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A mind map of my webinar on Architecture of participation at #CoLearn12 (right) + some notes (left).
A wad of 50 euro notes
Like much of our work, we have put all these images in the public domain. Feel free to use them but please credit out site as the source if you do: TaxRebate.org.uk
A close up of a few 5 euro notes
Like much of our work, we have put all these images in the public domain. Feel free to use them but please credit out site as the source if you do: TaxRebate.org.uk
We grow stronger with the more punches thrown at us, but nothing hurts as much as the first hit. Once you gain the stregnth to resist, the first hit finally seems like nothing and the next few just keep on coming but only tickle
An old 5 rupee note from the Central Bank of Ceylon (Sri-Lanka)
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Its the twilight I suppose,
I see that painting there,
A tune floats across - Piano Man he played,
Tip my hat, say hello and on my way I go.
Chanced upon him after stepping out from work, disappointed that I didn't get my perfect shot of a London Eye capsule against the setting sun. Later in the evening I chanced upon this software which allows one to add a retro feel to a shot. And this is the output which I wanted. Just the way I had visualised it.
The original is in the comments section. Which one you think is better?
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www.originalphone.net/hot-brand/xiaomi-smartphone/hongmi-...
www.bangkokpost.com/130507_Perspective/13May2007_pers03.php
Linking past and present
Tran Thi Doanh is a painter whose carefully crafted works of art, especially in lacquer, capture Vietnamese society in timeless brilliance
by SONGPOL KAOPATUMTIP ( BangKokPost ) May 2007
One of Mrs Doanh lacquer paintings.
For visitors who want to discover the essence of Vietnam, the paintings of Tran Thi Doanh will leave a strong impression.
I stumbled upon an exhibition of her works during an afternoon walk in Hanoi in late April. Her beautiful paintings, carefully crafted pictures of rural village life, street vendors, and hilltribe people in turbans and embroidered robes can be likened to a mini-documentary of Vietnam, past and present.
The viewer is easily drawn to her oil and water colour paintings because of the simplification of the colour. Form is expressed tonally, with dapples of colour delineating areas of light and shade. Those exhausted by the heady tropical heat in Hanoi will find great relief in Mrs Doanh's works, which convey a sense of peace, love and beauty.
"My life-long goal is to create beautiful pictures," she said.
Some of her works reflect the intimate role of the family institution in Vietnam: people are held together in the face of change. Her paintings are also the story of human destiny; through her works viewers can see different pieces of life with which they can identify - the village gate, the trees, or the ricefields.
Born in Kim Hoang Village in Ha Tay province, Mrs Doanh acquired the quintessence of art through her father, who was himself a painter.
"As art is our family's tradition, I grew up with it. My father was my first teacher," she said.
Mrs Doanh
While in secondary school, she "fell in love" with Picasso. Later, she became interested in Gauguin, Van Gogh and Modigliani. Her Vietnamese idols in art are Nguyen Gia Tri and Nguyen Sang (who are very famous for their lacquer paintings), and To Ngoc Van, Bui Xuan Phai and Luong Xuan Nhi, all of whom are masters of oil painting.
At Hanoi Fine Arts University, her major was in oil painting, and she taught herself to paint with water colours, on silk and paper as well as canvas. Lacquer, however, is her favourite medium - and perhaps the greatest challenge - because in lacquer techniques, the full elements and details of the work will not appear until the last phase, sometimes with "a lot of surprises", as she said.
With her father and elder brother - who is also an artist - she learned the laborious art of lacquer painting, which some researchers say dates as far back as the third and fourth centuries. This particular form of art is believed to have begun in China, where people collected the lacquer substance from a tree which produces a sap suitable for painting.
It is a very meticulous work to produce a lacquer painting, and the process can take several months to complete. The painting is done on a piece of wood, or template. It is covered with a piece of cloth glued to it using the sap of the lacquer tree and then coated with a layer of the sap mixed with earth. The board is then sand-papered and recoated with a layer of hot sap.
