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The conoid shell of stipe dwellers is lower than on frond dwellers because the skirt of adult growth flares out laterally (1). At GS5 the adult skirt, extending all around the shell, forms the majority of the shell. The posterior is two smooth convex curves with a very distinct break of slope between them (2) where the skirt starts to grow outwards more than downwards. The anterior is convex on juvenile growth and straight on the adult skirt, with a break of slope where the two parts meet (3) . The aperture outline is usually a broad oval, approaching a circle on this specimen. The aperture rim is strongly curved up from the horizontal at the ends to fit the bowl shaped pit (4) .
Growth lines on the adult skirt are continuous around the whole shell (5). The thickness of this one, now opaque, has been increased by mantle secretions over the whole of the interior which is dark brown with some iridescence peripherally (6) plus a whitish layer (7) within the horseshoe-shaped scar of the pedal-retractor muscle. The exterior surface is smooth with no epizoic growth, but some have small amounts, including algae (see image 27Pp flic.kr/p/YRpsdK ). Blue lines on the juvenile growth continue on the adult growth, alternating with red-brown rays (8) and turn red-brown on the latest growth near the rim. On this specimen there are a a distinct pedal-retractor-muscle scar (9), and a clearly marked, thin, white mantle-attachment scar (10).
Concise Key id. features: 1Pp flic.kr/p/Z4FxDe
Part 1, SHELL FORMS: 2Pp flic.kr/p/Z4FxAi
Part 2, BODY & ANATOMY: 3Pp flic.kr/p/Z4FxtK
Part, 3 HABITS & ECOLOGY: 4Pp flic.kr/p/Z4Fx9M
Sets of OTHER SPECIES: www.flickr.com/photos/56388191@N08/collections/
An exploration in oneness. Using the mandlebrot set - created by an equations and comprising of ajoined circles that spiral outwards and inwards endlessly - as the universal cell, I believe called the Eucaryiotic cell which exists in all life, and also using the spiral itself, to represent the universal expansion and evolution of all life. The fact that these cells and patterns are found in so many forms within nature symbolises our universal oneness, our common inheritance. Gaia, depcited here as human and conscious, is in the very first cell at the centre of it all... everything requred for human consciousness was present in the first living cell on earth, even in the big bang itself. The Triskelle, or threeway spiral, represents the unity of the three elements. To me, this oneness with nature is the most important thing that humans have to learn. A Murmuration, or flock, of starlings is the best example of group consciousness I can think of. Here, the flock extends to include us all.
Marker pen on paper, A3.
Nice view of the huge doors that opened outwards on rails. The building by this time is in a poor state of repair.
In the top left of the image is a negative ion generator. It creates negatively ionised molecules of air, and by electrostatic repulsion and diffusion they spread outwards from the charged needle point of the generator. Any small suspended particles in the air are attracted to them and become charged, thus attracting more particles. This goes on until the particles become heavy enough to drop out of the air. In the vicinity of the generator they also get attracted to surfaces depending on surface texture, material, electrostatic properties and so on.
The little generator in the top left has been running continuously for six years. During that time fans of healthy romantic candle light have often lit candles in the evening. Candle light is produced by heating to incandescence the candle soot. How much soot is produced can be easily seen by smoking a plate or glass pane in the yellow part of the flame. It's so fine you can't see the soot unless the candle flame is having a hard time burning properly and producing extra soot of larger particle size. It's of the notoriously lung damaging PM10 size, the size which penetrates the lungs deeply right down the alveoles.
After six years of romantic candle light the once white and now soot blackened walls around the negative ion generator provide a graphic illustration of what candle burners breathe. By the way, if anyone tries to sell you a soot free candle, they're either lying or sincerely silly. If the flame is yellow it's producing soot. Only a candle with a purely blue flame would produce no soot. It would also produce very little light. The incandescent soot is what produces candle light.
Luckily it's much easier to give up smoking candles than it is to give up smoking cigarettes.
