a farmhouse dating from the mid 18th century. It was an impressive two-storey building with a slate roof and matching "shippons" or cowsheds at each end for animals. The building may also have been used as mine offices, as intensive lead mining was carried out in the area, and there were violent disputes over mine boundaries in the 18th century.
In the 1930s Ella Pontefract and Marie Hartley wrote of a wild 4-year-old child named Alice. On 7 November 2015, BBC Radio 3 broadcast a documentary about the story in the Between the Ears strand titled Alice at Crackpot Hall.[5]
The current building was abandoned in the 1950s because of subsidence. Crackpot Hall has been saved from further decay by Gunnerside Estate with the aid of grants from the Millennium Commission and European Union through the Yorkshire Dales Millennium Trust.
The name Crackpot is said to mean "a deep hole or chasm that is a haunt of crows".
The Yorkshire Dales National Park is a 2,178 km2 (841 sq mi) national park in England covering most of the Yorkshire Dales, with the notable exception of Nidderdale. Most of the park is in North Yorkshire, with a sizeable area in Cumbria and a small part in Lancashire. The park was designated in 1954, and extended in 2016. Over 95% of the land in the Park is under private ownership; there are over 1,000 farms in this area.
In late 2020, the park was named as an International Dark Sky Reserve. This honour confirms that the area has "low levels of light pollution with good conditions for astronomy".
Some 23,500 residents live in the park (as of 2017); a 2018 report estimated that the Park attracted over four million visitors per year. The economy consists primarily of tourism and agriculture.
The park is 50 miles (80 km) north-east of Manchester; Otley, Ilkley, Leeds and Bradford lie to the south, while Kendal is to the west, Darlington to the north-east and Harrogate to the south-east.
The national park does not include all of the Yorkshire Dales. Parts of the dales to the south and east of the national park are located in the Nidderdale Area of Outstanding Natural Beauty. The national park also includes the Howgill Fells and Orton Fells in the north west although they are not often considered part of the dales.
In 1947, the Hobhouse Report recommended the creation of the Yorkshire Dales National Park covering parts of the West Riding and North Riding of Yorkshire. The proposed National Park included most of the Yorkshire Dales, but not Nidderdale. Accordingly, Nidderdale was not included in the National Park when it was designated in 1954. In 1963 the then West Riding County Council proposed that Nidderdale should be added to the National Park, but the proposal met with opposition from the district councils which would have lost some of their powers to the county council.
Following the Local Government Act 1972 most of the area of the national park was transferred in 1974 to the new county of North Yorkshire. An area in the north west of the national park (Dentdale, Garsdale and the town of Sedbergh) was transferred from the West Riding of Yorkshire to the new county of Cumbria. In 1997 management of the national park passed from the county councils to the Yorkshire Dales National Park Authority.
A westward extension of the park into Lancashire and Westmorland encompassed much of the area between the old boundaries of the park and the M6 motorway. This increased the area by nearly 24% and brought the park close to the towns of Kirkby Lonsdale, Kirkby Stephen and Appleby-in-Westmorland. The extension also includes the northern portion of the Howgill Fells and most of the Orton Fells. Before the expansion, the national park was solely in the historic county of Yorkshire, the expansion bringing in parts of historic Lancashire and Westmorland.
The area has a wide range of activities for visitors. For example, many people come to the Dales for walking or other exercise. Several long-distance routes cross the park, including the Pennine Way, the Dales Way, the Coast to Coast Walk and the Pennine Bridleway. Cycling is also popular and there are several cycleways.
The DalesBus service provides service in the Dales on certain days in summer, "including the Yorkshire Dales National Park and Nidderdale Area of Outstanding Natural Beauty". In summer, these buses supplement the other services that operate year-round in the Dales.
Tourism in the region declined due to restrictions necessitated by the COVID-19 pandemic in 2020, and into 2021. Later in 2021, the volume of visits was expected to increase as a result of the 2020 TV series All Creatures Great and Small, largely filmed within the Dales. The first series aired in the UK in September 2020 and in the US in early 2021. One source stated that visits to Yorkshire Web sites had increased significantly by late September 2020. By early 2021, the Discover England Web sites, for example, were using the tag line "Discover All Creatures Great and Small in Yorkshire".
The Dales Countryside Museum is housed in the converted Hawes railway station in Wensleydale in the north of the area.The park also has five visitor centres. These are at:
Aysgarth Falls
Grassington
Hawes
Malham
Reeth
Other places and sights within the National Park include:
Bolton Castle
Clapham
Cautley Spout waterfall
Firbank Fell
Gaping Gill
Gayle Mill
Hardraw Force
Horton in Ribblesdale
Howgill Fells
Kisdon Force (waterfall) in Swaledale
Leck Fell
Malham Cove, Gordale Scar, Janet's Foss and Malham Tarn
Orton Fells
River Lune
Sedbergh
Settle
Settle and Carlisle Railway including the Ribblehead Viaduct
Wild Boar Fell
The Yorkshire Three Peaks (Ingleborough, Pen-y-ghent and Whernside)
North Yorkshire is a ceremonial county in the Yorkshire and the Humber and North East regions of England. It borders County Durham to the north, the North Sea to the east, the East Riding of Yorkshire to the south-east, South Yorkshire to the south, West Yorkshire to the south-west, and Cumbria and Lancashire to the west. Northallerton is the county town.