After polishing, this gives a smooth and shining black surface.
The painter uses hot lacquer to draw the outline of a picture and the colours are applied one by one, layer upon layer. Each coat dries slowly.
The final process consists of polishing and washing the picture. This may seem like brutal treatment for a work of art, but it is done with great care, said Mrs Doanh.
This process leaves a brilliant surface on the painting.
Lacquer paintings are also very durable. An oil painting may show cracks in the paint after a period of time, but the lacquer painting will last unchanged for several hundred years.
Art Mecca Mrs Doanh is one of around 6,000 artists who live in Hanoi, considered by many to be the Art Mecca of Asia.
"Painters in Vietnam are well recognised. Certainly not all of them, but we have many famous painters whose works are kept in museums and private collections all over the world," she said.
Some of the best known are Girl with White Lily, an oil painting of To Ngoc Van; Thuy of Tran Van Can; and Bui Xuan Phai's set of paintings depicting Hanoi streets.
The Vietnam Arts Museum displays many fine pieces, some famous, some not. All painters can make a living through their works in the country, said Mrs Doanh, but the most famous artist may not be the richest. "We have many painters who are very rich because their paintings are bought by foreigners. If you ask 10 Vietnamese about Thanh Chuong, I'm sure there will be at least six of them who know him and will tell you how rich he is. Still, he doesn't have many awards, but the foreigners love his paintings."
Vietnamese paintings are displayed at national and international events, including the APEC meeting in Hanoi last November. Vietnamese painters have a good relationship with foreign counterparts who they meet through cultural exchange events.
Mrs Doanh is now in France to display her works at the invitation of Ateliers D'Artistes de Belleville (Friendly Exchange Culture and Arts Association of Belleville) in Paris. It is her second trip outside Vietnam, the first one being to China, where she stayed for a month.
Mrs Doanh said she has heard a lot of good things about Thailand and would like to come here to display her works as well. "Through paintings, people from different countries can understand each other's culture and way of life," she said.
"Painters are the ones who create beauty. They are the link between the past and present ... and they help people to protect their national heritage."
(Editor's Note: Mrs Doanh's paintings can be viewed at Quan Thanh Temple on Thanh Nien Street and at the White Lotus Gallery, No 71B1, Hang Trong Street, Hanoi.)
Bio DATA
Tran Thi Doanh was born on Jan 21, 1959 in Hanoi.
After completing high school, she entered Hanoi Fine Arts University, from which she graduated in 1984. She has since took up painting as a profession.
She has been a member of Vietnam Fine Arts Association since 1987.
Her lacquer painting entitled Lang Son-Bac Son Sightseeing won second prize in a competition held by the Vietnam Fine Arts Association in 1995.
She won four more awards in 1996: three from the Sweden-Vietnam Fund for Cultural Development, the Vietnam Fine Arts Association and The Club of Young Artists for Mountainous Market ( lacquer ), and one from The Club of Female Artists for Cat Ba Fishing Village ( lacquer ).
In 2004, she received a medal for Fine Arts Career from the Vietnam Fine Arts Association.
Mrs Doanh now teaches at Hanoi Arts College and privately at her studio. She lives with her 20-year-old daughter Ngo Chi Le, who is a second-year student at the Foreign Trade University in Hanoi.
Notes: Enlarged portion of a larger print, taken in the Grose Valley on the second artists' camp (Oct. 1875) under the patronage of Frederick Eccleston Du Faur, see comment box below. The man in the photo, and his distinctive hat, appear in a photo of Du Faur's 'camp keepers', and is named as Lewis Thompson. He also acted as photographic assistant to Bischoff and is shown in an 1875 photograph taken in the Grose, see p.27 in Blue Mountains Pictorial Memories by John Low (1991).
Described as a 'modest unsophisticated bushman', he was the sole survivor of the ill-fated 1874 Andrew Hume expedition in search of Adolph Classen, the sole survivor of Ludwig Leichhardt's 1848 inland expedition, and 'whose loyalty to his leader no one can doubt after hearing his simple tale', see link and full article below.