Original DSC03689RWX
The Philippine warty pig, Sus philippensis, is one of four known species in the pig genus (Sus) endemic to the Philippines. Philippine warty pigs have two pairs of warts, with a tuft of hair extending outwards from the warts closest to the jaw. Dumaguete, Philippines
This flower was photographed at Englishman River Estuary Park in mid April, near Parksville, BC.
The flowers are pink, red, or white and heart-shaped and bloom in clusters of 5 to 15 at the top of leafless, fleshy stems above the leaves from mid-spring to autumn, with peak flowering in spring. The four petals are attached at the base. The two outer petals form a pouch at the base and curve outwards at the tips. The two inner petals are perpendicular to the outer petals and connected at the tip.
The Pacific bleeding-heart is native to moist woodland, forest, and streambanks from California to British Columbia, from sea level to the subalpine zone. There are two subspecies, Dicentra formosa subsp. formosa and Dicentra formosa subsp. oregona. Subsp. formosa grows in the majority of the plant's range, from Vancouver Island and southern British Columbia and south through Washington and Oregon to central California.
They are gazing outwards at the tracks, looking for the train that will take them back to their homes. Both men have obviously not been living well in the month following the end of the war. The man on the left sports a patch on his left knee, with the hems of his pants fraying, due to his lack of gamaschen (gaiters) that the man on the right sports. The soles of his schnurschuhe (low boots) are falling off, and his only visible possessions are the clothes he has on, his jacket he is sitting on and the stick in his hand. The man to his left, but to the right of the photo is marginally better off, but still not doing well. His boots don't have a single hobnail remaining, and he sports patches on both legs and the seat of his pants. The brim of his cap has been ripped, exposing the cardboard stiffener inside. His only visible possessions are the clothes he has on, the jacket he is sitting on, a spoon in his pocket, a pocket knife on a string, a bucket with no bottom and a walking stick. Also notice the lack of any insignia or Nazi symbols on their caps, no doubt removed not long after the end of the war. This photo was taken by Fritz Eschen, a prominent photographer in the 1920s who was suppressed by the Nazis during the war, due to his Jewish heritage, the only thing saving him from deportation being his non-Jewish wife Gertrude. Immediately after the war however, he started back up again, as can be seen here, working until his death in 1964.
The font in St Paul's Bow Common, reflecting the roof.
Taken during Open House London 2017
St Paul's Bow Common
Robert McGuire & Keith Murray
Very nearly 150 years ago, this area of East London was beginning to emerge as a populated area after centuries of being no more than common grazing land (hence our name of Bow Common!). The coming of the railway lines, together with two canals nearby, guaranteed the growth of a working population clustered near to vital transport links. London was on the move, expanding ever outwards.
To serve this growing population a grand and lofty Victorian Gothic church was built in 1858, with a great spire and a huge stained glass window at the west end. This first St. Paul’s, Bow Common became a real focus for the neighbouring community for most of the next century. Then disaster struck during the Blitz of World War II and in 1941 incendiaries gutted the church, reducing it to a shell.
The War ended but growth & recovery were slow after so much widespread destruction. It was a full decade before thoughts could turn to re-building the church and thanks to War Reparation funds, a new church could be built, but it had to seat a minimum of 500 people.
The Vicar who came in 1951, the late Revd. Gresham Kirkby, was a young radical who drew like-minded people about himself. Already, in the 1950s there was a serious re-evaluation in progress far and wide, among churches and architects alike, as to what exactly the purpose and function of a church is, and how its configuration should express its deepest purposes. Interest was stirred again in the earliest forms of church architecture and in exploring the very roots of Christian worship. Emerging out of all of this, in the 1950s, churches were being built in Europe expressing these radical ideas.
All of this passionately concerned Fr. Kirkby but he was not impressed by what he saw abroad! And so he approached a young designer in his early 20s – the late Keith Murray – whose work had impressed him in local commissions at Queen Mary College and St. Katherine’s Foundation Chapels. Teaming up with the equally young & gifted Robert Maguire, the architect and designer worked together from 1958-1960 to build the church in which you stand – regarded widely as the most significant post-War Church in Britain.