The county is the largest in England by land area, at 9,020 km2 (3,480 sq mi), and has a population of 1,158,816. The largest settlements are Middlesbrough (174,700) in the north-east and the city of York (152,841) in the south. Middlesbrough is part of the Teesside built-up area, which extends into County Durham and has a total population of 376,663. The remainder of the county is rural, and the largest towns are Harrogate (73,576) and Scarborough (61,749). For local government purposes the county comprises four unitary authority areas — York, Middlesbrough, Redcar and Cleveland, and North Yorkshire — and part of a fifth, Stockton-on-Tees.
The centre of the county contains a wide plain, called the Vale of Mowbray in the north and Vale of York in the south. The North York Moors lie to the east, and south of them the Vale of Pickering is separated from the main plain by the Howardian Hills. The west of the county contains the Yorkshire Dales, an extensive upland area which contains the source of the River Ouse/Ure and many of its tributaries, which together drain most of the county. The Dales also contain the county's highest point, Whernside, at 2,415 feet (736 m).
North Yorkshire non-metropolitan and ceremonial county was formed on 1 April 1974 as a result of the Local Government Act 1972. It covered most of the North Riding of Yorkshire, as well as northern parts of the West Riding of Yorkshire, northern and eastern East Riding of Yorkshire and the former county borough of York. Northallerton, as the former county town for the North Riding, became North Yorkshire's county town. In 1993 the county was placed wholly within the Yorkshire and the Humber region.
Some areas which were part of the former North Riding were in the county of Cleveland for twenty-two years (from 1974 to 1996) and were placed in the North East region from 1993. On 1 April 1996, these areas (Middlesbrough, Redcar and Cleveland and Stockton borough south of the River Tees) became part of the ceremonial county as separate unitary authorities. These areas remain within the North East England region.
Also on 1 April 1996, the City of York non-metropolitan district and parts of the non-metropolitan county (Haxby and nearby rural areas) became the City of York unitary authority.
On 1 April 2023, the non-metropolitan county became a unitary authority. This abolished eight councils and extended the powers of the county council to act as a district council.
The York and North Yorkshire Combined Authority held its first meeting on 22 January 2024, assumed its powers on 1 February 2024 and the first mayor is to be elected in May 2024.
The geology of North Yorkshire is closely reflected in its landscape. Within the county are the North York Moors and most of the Yorkshire Dales, two of eleven areas in England and Wales to be designated national parks. Between the North York Moors in the east and the Pennine Hills. The highest point is Whernside, on the Cumbrian border, at 2,415 feet (736 m). A distinctive hill to the far north east of the county is Roseberry Topping.
North Yorkshire contains several major rivers. The River Tees is the most northerly, forming part of the border between North Yorkshire and County Durham in its lower reaches and flowing east through Teesdale before reaching the North Sea near Redcar. The Yorkshire Dales are the source of many of the county's major rivers, including the Aire, Lune, Ribble, Swale, Ure, and Wharfe.[10] The Aire, Swale, and Wharfe are tributaries of the Ure/Ouse, which at 208 km (129 mi) long is the sixth-longest river in the United Kingdom. The river is called the Ure until it meets Ouse Gill beck just below the village of Great Ouseburn, where it becomes the Ouse and flows south before exiting the county near Goole and entering the Humber estuary. The North York Moors are the catchment for a number of rivers: the Leven which flows north into the Tees between Yarm and Ingleby Barwick; the Esk flows east directly into the North Sea at Whitby as well as the Rye (which later becomes the Derwent at Malton) flows south into the River Ouse at Goole.
North Yorkshire contains a small section of green belt in the south of the county, which surrounds the neighbouring metropolitan area of Leeds along the North and West Yorkshire borders. It extends to the east to cover small communities such as Huby, Kirkby Overblow, and Follifoot before covering the gap between the towns of Harrogate and Knaresborough, helping to keep those towns separate.
The belt adjoins the southernmost part of the Yorkshire Dales National Park, and the Nidderdale AONB. It extends into the western area of Selby district, reaching as far as Tadcaster and Balne. The belt was first drawn up from the 1950s.
The city of York has an independent surrounding belt area affording protections to several outlying settlements such as Haxby and Dunnington, and it too extends into the surrounding districts.
North Yorkshire has a temperate oceanic climate, like most of the UK. There are large climate variations within the county. The upper Pennines border on a Subarctic climate. The Vale of Mowbray has an almost Semi-arid climate. Overall, with the county being situated in the east, it receives below-average rainfall for the UK. Inside North Yorkshire, the upper Dales of the Pennines are one of the wettest parts of England, where in contrast the driest parts of the Vale of Mowbray are some of the driest areas in the UK.
Summer temperatures are above average, at 22 °C. Highs can regularly reach up to 28 °C, with over 30 °C reached in heat waves. Winter temperatures are below average, with average lows of 1 °C. Snow and Fog can be expected depending on location. The North York Moors and Pennines have snow lying for an average of between 45 and 75 days per year. Sunshine is most plentiful on the coast, receiving an average of 1,650 hours a year. It reduces further west in the county, with the Pennines receiving 1,250 hours a year.
The county borders multiple counties and districts:
County Durham's County Durham, Darlington, Stockton (north Tees) and Hartlepool;
East Riding of Yorkshire's East Riding of Yorkshire;
South Yorkshire's City of Doncaster;
West Yorkshire's City of Wakefield, City of Leeds and City of Bradford;
Lancashire's City of Lancaster, Ribble Valley and Pendle
Cumbria's Westmorland and Furness.