Format: Albumen silver photo print by Joseph Bischoff (c.1832-1903).
Date Range: about 1875
Licensing: Attribution, share alike, creative commons.
Repository: Blue Mountains Library library.bmcc.nsw.gov.au
Part of: Local Studies Collection, the Bibliophile Album
Provenance: From a photo album produced in the mid 1880s
Links:
albumen.conservation-us.org/library/c20/reilly1980.html
XPEDITION IN SEARCH OF CLASSEN. (1875, February 13). Wagga Wagga Advertiser and Riverine Reporter (NSW : 1868 - 1875), p. 4. Retrieved October 23, 2023, from nla.gov.au/nla.news-article104117718
Notes from Michael Ferner:
It should be noted, however, that the "Jay-Eye-See Special" had nothing to do with the J. I. Case Threshing Machine Co. It was a Fiat, rebuilt by Louis Disbrow who subsequently joined the Case team and renamed the car to please his new employer.
Nice picture of the "White Streak", by the way. This is one of the 1911 cars, rebodied and rechassied. I can't be 100 % sure, but I believe it's the one raced by Jagersberger at Indy.
Ah, that's why I didn't recognize the driver! I haven't seen that many pics of Jagersberger that I remembered, and since it's the rebuilt version of the car I only checked with 1912 pictures.
"Won many dirt track races" is perhaps a bit of embellishment, but Jagersberger did win one big meeting at the Hawthorne track in Cicero/Chicago back in June, with the car still in its Indy specification, against a field containing Hughie Hughes in the Mercer, Bob Burman (Benz) , Ralph de Palma (Simplex) and Eddie Hearne (Fiat). The cars were rebuilt during the summer months, and Jagersberger crashed at a dirt track meeting in Columbis/SC early in November, putting an end to his promising career. He was then driving a sister car, called the "Eagle" which was later renamed as the "Bullet" and run until the late teens with many famous drivers at the wheel, including Hearne, Bill Endicott and Fred Horey. I believe that the "Bullet" was originally Will Jones's Indy ride.
Excerpt from something I wrote on the Case, "Jay-Eye-See" etc. on another forum:
The J. I. Case Threshing Machine Company (one of the best ever names for a racing team ) of Racine in Wisconsin made automobile racing history by filing the first ever entry for an Indianapolis 500 Mile race on October 27 in 1910. Though the brand name still exists, it is no longer connected to the car manufacturing business (which went under in 1927), and the total output of racing cars never even reached double digits, but its importance in racing is still enormous since it formed the nucleus of the very first, and possibly biggest ever team of "historic" racing cars in the world - the team of John Alexander "Alex" Sloan, and his travelling circus show under the banner of the International Motor Contest Association, or IMCA for short.
In October of 1910, when that first Indianapolis entry had been filed, Case had only just begun manufacturing cars, and the racing car that was going to be raced at the Brickyard was no more than an idea in the mind of Lewis Strang, a young racing driver from New York. Although young in years, Strang had already acquired extensive experience in racing, having driven Isotta-Fraschini, Thomas, Renault, Buick, Fiat, Allen-Kingston, SPO and Jackson cars in competition during the last three years, mostly very successful, too.
It was hoped to test the Case as early as February 27, during the Mardi Gras Carnival races at New Orleans (LA), but the car could not be finished in time. Luckily, though, Strang got another chance on the last of March, putting the new Case through 300 miles of a beach race at Jacksonville (FL) - actually, he completed only 270 miles, finishing 6 laps down and in last place, but at least the reliability was there. With its small 4649 cc engine, the Case was not going to win anyway, but to go through such an arduous grind without much trouble was exactly the publicity that the Racine company was looking for. The winning Pope (6389 cc) and National (7320 cc) cars were running in a different league, but the third placed Mercer (4927 cc) finished only 12½ minutes ahead, so the speed of the little Case was competitive, too.