The creators of this church & the parish priest proudly regarded themselves as purposeful rebels! They were politically, socially & theologically attuned. This was the most radical and pure expression of a movement which focused so much upon the relations of the gathered worshipping community, one with another, and together as one Body, in relationship with God.
In 2010 Robert Maguire wrote:
‘We were trying to build a church which would encourage true relationships in the liturgy – priest to people, people to one another, priest to God and people to God, the worship of the whole Church together. Encourage, but not cause; because it is only people coming together with understanding and faith which bring those relationships to life.‘
The roots and antecedents of this building’s design run deep – to classical forms and the Renaissance Revival – to the fundamental geometry of square and circle - influences owing a debt to Brunelleschi, Palladio, Bramante – and further back, to the churches of Torcello, to Hagia Sophia in Constantinople and to the great Pantheon in Rome. This was no mere ‘bright new idea’! Around them they drew other young and gifted workers and designers. The mosaics which you see encircling the walls are the work of Charles Lutyens (great-nephew of the great architect Edwin Lutyens) carried out over a period of five years after the church had already been opened for use.
In form, the building is basically a stack of three diminishing cubes with ancillary spaces added at the sides. Maguire and Murray’s defining geometry was that of two bounded areas – contained by the exterior and barely broken bounding walls and also by the inner ‘transparent’ but effective encircling line of colonnades.
In this way distinct areas are subtly but effectively delineated within the volume of the church, as well as areas serving the varying needs of the Christian community – not only for worship, but for the whole of our life. This was seen very much as a space in which the whole common life of the worshipping community could be lived out – and from which they would then go out into the world. Benches were designed to be easily moveable so that they could be set aside or re-arranged according to the needs of our common life.
Today our life includes exhibitions, from intimate displays of just one art work to 800 square feet of dazzling external installation or walls completely bedecked with textile panels made in the community by ‘Stitches in Time.’
In 2010, we celebrated the 50th anniversary of the consecration of the church and, reflecting on the ways in which St. Paul’s, Bow Common has proved to be so extraordinarily adaptable and appropriate for uses in a social context never imagined 50 years earlier, Robert Maguire said:
’I designed the building as "liturgical space", informed by how I saw the nature of liturgy as the formative activity in realising the community as the Body of Christ. Later (and now) I would call it 'inclusive space' – space that enables everyone within it, wherever they are, to feel included in what is happening, wherever in the space that may be. So this quality naturally extends inclusiveness to anything the community wishes to do in the building, and the building should lend itself creatively to community-building of any kind.'
[Open House website]
Looking NORTH WEST
Although there was no spectacular sunset in Inverness on Thursday evening (I missed the Wednesday offfering!) the sky was still wonderful down at South Kessock as dusk descended.
The view to the east - looking outwards the Kessock Bridge - was (as ever) impressive, with a pink tinge one minute then a blue thereafter.
Meanwhile the sky over the Black Isle was also lovely, and looking north-west over the now redundant ferry pier was also a joy to behold.
All these views are taken from same approximate point, adjacent to South Kessock Ferry pier, where the Moray Firth becomes the Inverness Firth ( the narrowest point between the two ferry piers) and then westwards becomes the Beauly Firth - which was formerly known as Loch Beauly.
The whole is an inlet of the North Sea, and the firth separate the City of Inverness from the County of Ross & Cromarty. such lovely views - all accessible within the built-up area of the City of Inverness.
The Kessock Bridge opened in 1982 to carry road traffic over the Firth and thus rendered the ferry crossing obsolete.
Coprolite Street, Ipswich
The high-tech offices and apartments in the background are on the site of the Fison Brothers' former Coprolite processing factory. Coprolites, phosphate nodules that are effectively fossilised dung, were dug out of the countryside around Ipswich and Cambridge in large quantities in the late 19th century, to be turned into fertiliser and exported through Ipswich port. The Fison family fortunes were built on prehistoric shit.