The City of York Council and North Yorkshire Council formed the York and North Yorkshire Combined Authority in February 2024. The elections for the first directly-elected mayor will take place in May 2024. Both North Yorkshire Council and the combined authority are governed from County Hall, Northallerton.
The Tees Valley Combined Authority was formed in 2016 by five unitary authorities; Middlesbrough, Redcar and Cleveland Borough both of North Yorkshire, Stockton-on-Tees Borough (Uniquely for England, split between North Yorkshire and County Durham), Hartlepool Borough and Darlington Borough of County Durham.
In large areas of North Yorkshire, agriculture is the primary source of employment. Approximately 85% of the county is considered to be "rural or super sparse".
Other sectors in 2019 included some manufacturing, the provision of accommodation and meals (primarily for tourists) which accounted for 19 per cent of all jobs. Food manufacturing employed 11 per cent of workers. A few people are involved in forestry and fishing in 2019. The average weekly earnings in 2018 were £531. Some 15% of workers declared themselves as self-employed. One report in late 2020 stated that "North Yorkshire has a relatively healthy and diverse economy which largely mirrors the national picture in terms of productivity and jobs.
Mineral extraction and power generation are also sectors of the economy, as is high technology.
Tourism is a significant contributor to the economy. A study of visitors between 2013 and 2015 indicated that the Borough of Scarborough, including Filey, Whitby and parts of the North York Moors National Park, received 1.4m trips per year on average. A 2016 report by the National Park, states the park area gets 7.93 million visitors annually, generating £647 million and supporting 10,900 full-time equivalent jobs.
The Yorkshire Dales have also attracted many visitors. In 2016, there were 3.8 million visits to the National Park including 0.48 million who stayed at least one night. The parks service estimates that this contributed £252 million to the economy and provided 3,583 full-time equivalent jobs. The wider Yorkshire Dales area received 9.7 million visitors who contributed £644 million to the economy. The North York Moors and Yorkshire Dales are among England's best known destinations.
York is a popular tourist destination. A 2014 report, based on 2012 data, stated that York alone receives 6.9 million visitors annually; they contribute £564 million to the economy and support over 19,000 jobs. In the 2017 Condé Nast Traveller survey of readers, York rated 12th among The 15 Best Cities in the UK for visitors. In a 2020 Condé Nast Traveller report, York rated as the sixth best among ten "urban destinations [in the UK] that scored the highest marks when it comes to ... nightlife, restaurants and friendliness".
During February 2020 to January 2021, the average property in North Yorkshire county sold for £240,000, up by £8100 over the previous 12 months. By comparison, the average for England and Wales was £314,000. In certain communities of North Yorkshire, however, house prices were higher than average for the county, as of early 2021: Harrogate (average value: £376,195), Knaresborough (£375,625), Tadcaster (£314,278), Leyburn (£309,165) and Ripon (£299,998), for example.
This is a chart of trend of regional gross value added for North Yorkshire at current basic prices with figures in millions of British pounds sterling.
Unemployment in the county was traditionally low in recent years, but the lockdowns and travel restrictions necessitated by the COVID-19 pandemic had a negative effect on the economy during much of 2020 and into 2021. The UK government said in early February 2021 that it was planning "unprecedented levels of support to help businesses [in the UK] survive the crisis". A report published on 1 March 2021 stated that the unemployment rate in North Yorkshire had "risen to the highest level in nearly 5 years – with under 25s often bearing the worst of job losses".
York experienced high unemployment during lockdown periods. One analysis (by the York and North Yorkshire Local Enterprise Partnership) predicted in August 2020 that "as many as 13,835 jobs in York will be lost in the scenario considered most likely, taking the city's unemployment rate to 14.5%". Some critics claimed that part of the problem was caused by "over-reliance on the booming tourism industry at the expense of a long-term economic plan". A report in mid June 2020 stated that unemployment had risen 114 per cent over the previous year because of restrictions imposed as a result of the pandemic.
Tourism in the county was expected to increase after the restrictions imposed due the pandemic are relaxed. One reason for the expected increase is the airing of All Creatures Great and Small, a TV series about the vet James Herriot, based on a successful series of books; it was largely filmed within the Yorkshire Dales National Park. The show aired in the UK in September 2020 and in the US in early 2021. One source stated that visits to Yorkshire websites had increased significantly by late September 2020.
The East Coast Main Line (ECML) bisects the county stopping at Northallerton,Thirsk and York. Passenger service companies in the area are London North Eastern Railway, Northern Rail, TransPennine Express and Grand Central.
LNER and Grand Central operate services to the capital on the ECML, Leeds Branch Line and the Northallerton–Eaglescliffe Line. LNER stop at York, Northallerton and on to County Durham or spur over to the Tees Valley Line for Thornaby and Middlesbrough. The operator also branch before the county for Leeds and run to Harrogate and Skipton. Grand Central stop at York, Thirsk Northallerton and Eaglescliffe then over to the Durham Coast Line in County Durham.
Northern operates the remaining lines in the county, including commuter services on the Harrogate Line, Airedale Line and York & Selby Lines, of which the former two are covered by the Metro ticketing area. Remaining branch lines operated by Northern include the Yorkshire Coast Line from Scarborough to Hull, York–Scarborough line via Malton, the Hull to York Line via Selby, the Tees Valley Line from Darlington to Saltburn via Middlesbrough and the Esk Valley Line from Middlesbrough to Whitby. Last but certainly not least, the Settle-Carlisle Line runs through the west of the county, with services again operated by Northern.