On Memorial Day, the three Case cars lined up in the hopeful expectation of giving a good account of themselves: On Memorial Day, the three Case cars lined up in the hopeful expectation of giving a good account of themselves:
1911 Case #1, Lewis Strang, relief driver Elmer Ray
1911 Case #8, Joe Jagersberger, relief driver Louis Larsonneur
1911 Case #9, Will Jones, relief driver Russell Smith
All three cars now sported the flashy look of the #9 car, but none of them managed to stay in the race for more than 300 miles - the steering gear proved to be the weak point on the rough bricks of the Indianapolis Motor Speedway. Undeterred, the team commenced an exhaustive schedule of racing over the following weeks: the Algonquin Hill Climb on June 8, the Hawthorne Track race on the 11th, Kenosha Driving Park on June 18, and Wisconsin State Fair Park on the 21st. With fair success, as Jagersberger even won the main event at Hawthorne, but Strang was injured the following week in Kenosha (WI), just a few miles south of home base, breaking an arm and an ankle. Worse was to come, as within a month he was dead, crashing fatally during a reliability tour through Wisconsin - at zero mph!!! Strang had stopped his Case touring car at a newly built bridge, in order to let a horse-drawn carriage through, only to find the fresh road shoulder giving way, and tumbling down the steep embankment - he was pinned under the car, and killed instantly.
Bereft of its leading light, the team soldiered on, now headed by Jagersberger, an Austrian-born racing veteran, and a promising young Californian named Jay McNay, but incredibly, within little more than a fortnight two more careers ended in Case racing cars during November, with Jagersberger suffering very serious injuries at the South Carolina State Fair races in Columbia, and McNay perishing in a practice shunt at the Vanderbilt Cup and Grand Prize meeting in Savannah (GA)! That was the nadir of a debutant year that could perhaps be best described as "character building", but thankfully, fortunes improved from here on. Two factors or, to be more precise, two persons were chiefly responsible for that reversal of fortunes, and one of them had already joined the team previous to that disastrous month of November: Alex Sloan. A former member of the management team of the already legendary Barney Oldfield, Sloan was a master manipulator, educated and entrepreneurial, with a vast experience of sports in general, and racing in particular. It was probably he who contacted Louis Disbrow, the second piece of the jigsaw puzzle, and one of the leading drivers in the country, who had only just announced that he was leaving the Pope-Hartford factory team to branch out on his own, with a "new" car he had just purchased, of which more anon.
Disbrow was present at Savannah to race the potent Pope "Hummer", merely fulfilling his last contractual obligations for the team that was about to close its storied racing department, and consented to drive Jagersberger's Case in one of the supporting races. It was an inauspicious debut for the driver, but Disbrow still joined the Case team over the winter, apparently liking the itinerary set out by Sloan: dirt track racing, dirt track racing, and more dirt track racing - every day of the week, if at all possible! That was right up Disbrow's alley, who really didn't care that much about road racing, having been reared on America's dusty fairground ovals - he and Alex Sloan would be partners for the rest of his career, well into the twenties! The setup is now complete for our journey, the "magical mystery tour" with Alex Sloan and his travelling circus show: within a few short years, the "old" Case racing team will be totally revamped, expanded and disguised, and it's so easy to lose orientation. So let's start right here with our inventory:
Three Case cars had been built for the Indy 500, all three basically identical, with 4-cylinder T-head engines built by the Wisconsin Engine Co., 4 1/4 * 5 inches (283.7 CID/4649 cc). It does not really look plausible to assume that there were more cars, but we should investigate: what about Strang's car at Jacksonville (March 31)? Occam's razor leads us to suggest that it was the same car he raced at Indy, and indeed, looking at the pictures of the two unpainted cars, Strang's looks slightly "used", while Jagersberger's has a fresh finish. Did the team ever enter more than three cars? Not to the best of my knowledge. And the accidents? No "terminal" damage? The most difficult question, as only very few pictures exist to help us out. But we mustn't forget that in those times, almost anything was repaired, over and over again - even the engines were likely special developments, and any damage, even major engine failures would be put back into action after suitable time in the workshop, as there would be no complete spare units, only parts. Yet we should be prepared for "transformations", i.e. cars being rebuilt with more or less major changes in appearance, and maybe even specification - this should become more clear in the process of our survey.
