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Amsterdam has unveiled Living by numbers.
The AIDSmonument, in the shape of a giant abacus, will count down till the moment that AIDS has left our world for good.
The work of art, designed by Jean-Michel Othoniel, is located on the south-bank of the river IJ, between the Central Station and the concert hall Muziekgebouw aan ’t IJ. The striking feature of the landmark will be the great scarlet beads made of hand-blown Murano glass.
Pictured at Doncaster , DVT 82213 and full rake is hitching a lift south with power car 91127 on the 5G13 1434 Doncaster - Bounds Green.
Coach 63154 is part of EMU set 321902 stabled at Doncaster West Yard.
5 9 15
For ODC-Numbers
Shiny New Numbers.
Thank You for any comments/faves you wish to leave me, I do enjoy them all.
Have A Terrific Tuesday and Stay Safe.
Jo :)
45EPIC Elliot McGucken Fine Art Nature and Landscape Photography!
Join my new 45EPIC fine art landscapes page on facebook!
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
52Project2017 - Macro Edition - Week 10: Numbers
Taken with an SMC PENTAX-D FA 100mm f2.8 macro WR lens on a Pentax K1. Uncropped.
"Business, more than any other occupation, is a continual dealing with the future; it is a continual calculation, an instinctive exercise in foresight."
by Henry R. Luce
-- ... and that's how my daily life ... :-) (better viewed on black)
That's what THEY want us to be, numbers to play around with... Open the newspaper, watch the news, listen to the radio and you will be overwhelmed by indices and statistics: the NASDAQ, the number of casualties in this or that war, car accidents, unemployment rates, cost to benefit ratios. The tiny little detail is that we are also unpredictable humans, and politicians, bankers and businessmen tend to forget that humans become fed up and start revolutions and rebellions. My impression is that a new one is approaching slowly .
The photo was taken at the "La nuit des images" - Grand Palais in Paris.
View my images in DARCKR or Flickriver.
© Daniel Cano Ott. Todos los derechos reservados.
© Daniel Cano Ott. All rights reserved.
St Peter, Ketteringham, Norfolk
In 2006, I wrote: Ketteringham is just south of the main A11 road, but clever planning policies have left it feeling remote; more remote than it felt before the new road was built, probably. The village straggles along a mile or so of street, and the church is about half a mile to the south. My OS map showed a road leading up to it, but when we looked for this road it turned out to be the private drive of Ketteringham Hall, and was very firmly locked off. Instead, we had to go out into the country on the road to East Carleton and then come back northwards towards the church. It sits immediately beside another entrance to the Hall grounds, and you can see at once that it was a park church, the main churchyard entrances pointing towards gates into the grounds, the public lychgate in the corner added almost as an afterthought.
Another sign that this was a park church is that it was patently given a good going over in the late 18th century. The antiquarian-minded squirearchy of the times didn't know much about medieval architecture, but it knew what it liked. Hence, the fortress-like pinnacle to the tower stairway, and the guardian angels at the other three corners. The residents of the Hall at the time were the Atkyns; their successors were the Boileaus, whose famous mausoleum is to the east of the church. It was built under very traumatic circumstances, one of the central incidents in Owen Chadwick's masterly Victorian Miniature, a book I only read after my visit here, but which will send me back there as soon as possible.
There have been four main families that have left their impression here - the Grays, the Heveninghams, the Atkyns and the Boileaus. The atmosphere of the interior, at once rustic and grand, tells you that the Boileaus had more say in the 19th century than the ecclesiologists of Oxford and Cambridge ever did. Sir John Boileau, the hot-tempered, paternalistic Squire, was responsible for the elegant west gallery; he spent thirty years in dispute with the vain, egotistical, Calvinist Rector William Andrew, and his appalling wife Ellen, a tale recounted in Chadwick's book.
The key lets you in through the vestry, and you step into a chancel which is quite overwhelming in the quantity of its memorials. There are over 500 years worth of them from all four families, and the best thing is that they are almost all both interesting and quirky - few of them are merely pompous or run of the mill.