It was John Stevens Henslow, mentor of Charles Darwin and founder of Ipswich Museum, who supposedly pointed out the fertilising properties of phosphate nodules to the farming brothers on a parish day trip to Felixstowe from Hitcham, where Henslow was Rector and the Fison family farmed. The factory continued production into the 20th century, eventually becoming a warehouse, until it was destroyed by fire one night in the late 1980s.
The fertilising properties of phosphate caused something of a mania in late Victorian England, and other formerly organic objects were also enthusiastically siezed upon for an easy profit, including on one occasion some 3,000 mummified cats taken from an Egyptian tomb and ground down into dust by a factory in Liverpool.
The street was called Coprolite Street from the start - and today, only the slightly odd name remains, a street named after dinosaur poo. If you are in the area, there is an excellent Lithuanian supermarket in the background of this shot, and a fine cafe run by Poles that overlooks the waterfront at the other end of the street.
I live a bit further up the street on the left.
TATA based WAG-5 loco - 23182 (leading triplet) is pulling out a BOXN freight rake from outwards bulb (departure freight yard) of Bokaro (BKSC) yard !!
This picture of the entrance to Caisteal Grugaig Broch could be the starting image for a production that in parts follows the routine of a preflight safety announcement. Using hands gestures familiar to flight attendants, as well as to those focused on their gesticulation, the central aisle can be indicated with two hands in a parallel almost chopping gesture. The side portals leading of the central aisle can be indicated with repeated sideways palms outwards chopping actions. Instead of indicating routes to safely leave the plane to escape danger the indications in this imaginary production would be a guide to places ready to engage, encounter and experience the traveller with the history and mystery raised in the remains of the stone structure. For me the preflight safety announcement idea opens up the potential available from following the direct route down the aisle as a visitor stooping and stepping into the central open section.
Also I am following the imaginary guide from the preflight safety announcement to step off the central aisle to take in the potential available from the side portals. By absolute happenstance the image when reflected has a some excellent patterns that create figures with one of them looking like an iconic version of old sacred statuary with a superb feather headdress. The synchronicity of the patterns holding such striking figures is supremely serendipitous as I have recently been looking at iconic old sacred statuary and enjoying the symbols in their structure when synchronicity strikes at the edges of the images of Caisteal Grugaig Broch rousing notions of a preflight safety announcement to then reveal in reflections of statue like figures.
The witchcraft that is stirred into these images is not the cunning editing as the editing is simple and straightforward just reflecting the original image. The name name Caisteal Grugaig is a reminder of the witch that supposedly lived here. Grugaig had two sons Telve and Todder. The sons are sometimes mentioned as giants and these two giants built and lived in Dun Telve and Dun Troddan the two magnificent brochs just over the hills and past Glenelg. There is also Dun Gruaig Broch that is closer to Dun Telve and Dun Troddan so the witch may have been in two places at once as well as having two giant sons in two magnificent brochs. Which ever way the witch story weaves a narrative, the beauty of the four brochs is tale set in stone that is worth telling and retelling.
The stones rise into open skies that release the imagination to fuel our inspiration until we are in our own ingenious visualisation ready to recount our own narration of witches, giants and brochs. I have my story from listening in to the wind and reflecting the resound of the echoes from the ground that around a campfire can be shared as water bubbles and boils to give accompanying brew to enlighten the story.
There are some further details here. Some useful details here.
Caisteal Grugaig Broch, if not with the white Hare Hind as seen in some of the other pictures, is a phantastique place of solid stone and dreaming design. Something secure rose here to stretch the sky and meet the clouds and even as the stone falls gently back down to the ground the sky still rolls in off the mountains and across the lochs to meet this site next to fresh water and towering over the sea.
Caisteal Grugaig Broch Ordnance Survey Map Grid Reference and Global Position
OS Grid Ref: NG 86681 25076
Latitude: 57° 15' 59" N
Longitude: 5° 32' 21" W
PHH Sykes ©2020
phhsykes@gmail.com
Do you remember how Terminators arrived in those films?