A little help may be provided by the nicknames the cars acquired during the year, presumably under the influence of Sloan's management. The first occurence of these nicknames that I can detect is from the September 13, 1911 meeting at Comstock Park in Grand Rapids (MI). McNay was there with his Cutting, presumably as part of the Ernie Moross équipe with Bob Burman, Lee Oldfield (not Barney!) and Juddy Kilpatrick, complete with a team of cars including the Blitzen-Benz. Ray Harroun was also there, giving various "exhibitions" with the Marmon "Wasp", including a wheel-change race - if ever somebody tries to tell you, that both car and driver retired upon winning the inaugural Indy 500, don't listen! Sloan arrived with only two cars, both carrying names much in the same fashion as the "Wasp" or the "Blitzen": Jagersberger was to drive the "White Streak", while the former Marmon chauffeur Lou Heinemann was down to drive the "Little Case Giant", or "Little Giant" for short. Interestingly, a few weeks later at Springfield (IL), the "Little Giant" was entered by one A. McFadden, as opposed to the Case factory (or Alex Sloan) for the other cars, as usual - anomalies like that will happen from time to time, and though I can't be sure if it has any meaning, it's perhaps best to take note just in case. This Mr. McFadden also appears to have gotten some seat time in the car during the afternoon, and this will also become a recurring theme: the swapping around amongst the drivers. Other than that, one Austin A. McFadden appears as the promoter of two race meetings at Grand Rapids and Kalamazoo (MI) the next July, both (naturally) attended by Sloan and his team. Racing is a small world indeed, even in America...
More on the "Jay-Eye-See":
Before the Case team started its 1912 campaign in California, Sloan saw to it that the press knew what to expect: for one thing, joining the team now as a full-time member was Louis Disbrow, as has been mentioned. The other big news item was the cars he was bringing to the team: early in November of 1911, it had been reported that Disbrow had bought the "200 hp Fiat" of E. W. C. Arnold, allegedly the car Felice Nazzaro had raced at Brooklands in 1908, (in)famous for its alleged lap record of over 121 mph - actually, it appears to have been an identical "twin" of that particular car, an 18,146 cc (190 * 160) OHV monster with an actual output of 175 hp, according to the most reliable sources. It had been driven for Arnold by Lewis Strang and Ralph de Palma in exhibitions at the Atlanta Motordrome, Indianapolis Motor Speedway and the Los Angeles Motordrome at Playa del Rey. Its only race appearance, as far as I can determine, happened in a 50-miler at Indianapolis on Labor Day of 1910, where de Palma finished 4th behind Eddie Hearne (Benz), Ray Harroun (Marmon) and Al Livingston (National) - not quite the performance of a champion!
Shortly after the purchase of the big Fiat, Disbrow announced plans to convert the car over the winter into the fastest dirt track racer in the world, but consented to a public tryout during a motorcycle meet at the Guttenberg track in New Jersey, during which the Fiat caught fire and inflicted painful burns on the driver. Both he and the car were restored to health by March 31 for their first competitive event at the Lakeside Inn Speedway near San Diego (CA), where the big Fiat sported the now well known upside-down boat body as well as the name "Jay-Eye-See Special", and was reportedly powered by a 290 hp engine of 1,760 CID - first indications of the Sloan flair for embellishment that would become a virtual trademark for IMCA later on! Somehow, Sloan seems to have become "confused", and quoted the specifications of the new Fiat S76 record car instead (apart from adding another 30 CID for good measure) - oh, well... The quoted weight of 3,150 lbs (1,429 kg) was likely more accurate, and indicative of some actual gains in that department - not really surprising, either, as the car had been devoid of any ornamental features such as bodywork, originally!