The county suffered badly under the Beeching cuts of the 1960s. Places such as Richmond, Ripon, Tadcaster, Helmsley, Pickering and the Wensleydale communities lost their passenger services. Notable lines closed were the Scarborough and Whitby Railway, Malton and Driffield Railway and the secondary main line between Northallerton and Harrogate via Ripon.
Heritage railways within North Yorkshire include: the North Yorkshire Moors Railway, between Pickering and Grosmont, which opened in 1973; the Derwent Valley Light Railway near York; and the Embsay and Bolton Abbey Steam Railway. The Wensleydale Railway, which started operating in 2003, runs services between Leeming Bar and Redmire along a former freight-only line. The medium-term aim is to operate into Northallerton station on the ECML, once an agreement can be reached with Network Rail. In the longer term, the aim is to reinstate the full line west via Hawes to Garsdale on the Settle-Carlisle line.
York railway station is the largest station in the county, with 11 platforms and is a major tourist attraction in its own right. The station is immediately adjacent to the National Railway Museum.
The main road through the county is the north–south A1(M), which has gradually been upgraded in sections to motorway status since the early 1990s. The only other motorways within the county are the short A66(M) near Darlington and a small stretch of the M62 motorway close to Eggborough. The other nationally maintained trunk routes are the A168/A19, A64, A66 and A174.
Long-distance coach services are operated by National Express and Megabus. Local bus service operators include Arriva Yorkshire, Stagecoach, Harrogate Bus Company, The Keighley Bus Company, Scarborough & District (East Yorkshire), Yorkshire Coastliner, First York and the local Dales & District.
There are no major airports in the county itself, but nearby airports include Teesside International (Darlington), Newcastle and Leeds Bradford.
The main campus of Teesside University is in Middlesbrough, while York contains the main campuses of the University of York and York St John University. There are also two secondary campuses in the county: CU Scarborough, a campus of Coventry University, and Queen's Campus, Durham University in Thornaby-on-Tees.
Colleges
Middlesbrough College's sixth-form
Askham Bryan College of agriculture, Askham Bryan and Middlesbrough
Craven College, Skipton
Middlesbrough College
The Northern School of Art, Middlesbrough
Prior Pursglove College
Redcar & Cleveland College
Scarborough Sixth Form College
Scarborough TEC
Selby College
Stockton Riverside College, Thornaby
York College
Places of interest
Ampleforth College
Beningbrough Hall –
Black Sheep Brewery
Bolton Castle –
Brimham Rocks –
Castle Howard and the Howardian Hills –
Catterick Garrison
Cleveland Hills
Drax Power Station
Duncombe Park – stately home
Eden Camp Museum –
Embsay & Bolton Abbey Steam Railway –
Eston Nab
Flamingo Land Theme Park and Zoo –
Helmsley Castle –
Ingleborough Cave – show cave
John Smith's Brewery
Jorvik Viking Centre –
Lightwater Valley –
Lund's Tower
Malham Cove
Middleham Castle –
Mother Shipton's Cave –
National Railway Museum –
North Yorkshire Moors Railway –
Ormesby Hall – Palladian Mansion
Richmond Castle –
Ripley Castle – Stately home and historic village
Riverside Stadium
Samuel Smith's Brewery
Shandy Hall – stately home
Skipton Castle –
Stanwick Iron Age Fortifications –
Studley Royal Park –
Stump Cross Caverns – show cave
Tees Transporter Bridge
Theakston Brewery
Thornborough Henges
Wainman's Pinnacle
Wharram Percy
York Castle Museum –
Yorkshire Air Museum –
The Yorkshire Arboretum
Includes:
❀A bonus hanging key exclusive to the fatpack
- this key is an experience-based grabbable, simply enable the Rhyme nor Reason experience on your land, then anybody can pick up a key to hang from their finger. There's also a simple unscripted version of the hanging key if you don't want to use the grabbable.
❀[RnR] Kennel A and [RnR] Kennel B, both also in RLV versions - these seat three slaves each. There is a bonus riser included so that you can stack them, or you can use them individually.
❀[RnR] Standing Kennel Cage, in regular and RLV versions. This uses lockguard shackles and chains. Seats one.
❀[RnR] Hanging Kennel Cage, in regular and RLV versions. This includes 4 different lengths of chain and a ceiling mount.
❀[RnR] Square Kennel Cage, in regular and RLV versions. This cage seats two people and includes adult animations as well as flogging and paddling anims.
❀[RnR] Cages HUD - This changes the PBR materials for all cages together.
The cages are also available individually.
The Queensland Cultural Centre (QCC), located on the south bank of the Brisbane River opposite the central business district, is the state's principal cultural venue and an important example of late 20th century modernist architecture. Constructed between 1976 and 1998, this ambitious complex, a milestone in the history of the arts in Queensland and the evolution of the state, was designed by renowned Queensland architect Robin Gibson in conjunction with the Queensland Department of Public Works, for the people of Queensland.
The Cultural Centre includes the Queensland Art Gallery (1982), the Queensland Performing Arts Centre (1984), the Queensland Museum (1986), the State Library and The Fountain Room Restaurant and Auditorium (The Edge in 2015) (1988). The substantially altered State Library and the Gallery of Modern Art are part of the broader cultural precinct but are not included in the heritage register boundary.