(If you forgot, check it out here)
Now, this here was the real thing (not like those fake electric bolts - I mean, jeez.... ;) )
And in case you wonder what happened to the hapless person caught in the spray of those sparks:
no idea, since I just had to grab my gear and run as fast as I could, the moment the camera's shutter closed.
___
Much better large on black
This distinctive tree stands out by the shape that gives it its name ‘fastigiata’ which means that the branches grow more upwards than outwards. In full leaf during the summer, this characteristic isn’t immediately apparent but return in winter and you’ll see the dense bare branches shoot upwards quite strikingly.
This mature specimen is clearly very happy and thriving in this peaceful location. Sit on the bench beneath it in late summer to appreciate the hop-like fruit clusters and then in autumn to see its ribbed green leaves change to a bright yellow.
uom.treetrail.co.uk/#FastigiateHornbeam
I like it except the random bits that stick outwards that I can never fix and the fact that the front of my hair is never as wavy as the back, hence why I just straighten it.
If you check carefully you will see that the image is growing outwards. Also on the edges you can feel that its growing.
ZEN MAGNETS - Neodymium Magnetic Balls (@Varies) - Fun with 5-ball pentagon rings part 3
(@060) - Diamond subunit (3-layer) = (4 x (3 x 5))
(@040) - 12-pointed star / Dome = =((6 x (Diamond subunit (3-layer)) + (6 x (3 x 5))
(@030) - 2-layer triangle subunit - (3 x (2 x 5))
(@120) - Outwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@360) - Outwards quad-tri triangle = (3 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri star= (5 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v1 = (5 x (Outwards quad triangle subunit))
(@480) - Outwards quad-tri square = (4 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v2 = (5 x (Outwards quad triangle subunit))
(@120) - Inwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@600) - Inwards quad-tri pentagon = (5 x (Inwards quad triangle subunit))
(@600) - Inwards quad-tri spaceship v3 = (5 x (Inwards quad triangle subunit))
(@960) - Triangle subunit ring variations v1 = (8 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@040) - Triangle subunit ring variations squares = (16 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@070) - Heptagon subunit = (7 x (2 x 5))
(@140) - Heptagon subunit stacker v1 = (2 x (Heptagon subunit))
(@560) - Heptagon subunit stacker v2 = (8 x (Heptagon subunit))
Note: Outward = three pentagon rings facing outward, Inward = three pentagon rings facing inward. For polarity reversed, separate two from the rest, and use a separator card in-between to flip the two ball from top set to bottom set.
More build pics here:
Low light, ISO at 1600. Reason for the noise. Did a radial blur going outwards from mom's nose to hide some of the noise, but keep the detail in the faces.
Inside Litton Tunnel, the shape is different from Cressbrook and Headstone tunnels, the stone lined walls leaning outwards
With the only exceptions of a green shirt and a red tie. Hitesh should have worn his shirt collar outwards, me thinks.
CBH Brookton. The outwards weighbridge to weigh empty trucks. Brookton storage site, due to it's massive area, has two weighbridges. The other one at the sampling point to get true tonnage delivered for each truck load.
Generally ,most CBH Receival points have just the one weighbridge. Exception being with the larger transfer / terminal grain depots
the insides of my ankles read opposites -- the closed loop of the infinite and the outwards-directed energy of a chaos star
**black metal hi tech shield::1.2 a rectangular hard light force field barrier extending outwards from the shield::1.7 a neon blue rectangle with a black circle in the centre::.8 blue rectangle with hexagon patterns::.65 --ar 5:4** - Image #4 <@314289947542683660>
Victoria Amazonica Water Lily. Ned pad on the way. They unfurl, keeping spikes pointing outwards. This will be almost 6 feet when it's fully opened.
As from Karl's advice I've done the pano but starting from the middle image and moving outwards. Seems to work relatively well. May attempt again at some point.
close up zoom on a couple of gargoyles projecting outwards from the 'legs' of the monument where the reach the first level. Or perhaps I should call them grotesques since I think gargoyles are technically only gargoyles on a building if they also act as waterspouts... Normally I like shooting stonework like this in B&W but the setting spring sun and clear, cold blue dome of sky above created such glorious light quality I stayed in colour for a change.