There are, broadly speaking, four groups. On the south side of the chancel is a large table tomb which might once have formed an Easter sepulchre. Set in its recess are two late 15th century brasses to Sir Henry and Lady Gray. An older brass to Jane Gray is set on the wall to the west of it. Moving west, the massive tomb by Robert Page for Edward Atkyns, who died in 1750, looks like nothing so much as a bath tub with lion's feet.
Directly opposite is the family pew of the Atkyns, later that of the Boileaus - memorials of both families tower above it, most prominently the weeping woman and urn on the Richard Westmacott memorial to father and son Edward and Wright Atkyns; the array of weapons stacked beside the urn recall that the son died in battle.
This is echoed in one of the later brass inscriptions set below to Charles Augustus Penryn Boileau, youngest son of Sir John Boileau. Something of a rake, he went to the Crimean War as a way of escaping his debts, and died in Malta on his way home as a result of injuries suffered at the 1855 seige of Sebastapol; a tangle of musket, sword, bugle and so on, is starkly carved from stone beneath.
A memorial of similar size to John, Charles' eldest brother, matches it; more successful in public life than his brother, he was a parliamentary private secretary to Lord John Russell. Russell's retirement coincided with the end of the Crimean War; John rushed out to see it end, but caught a fever in Austro-Hungary. He came home, but was sent to the south of France to recuperate. He got as far as Dieppe, and died there in 1861.
Between the two brasses is a central, larger one to their parents; SIr John Boileau, his movements, talents and emotions known to us today from Chadwick's book, a bull-headed yet sympathetic character who might have stepped out of the pages of Trollope, and his wife Catherine.
Catherine should have been remembered by a memorial window depicting the Saint that gave her name; but there was such an uproar in the parish, fanned by the Rector, about having an image of a Saint in the church that Sir John relented. The Rector, who was not unkind, reported to Sir John that his greatest fear was that the simple people of the parish might think it was the Virgin Mary.
Perhaps the most curious memorial is the most westerly one of this group. It is a 1910 memorial to Charlotte Atkyns, who died in Paris in 1836, and is buried in an unmarked grave; born a Walpole, she found herself caught up in the events of the French Revolution, and the inscription further recalls that she was the friend of Marie Antoinette, and made several brave attempts to rescue her from prison; and after that Queen's death strove to rescue the Dauphin of France. She bankrupted the family fortunes in her quest, mortgaging the Ketteringham estate and claiming to have spent an extraordinary eighty thousand pounds, about fifteen million in today's money.
Owen Chadwick recalls that, on her death, she requested that her body be returned to Ketteringham and a marble slab be placed on the chancel walls. Her relatives of the time, left destitute by her enthusiasms, not unreasonably failed to carry out either request. You might think that Charlotte's Francophile adventures and the French name of the Boileaus might indicate a family connection; in fact, the Boileaus were an old Huguenot family who came to Norfolk by way of Dublin, and already owned Tacolneston Hall. They bought the bankrupt Ketteringham estate after Charlotte's death.
Perhaps the best of all the memorials is in the north-east corner of the chancel, to Sir William Heveningham and his wife Mary. It is curious, the way the figures and prayerdesk at the bottom, and the ascending angel above, appear to obscure the inscription; but there may be a reason for this. Sir William was one of those who sat in judgement on Charles I, and although he did not actually sign the death warrant, he was deprived of his inheritance, and for many years his name was under a cloud.
St Peter is obviously worth the visit for the memorials alone, but there is rather more to it than that. The church has one of the best collections of medieval and Flemish glass in central Norfolk. One of the most interesting aspects of the collection, given that the Hall was in the hands of four powerful families over the centuries, is that it includes a 15th century Grey arms, and so we may perhaps assume that the families that collected the later continental glass were adding it to English medieval glass that was already in situ.
The most important glass is an English medieval Coronation of the Queen of Heaven, an extraordinarily rare pair of panels. Also English are numerous angels, a Saint Cecilia playing her psaltery, and a Bishop. Continental roundels include St Barbara, and there is also a fascinating St Christopher with a hermit looking on, which I take to be 15th century continental.