South Brisbane before the Queensland Cultural Centre (QCC)
By the late 1960s, much of South Brisbane, especially along the river, was in economic decline. Prior to European settlement, the whole of the South Brisbane peninsula was known as Kurilpa, an important meeting place for the Yuggera/Jagera people. The tip of the South Brisbane peninsula was a traditional river crossing. After the establishment of the Moreton Bay Penal settlement in 1825, convicts cleared the river flats to grow grain for the settlement and during the 1830s, timber from the south bank was exported to Sydney.
From the 1840s, South Brisbane developed as one of Queensland's key location for portside activity, initially advantaged by its more direct access to the Darling Downs and Ipswich. As maritime trade expanded, wharfs and stores were progressively established adjacent to the river. Over time, a range of commercial, light industrial and manufacturing activities also occurred, along with civic and residential land uses. The area prospered in the 1880s and South Brisbane became a municipality in 1888. Along with the development boom, a dry dock was opened in 1881, coal wharves and associated rail links were constructed and South Brisbane was established as the passenger terminus for suburban and country train lines.
By the end of the 19th century, the area had evolved into a substantial urban settlement, with Stanley Street a major retail centre and thoroughfare. Such development however, could not arrest a gradual 20th century decline which accelerated after World War II, influenced by the reorientation of economic activity and transport networks in Brisbane. Post-war, wharves, stores and railway sidings closed and were subsequently demolished, with the progressive relocation of shipping downriver. The decline of such a centrally located area in the capital city presented an opportunity for significant urban renewal.
Impetus for the Queensland Cultural Centre
The pressure to address the lack of adequate cultural facilities in Queensland increased in the 1960s, as public awareness of the importance of the arts to the cultural health of the community was rising. At this time, the Queensland's principal cultural institutions were located in buildings and sites in Brisbane that did not meet their existing or future requirements. The first purpose-built Museum had opened in William Street in 1879 but proved inadequate from the outset. It was converted to the Public Library of Queensland (the State Library from 1971) in 1900-02, after the 1889 Exhibition Building at Bowen Hills was converted for use as a Museum in 1900. From 1895, the Queensland Art Gallery was housed in the Brisbane Town Hall, moving in 1905 to a purpose designed room on the third floor in the new Executive Building overlooking George Street. When the new City Hall was completed in 1930, the Concert Hall at the Museum building was remodelled to house the art gallery.
Until the opening of the Queensland Cultural Centre, there were no Queensland government-operated performing arts facilities. Most musical and theatrical performances were initially held in local venues such as schools of arts, church halls or town halls, of varying suitability. Purpose-built facilities were limited and only erected in major centres. By the 1880s, Brisbane had four theatres, with the Opera House (later Her Majesty's Theatre), erected in 1888, the most lavish and prestigious, with seating for 2700. The Exhibition Building was one of the first buildings specifically designed for musical performances and contained a concert hall complete with a four-manual pipe organ. It became the centre for major musical events until the opening of the Brisbane City Hall in 1930.
Across Australia, the post-war era saw governments on all tiers commit to large projects related to developing the arts, including standalone and integrated landmark projects for institutions such as libraries, theatres and art galleries. Sites for such projects were often in centrally located areas, where previous uses and activities were in decline, or had become redundant. This type of urban renewal offered a blank slate for development, where the existing layout could be reconfigured and the built environment transformed. The construction of Sydney's Opera House had commenced in 1959; preliminary investigations for Adelaide Festival Centre started in 1964; the National Gallery of Australia was established in 1967; the first stage of the Victorian Arts Centre, the National Gallery of Victoria, was completed in 1969 and Perth's Civic Centre was also developed during the 1960s.
In Queensland, an earlier phase of civic construction (mostly town halls and council chambers) occurred in the 1930s, often incorporating spaces for arts and cultural activities. By the early 1950s, architect and town planner Karl Langer was designing civic centre complexes for larger regional centres such as Mackay, Toowoomba and Kingaroy.
Several attempts were made to secure stately cultural facilities in Queensland's capital but each came to nothing. Construction of an art gallery and museum near the entrance to the Government Domain, on a site granted in 1863, never eventuated. In the 1890s a major architectural competition for a museum and art gallery on a site in Albert Park sought to address the need for sufficient premises. In 1934, on a nearby site along Wickham Park and Turbot Street, an ambitious urban design proposal to incorporate a public art gallery, library and dental hospital resulted only in the construction of the Brisbane Dental Hospital. Post-WWII plans to incorporate the art gallery in the extensions to the original Supreme Court Building did not eventuate. The Queensland Art Gallery Act 1959 paved the way for a new Board of Trustees to establish a gallery with public funds subsidized by Government. The proposal at that time, for a gallery and performance hall at Gardens Point, to mark Queensland's centenary, was not realised; however, an extension to the State Library proceeded and included an exhibition hall and reading rooms.
A proposal for a State Gallery and Centre for Allied Arts, on the former municipal markets site adjacent to the Roma Street Railway station, formed part of a government backed plan for the redevelopment of the Roma Street area. Prepared by Bligh Jessup Bretnall & Partners in 1967, this substantial development over a number of city blocks, inspired by the redevelopment of redundant inner city areas in Europe and new towns in America, incorporated a significant commercial component. The plan was abandoned in 1968 due to conflicting local and state interests, together with the lack of an acceptable tender.