This picture of the entrance to Caisteal Grugaig Broch could be the starting image for a production that in parts follows the routine of a preflight safety announcement. Using hands gestures familiar to flight attendants, as well as to those focused on their gesticulation, the central aisle can be indicated with two hands in a parallel almost chopping gesture. The side portals leading of the central aisle can be indicated with repeated sideways palms outwards chopping actions. Instead of indicating routes to safely leave the plane to escape danger the indications in this imaginary production would be a guide to places ready to engage, encounter and experience the traveller with the history and mystery raised in the remains of the stone structure. For me the preflight safety announcement idea opens up the potential available from following the direct route down the aisle as a visitor stooping and stepping into the central open section.
Also I am following the imaginary guide from the preflight safety announcement to step off the central aisle to take in the potential available from the side portals. By absolute happenstance the image when reflected has a some excellent patterns that create figures with one of them looking like an iconic version of old sacred statuary with a superb feather headdress. The synchronicity of the patterns holding such striking figures is supremely serendipitous as I have recently been looking at iconic old sacred statuary and enjoying the symbols in their structure when synchronicity strikes at the edges of the images of Caisteal Grugaig Broch rousing notions of a preflight safety announcement to then reveal in reflections of statue like figures.
The witchcraft that is stirred into these images is not the cunning editing as the editing is simple and straightforward just reflecting the original image. The name name Caisteal Grugaig is a reminder of the witch that supposedly lived here. Grugaig had two sons Telve and Todder. The sons are sometimes mentioned as giants and these two giants built and lived in Dun Telve and Dun Troddan the two magnificent brochs just over the hills and past Glenelg. There is also Dun Gruaig Broch that is closer to Dun Telve and Dun Troddan so the witch may have been in two places at once as well as having two giant sons in two magnificent brochs. Which ever way the witch story weaves a narrative, the beauty of the four brochs is tale set in stone that is worth telling and retelling.
The stones rise into open skies that release the imagination to fuel our inspiration until we are in our own ingenious visualisation ready to recount our own narration of witches, giants and brochs. I have my story from listening in to the wind and reflecting the resound of the echoes from the ground that around a campfire can be shared as water bubbles and boils to give accompanying brew to enlighten the story.
There are some further details here. Some useful details here.
Caisteal Grugaig Broch, if not with the white Hare Hind as seen in some of the other pictures, is a phantastique place of solid stone and dreaming design. Something secure rose here to stretch the sky and meet the clouds and even as the stone falls gently back down to the ground the sky still rolls in off the mountains and across the lochs to meet this site next to fresh water and towering over the sea.
Caisteal Grugaig Broch Ordnance Survey Map Grid Reference and Global Position
OS Grid Ref: NG 86681 25076
Latitude: 57° 15' 59" N
Longitude: 5° 32' 21" W
PHH Sykes ©2020
phhsykes@gmail.com
Ineffient lighting at Braintree Rugby Club, wasting their light outwards rather than shinning down onto the ground. Such lighting can have serious consequences if the shine into car drivers eyes, causing blinding glare.
Photographer: Dave Paul for the Campaign for Dark Skies
Exploring the beck under South Emsall. This was far too low to walk along, so alternative methods were needed. The voyage was ruined by repeated circus type music coming from my vehicle.
Naming rights granted as this was a new venue. Probably because no-one had bothered.