One of the striking things about the east window is that this is a collection set for display. I assume that this was the work of the late 18th century Atkyns family. Mary Parker tells me that the entire window was reset in 1908 by the King workshop of Norwich, and that some of it is now in reverse order to that given in an account of 1851. Some of the panels are in poor condition, and I fear that this may be because they were originally set back-to-front, that is to say with the painting outside, exposed to the elements. The King restoration corrected this, but not before the damage had been done.
If St Peter had none of the glass, and none of the memorials either, there would still be much to recommend it. The font is fascinating; four of the panels feature evangelistic symbols, and two others flowers; but the final two panels are very unusual. They are the only two that appear to have suffered iconoclasm; one is clearly a crucifixion scene, something like that which you find often on fonts in the seven sacraments series. The eighth panel is harder to decode. It shows a seated figure holding a staff - could it be Christ in judgement? Or the Mother of God enthroned? It is hard to say. The renewed roof, with its restored angels, is set on outstanding corbels, and there is a good view of them from up in the gallery. This is a small, narrow church, and the intimacy of the views from aloft is much to be recommended. In such a small building it even gives a good vantage point for photographing the east window if you have a decent zoom.
Sir John Boileau built the gallery as a way of providing accommodation for the Sunday School, an interference that the Rector deeply resented. There was no way that Sir John's liberal paternalism and the Rector's fundamentalist intransigence were ever likely to accommodate each other. The firm security of tenure enjoyed by both, and the further sources of friction that arose between them, not least the interference of the Rector's wife, made the situation explosive.
All around are hatchments of Atkyns and Boileaus. There is no doubt that they had their say, but strangely enough there is no sense of triumphalism; rather, they mark a church which is a real backwater, both geographically and in terms of English church furnishing and decoration. But if this was a backwater, it was a moneyed one; there is a real quality to the way everything was carried out here, and this remains today. As a good example, take the late 16th century painting on boards of the Wedding at Canaa in use as a reredos. My goodness, what a thing to find in an English country church! At the time it was painted, we were all enthusiastic protestants, stripping our churches and our lives of things of beauty. But here it is, an extraordinary Flemish survival, probably collected in the early 19th century.
As I said at the start, Norfolk is still full of surprises. This is not a church you find by accident, and so it fully repays the effort of getting here and getting in. What must it have been like to attend divine service here in the 19th century? I assume that the entire parish, pretty much, worked for the Hall. Whose side were they on in the long-running dispute between Squire and Rector? The Rector had the advantage of a three-decker pulpit. The reading light now faces north-west, but at one time he would have faced north-east, to address the Hall pew. This must have given him something of an advantage on a Sunday.
But today it is the Hall families we remember; the Grays, the Heveninghams, the Atkyns and especially the Boileaus. So, spare a glance and a thought before leaving for the cold stone memorial on the south nave wall for William Wayte Andrew, Rector through the middle years of the 19th century. In his evangelical Calvinist zeal he faced up to the Boileaus, but it must be with pursed lips that he is a silent witness to them now.
Simon Knott, 2006, updated 2016
Originally posted on Ipernity: Multiplication Table of Simple Numbers from 1 to 12, 1891.
"Multiplication Table from 1 to 12 of Simple Numbers. H. C. Barnhart, bookseller & stationer, 27 West Market St., York, Pa. Multiplication Table from 1 to 12. Designed and copy-righted 1891 by Richard Raby."
Handwritten note on the back: "Got from teacher H. D. Rebert. Jennie May Case."
A Victorian-era vovelle or wheel chart that rotates to provide students and others with a line-by-line version of a multiplication table for numbers from 1 to 12 (with calculations from 1 x 1 = 1 up to 12 x 12 = 144).
Henry C. Barnhart advertised his bookstore in York, Pa., by stamping his name and address on this wheel chart.
ODC2 - Our Daily Challenge - Numbers.