The following year, the Treasury Department initiated a formal investigation into a suitable site for an art gallery, led by Treasurer, Deputy Premier and Liberal Party Leader, Gordon Chalk. An expert committee, including Coordinator-General Charles Barton as chair, Under-Secretary of Works David Mercer and Assistant Under-Secretary Roman Pavlyshyn, considered 12 sites, including those from previous proposals. Three sites were shortlisted: The Holy Name Cathedral site in Fortitude Valley; upstream of the Victoria Bridge at South Brisbane; and the BCC Transport Depot in Coronation Drive. The South Brisbane site was preferred, considered to be the most advantageous for the city and the most architecturally suitable. The recommendation was accepted and work on progressing a design commenced.
Architectural competition and concept (1289)
In April 1973, Robin Gibson and Partners Architects won a two-staged competition to design the new Queensland Art Gallery at South Brisbane, with a sophisticated scheme considered superior in its simplicity and presentation. While this design was never realised, the art gallery that was built as part of the Cultural Centre was in many ways very similar, including the palette of materials and modernist design details inspired by the 1969 Oaklands Museum in California. The original design occupied the block bounded by Melbourne, Grey, Stanley and Peel Streets. Over Stanley Street, a pedestrian walkway connected the gallery to the top of an amphitheatre leading to sculpture gardens along the river.
The development of cultural facilities was reconsidered during 1974, evolving into a much more ambitious project. In early November, Deputy Premier Sir Gordon Chalk (who had a real interest and commitment to developing the arts in Queensland) announced as an election policy, a proposal for a $45 million dollar cultural complex. While the development of the Art Gallery had been progressing, Chalk, with the assistance of Under Treasurer Leo Hielscher, had covertly commissioned Robin Gibson to produce a master plan for an integrated complex of buildings which would form the Queensland Cultural Centre (QCC). The plan included an Art Gallery, Museum, Performing Arts Centre, State Library and an auditorium and restaurant. The devastating floods of January, which had further hastened the decline of South Brisbane, provided a timely opportunity to utilise more space adjacent to the river, through resumptions of flood prone land.
When the proposal was submitted to Cabinet by Chalk in late November, it was initially opposed by Premier Joh Bjelke-Petersen. However, the support of Brisbane's Lord Mayor, Clem Jones, (who gifted council-owned allotments on what became the QPAC site); influential public servants Hielscher, Pavlyshyn; Mercer, and Sir David Muir, Director of the Department of Commercial and Industrial Development, helped the project gain momentum. After winning the December 7 election, the proposal was formally adopted by the Bjelke-Petersen government. Muir was appointed chairman of the planning committee and became the first chairman of the QCC Trust.
Gibson's November 1974 Cultural Centre master plan differed significantly from his winning competition design for the Gallery and gave Gibson the opportunity to further demonstrate his planning principles for inner city development. Stanley Street was to be diverted under the Victoria Bridge through to Peel Street, with the Art Gallery and Museum occupying one large block. The scheme included building forms with oblique angles to the street grid, to address the main approaches. The Performing Arts building, comprising a single, multi-purpose hall, and the Art Gallery, extending from the Museum to the river's edge, were aligned diagonally around a Melbourne Street axis to address the approach from the Victoria Bridge. Pedestrian bridges provided access across the site over Melbourne Street and to the South Brisbane Railway Station over Grey Street.
Gibson's design of the QCC sought to convey a relaxed atmosphere reflective of Queensland's lifestyle. A simple, disciplined palette of materials, and design elements was adopted and rigorously maintained throughout the lengthy construction program to unify the complex: off-white sandblasted concrete; cubic forms with deeply recessed glazing; a constancy of structural elements, fixtures and finishes; repetitive stepped profiles and extensive integrated landscaping.
A fundamental conceptual aspect of the Cultural Centre's design was its relationship to the Brisbane River and the natural environment. Gibson saw the Cultural Centre as an opportunity for ‘amalgamating a major public building with the river on the South Bank'. The external landscaping and built form was carefully articulated to ‘step up' from the river. The comparatively low form of the complex was consciously designed so that the profile of the Taylor Range behind would remain visible when viewed from the city.
Retaining the approved general placement of the individual buildings, subsequent changes to the complex plan included: the orthogonal realignment of each of the buildings; the duplication of the multipurpose hall to create separate purpose-built facilities for musical and theatrical performances; the extension of an existing diversion in Stanley Street upstream to Peel Street and under the Victoria Bridge, which was bridged by a wide plaza as a forecourt to the Gallery.
Robin Gibson & Partners
Robin Gibson (1930-2014) attended Yeronga State School and Brisbane State High before studying architecture at the University of Queensland (UQ). After graduating in 1954, Gibson travelled through Europe and worked in London in the offices of architects, Sir Hugh Casson, Neville Conder, and James Cubitt and Partners. Returning to Brisbane in 1957, he set up an architectural practice commencing with residential projects, soon expanding into larger commercial, public and institutional work. Notable Queensland architects employed by his practice included Geoffrey Pie, Don Winsen, Peter Roy, Allan Kirkwood, Bruce Carlyle and Gabriel Poole.
Gibson's creative, administrative and diplomatic talents were widely recognised. His buildings were consistently simple, refined, and carefully executed, often comprehensively detailed to include fabrics, finishes and furnishings. Characteristically crisp, logical and smoothly functional, his works employed a limited palette of materials and were carefully integrated into their setting.