Theme of the Week - Resolution
Assignment52 - 022013 - Resolution
I have lots of crossword puzzles saved to be resolved when I have a spare moment or two!! :-) Maybe I should have a resolution to resolve them soon!
Thanks so much for stopping by! If you want to resolve the clues you can read, please have fun and do so! :-)
After Saturday's NYC Flickr Meet at the High Line, many of us headed down to The Standard, an outdoor (glassed in for the winter) beer garden. I know I'm not the only one who found more photographic inspiration here than in the harsh midday light outside.
These were hanging on the ceiling in one of the rooms. I think they are all beer steins. I don't know if they use them at all.
Just the numbers of random credit scores. Color style of 3 credit bureaus.
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Some options for doing custom house numbers. For my show display.
Different fonts and set ups. Ring saw and mosaic.
These are done on tile.
Glass tile, stained glass, and ball chain.
Normally I would play football on a Wednesday night, but this evening it was cancelled due to insufficient numbers. It was a pleasant afternoon, close to the summer solstice so I thought I would make the short trip to the Hope Valley Line to capture a gaggle of freight as follows listed by times at Bamford:-
20:17 - 1842 West Burton to Earles 66516
20:30 - 1917 Peak Forest to Attercliffe (non runner)
20:42 - 1959 Tunstead to West Thurrock 66617
2107 - 1952 Peak Forest to Leeds Stourton 66127
21:09 - 1406 Dagenham to Earles 666xx
21:31 - 1658 Elf MLF Papworth to Peak Forest CEMEX - 66143
plus
2108 Earles to Tunstead 66607
This collection shows
66607 smoking away from Earles
66127 approaching Earles from the west
66617 running through Hope/
I missed both 66143 on the Ely Papworth as despite being 1 late at Totley having chosen to move position to the east side of Earles sidings it picked up 13 minutes to pass Earles whilst I was in transit between the two locations.
I also missed, but heard the 20 running up and down the branch to Hope Cement works with the wagons from the West Burton and
The mountain rescue helicopter with matching landrovers coming off the hills above Earles to take their patient to hospital. The helicopter landed somewhere in Hope presumably to transfer the patient to ambulance.
By 2130 with the sunny afternoon having turned into a wet evening the light was challenging with slow shutter speeds, low f numbers and high ISOs.
DETAILS FOR THIS VEHICLE.
Location : Tonbridge West Yard.
Date : 29/06/1993.
Type : 31 ton capacity Open Spoil Wagon.
Weight : 41 t GLW / 13 t Tare.
Number : DC 210254.
Number Series : Random numbers in the 210100 to 210399 range.
Builder : 1977-78 by BREL Shildon Works.
TOPS Code : ZCA.
CCE Code : SEA URCHIN.
Lot No. 3908.
Diagram No. : -
ADDITIONAL NOTES.
With British Rail having gone for air brakes as default standard for wagons in 1983 the bulk of the Civil Engineers fleet remained largely vacuum braked or unfitted vehicles well into the 1980's but as more and more ex revenue air braked vehicles became available so more of the older dedicated engineers types disappeared. The problem came when certain types of vehicles were required which hadn't been cascaded from the revenue fleet like suitable wagons to carry ballast spoil which could be loaded and unloaded by mechanical excavators. The older short wheel based 'Grampus', 'Lamprey's and 'Tunney's were very susceptible to floor damage when unloaded by digger so BR set out in the late 1980's and early 90's on a conversion programme for redundant Air braked vans using the underframes as chassis for new spoil wagons. An initial conversion programme saw former VJX Ferry vans converted to 'Sea Hares' but the most successful conversion was the redundant air braked goods vans from VAA, VBA, VCA and VDA to ZCA 'Sea Urchins'. Further ZCA vehicles were built using chassis from ex OBA Open goods vehicles too in the 110xxx range.
The vehicle seen here is loaded with chalk removed from one of the many cuttings through the North Downs during weekend engineering work and will be destined for landfill at East Peckham Tip on the Medway Valley line.
[Taken on a Practika MTL5B using Jessop CT100 film and scanned from a print]