Robin Gibson & Partners' contribution to Queensland's built environment is significant. Other major architectural projects include: Mayne Hall, University of Queensland (UQ) (1972), Central Library, UQ (1973) Library and Humanities building at Nathan Campus, Griffith University (1975), Post Office Square (1982), Queen Street Mall (1982), Wintergarden building (1984), Colonial Mutual Life (1984) and 111 George Street (1993). Over time, Gibson and his body of work has been highly acclaimed and recognised through numerous awards including: 1968 Royal Australian Institute of Architects (RAIA) Building of the Year award, Kenmore Church; 1982 RAIA Sir Zelman Cowen Award (for public buildings) QAG; 1982 RAIA Canberra Medallion - Belconnen Library, ACT; 1982 Queenslander of the Year; 1983 Order of Australia; 1986 Honorary Doctorate - Griffith University; 1988 Advance Australia Award; 1989 RAIA Gold Medal for outstanding performance and contributions; 2000, and the 2007 25 year RAIA award for Enduring Architecture.
Construction and completion
The design development, documentation and the multifaceted construction program for the entire complex was administered by Roman Pavlyshyn, Director of Building, Department of Public Works. Pavlyshyn had previously overseen the selection of the site and had run the competition for the Queensland Art Gallery. The Cultural Centre was to continue the Department of Public Works' tradition in providing buildings of high quality in design, materials and construction throughout the state.
The funding of the QCC came entirely from the government-owned Golden Casket. The revenue derived from the Golden Casket was effectively ‘freed up' from health funding after Medicare was introduced by the Whitlam government. The then annual income of $4 million was projected to fund the QCC's construction over 10 years. By the early 1980s, inflationary impacts had blown out the cost to $175 million. Under Hielscher's guidance, Treasury looked at other ways to raise revenue. In response, Instant Scratch-Its and mid-week lotto were introduced to Queensland. This successful increase in gambling revenue enabled the QCC to be built at no extra cost to the state's existing budget and without going into debt.
The construction of the Cultural Centre was a complex undertaking and involved a multifaceted program staged over 11 years with a workforce of thousands, from design consultants to onsite labourers. Pavlyshyn guided Stages One, Two and Three to completion and the commencement of Stage Four, before retiring in July 1985. With the number of contractors and suppliers involved, quality control was a critical factor for a successful outcome. For example, the consistent quality of the concrete finish was achieved by securing a guaranteed supply of the principal materials, South Australian white cement, Stradbroke Island sand and Pine River aggregates, for the duration of the project and the strict control of colour and mix for each contract.
The program commenced with the construction of the Art Gallery, the most resolved of the building designs. Stage One also included the underground carpark to the Gallery and Museum and the central services plant facility on the corner of Grey and Peel Streets. Contractors, Graham Evans & Co, commenced construction in March 1977 and the Art Gallery was officially opened by Premier Joh Bjelke-Petersen on 21 June 1982. When awarding the art gallery the Sir Zelman Cowen Award that year, the RAIA jury declared the art gallery would enrich the fabric of Brisbane for many years to come, praising: the sustained architectural expertise and masterly articulation of space; avoidance of rhetorical gestures and fussy details, noting the building would enrich the fabric of the city for many years to come.
A development plan for the largest component of the complex, the Queensland Performing Arts Centre (QPAC), built as Stage Two, was released in 1976. The project architect for the Centre was Allan Kirkwood from Robin Gibson and Partners and contributors to the development and design of the Centre were theatre consultants, Tom Brown and Peter Knowland, the Performing Arts Trust and user committees. Completed in November 1984 by contractors Barclay Bros Pty Ltd, a concert for workers and the first public performance were held in December ahead of the official opening by the Duke and Duchess of Kent on 20 April 1985.
The Centre comprised three venues, each specifically designed for particular performance types. The Lyric Theatre and Concert Hall shared an entrance off Melbourne Street with shared and mimicked foyers, bars, circulation and ancillary facilities. The Studio theatre, now the Cremorne, had a separate entrance and foyer off Stanley Street with its own discreet ancillary facilities.
The Lyric Theatre, (2200 seats) was designed for large-scale dramatic productions including opera, operettas, musicals, ballets and dance performances. It had an orchestra pit, stalls, two balconies and side aisles. The 1800 seat Concert Hall was designed for orchestral concerts, choral performances, chamber music, recitals, popular entertainment and ceremonies. A Klais Grand Organ, featuring 6500 pipes, was built into the stage area. Its ‘shoe box' form, designed to enhance natural acoustics, incorporated an orchestral pit, stalls, single balcony, side galleries and side aisles. The Studio Theatre was built to accommodate up to 300 seats for dramatic performances and could be configured in 6 different ways, from conventional set-ups to theatre-in-the-round. It had stalls and a balcony level with an internal connection to the other two theatres.
Opened in 1986, the Queensland Museum, (Stage Three), was connected to the Art Gallery by a covered walkway and to the Performing Arts Complex by a footbridge over Melbourne Street. The entrance on the Melbourne Street side of the building was accessed from street level and the Melbourne Street footbridge. Built over the Stage One carpark, the six-level Museum building had four floors open to the public, with the two top levels dedicated to offices, laboratories , library and artefact storage. The first floor was designed for a variety of uses, including lecture halls, back of house, preparatory area and workshops. Levels 2 to 4 showcased collections in galleries situated on either side of a central circulation core comprising walkways, stairs, lifts and escalators. The outdoor area contained a geological garden on Grey Street side (in 2014 the Energex Playasaurus Place). Stage Four included the State Library and adjacent restaurant and auditorium building (The Edge) completed in 1988.
Public artworks
As part of the construction of the QCC, several pieces of public art were commissioned from Australian artists. Five outdoor sculptures were purchased and installed in 1985, the largest commission of public sculpture at one time in Australia. Four were directly commissioned: Anthony Pryor's Approaching Equilibrium (Steel, painted. River plaza-upper deck); Leonard and Kathleen Shillam's Pelicans (Bronze. QAG Water Mall); Ante Dabro's Sisters (Bronze. Melbourne Street plaza) and Rob Robertson-Swann's Leviathan Play (Steel, painted. Melbourne Street plaza). Clement Meadmore's Offshoot (Aluminium, painted. Gallery plaza) was an existing work.
Other public artworks commissioned at the time of construction are located at QPAC: Lawrence Daws' large interior mural, Pacific Nexus and Robert Woodward's Cascade Court Fountain.
Use and modifications
Since opening, the institutions of the QCC have played a dominant role in fostering and enabling cultural and artistic activities of Queensland - through performances, exhibitions, collections and events. The purpose built world class facilities of the complex, with their careful consideration of both front and back of house requirements, have enabled Queensland to host national and international performances, events and exhibitions, and expand and display collections, in a way that was not possible previously. In addition to the QCC's artistic endeavours, the role of the Queensland Museum in science disciplines has also been an important activity. The QCC (as part of the larger Cultural Precinct) is a major visitor destination in Brisbane; millions of people from Queensland and elsewhere have visited the site.
The successful development of the Cultural Centre was the catalyst for the broader renewal of South Brisbane along the Brisbane River. In 1983 Queensland won the right to hold the 1988 World Exposition (Expo 88). The site for Expo 88 was directly adjacent to the Cultural Centre and underwent a major transformation to host the event. Robin Gibson designed the Queensland Pavilion. Expo 88 was a highly successful for Brisbane and Queensland. After Expo, the site was again comprehensively redeveloped, opening in 1992 as the South Bank Parklands, now a major public space in Brisbane. More widely, the Cultural Centre's direct relationship with the Brisbane River influenced the way the city has come to engage with its dominant natural feature along its edges.
With the exception of The Edge, each of the buildings within the QCC retains its original use. Subsequent modifications to cater for changing requirements have altered the buildings within the complex to varying degrees. The most significant of these changes were the addition of the Playhouse to QPAC and the multimillion dollar Millennium Arts Project, which provided for a refurbishment of the entire complex.
QPAC was well utilised from the outset and the need for a mid-sized theatre was soon realised. Plans for Stage Five, a 750-850 seat Playhouse theatre, designed by Gibson, were produced with input from the same committees and advisers as Stage Two. Completed in 1998, the Playhouse, attached at the eastern end of QPAC, incorporated stalls, balcony, mid-stalls and balcony boxes for patron seating. It had a separate entrance off Russell Street and was separated from the rest of the complex by the loading dock. The Playhouse was refurbished between 2011-12.
The key features of the Millenium Arts Project (2002-2009) were: the addition of a new Gallery of Modern Art and public plaza; the major redevelopment of the SLQ including the addition of a fifth floor; a new entrance to the QAG, and refurbishment of the QM and QPAC.
At the north-western end of the complex, the Gallery of Modern Art, completed in 2006 was built to house Queensland's growing art collection and is linked to the rest of the complex by a public plaza.
The major refurbishment of the Library in 2006 included the addition of a fifth storey and substantial alterations to both the interior and exterior. A new entrance and new circulation patterns were established and the stepped terraces were removed, replaced by a large extension toward the river.
New entrances to QAG and QM were designed by Gibson and completed in 2009.
The new art gallery entrance provided alternative access from Peel Street and included the partial enclosure of the courtyard, a new staircase, and a lift. At the Museum, in addition to the new entrance provided on the eastern end of the Museum, a café was added to the western end, the internal circulation was rearranged and a new entrance on the Grey Street elevation was created to provide access to the Sciencentre, relocated from George Street to the ground floor of the museum in 2009.
In 2009 QPAC was refurbished to meet safety standards and to improve access. A setdown area was added along Grey Street to replace the drop off tunnel which was closed in 2001. Changes to circulation included the installation of lifts and the replacement and reorientation of staircases. The lobby book shop was replaced with a bar and other bars and lobbies were refurbished, removing the salmon colour scheme in higher traffic areas. Brown carpet was installed and the red marble bar finishes were replaced with black in the Lyric Theatre foyer and white in the Concert Hall foyer. Many seats were also replaced in the Lyric and Concert Hall. The Cremorne Theatre remains largely unchanged.
The Edge, operated and managed by SLQ, was reopened in 2010 as a new facility containing workshops, spaces for creative activities, events and exhibitions. The dropped restaurant floor was filled and new lifts installed. Wide scale changes were made to interior fit-out and finishes. The auditorium floor was replaced, and new openings were created in the rear and side elevations. The external structure was modified at ground level with changes to access and the loading dock which was made obsolete by changes to SLQ car park entry. The major external change was cosmetic and involved the enclosure of the open verandah with pre-fabricated steel window bays to create riverfront study and meeting spaces.
Source: Queensland Heritage Register.
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