ZEN MAGNETS - Neodymium Magnetic Balls (@Varies) - Fun with 5-ball pentagon rings part 3
(@060) - Diamond subunit (3-layer) = (4 x (3 x 5))
(@040) - 12-pointed star / Dome = =((6 x (Diamond subunit (3-layer)) + (6 x (3 x 5))
(@030) - 2-layer triangle subunit - (3 x (2 x 5))
(@120) - Outwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@360) - Outwards quad-tri triangle = (3 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri star= (5 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v1 = (5 x (Outwards quad triangle subunit))
(@480) - Outwards quad-tri square = (4 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v2 = (5 x (Outwards quad triangle subunit))
(@120) - Inwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@600) - Inwards quad-tri pentagon = (5 x (Inwards quad triangle subunit))
(@600) - Inwards quad-tri spaceship v3 = (5 x (Inwards quad triangle subunit))
(@960) - Triangle subunit ring variations v1 = (8 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@040) - Triangle subunit ring variations squares = (16 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@070) - Heptagon subunit = (7 x (2 x 5))
(@140) - Heptagon subunit stacker v1 = (2 x (Heptagon subunit))
(@560) - Heptagon subunit stacker v2 = (8 x (Heptagon subunit))
Note: Outward = three pentagon rings facing outward, Inward = three pentagon rings facing inward. For polarity reversed, separate two from the rest, and use a separator card in-between to flip the two ball from top set to bottom set.
More build pics here:
Church of St Andrew
Monument to Lady Catherine Crompton †1653. Alabaster. South wall of chancel. Commissioned by Sir Henry North.
The inscription is set under a low segmental pediment under another broken one, with a cartouche and coat of arms with fruit swags. At the sides are herms facing outwards (the face on the right now damaged) set above consoles, and a decorated apron.
According to the inscription Lady Catherine (b.1619), the widow of Sir Robert Crompton, was living in the house of Sir Henry North (ca.1635-1695) in Mildenhall (abbreviated to Milnall), when she died in 1653 aged 34. She was the daughter of Sir Thomas Holland and one of Sir John Crompton’s (himself the second son) younger sisters. She was a considerable heiress. Her father died in 1626 and in his will left her and her sister £2,000 each when they reached 16, in her case 1635. The date of her marriage to Sir Robert Crompton, born in 1613, is not known, nor is that of his death, except that, according to the inscription, he died before his wife.
Sir Henry’s commission must date from after 1660, when he was knighted (the inscription refers to him as a knight). It was most probably prompted by his inheritance of Sir Robert and Lady Catherine’s estate in 1669. The delay of sixteen years suggests a scenario. This was the time that Lady Catherine had to wait before she came into her inheritance. She may well have died, as so often at this time, in child birth, while staying with the youthful Sir Henry. Her daughter would have come into her inheritance in 1669, the year she died, leaving him to inherit. He went on to marry Sarah Rayney, whose death in 1671 prompted his suicide.
(www.rgcrompton.info/origins/1600info5, accessed 29 March 2016 gives the date of his death as around 1669);Chris Kyle, ‘Holland, Sir Thomas (c.1578-1626), of Quidenham, Norf.’, in The History of Parliament: the House of Commons 1604-1629, ed. Andrew Thrush and John P. Ferris, 2010, both accessed 29 March 2016
Looking west from the chancel down the nave, all rebuilt in 1889-90 during the incumbency of Rev Thomas Powell. Previously there were tall box pew and a precarious west gallery . The walls were falling outwards held from collapsing by 2 chains across the nave The 13c travertine (tufa) arch survives over the entrance to the tower - Church of St Faith, Dorstone Herefordshire.
The emergency door should open outwards, so something is not quite right here! The ghosts of the individual adhesive letters for the rear registration plate can just be made out on the glass below.
Winter will bar the swimmer soon.
He reads the water's autumnal hestitations
A wealth of ways: it is jarred,
It is astir already despite its steadiness,
Where the first leaves at the first
Tremor of the morning air have dropped
Anticipating him, launching their imprints
Outwards in eccentric, overlapping circles.
There is a geometry of water, for this
Squares off the clouds' redundances
And sets them floating in a nether atmosphere
All angles and elongations: every tree
Appears a cypress as it stretches there
And every bush that shows the season,
A shaft of fire. It is a geometry and not
A fantasia of distorting forms, but each
Liquid variation answerable to the theme
It makes away from, plays before:
It is a consistency, the grain of the pulsating flow.
But he has looked long enough, and now
Body must recall the eye to its dependence
As he scissors the waterscape apart
And sways it to tatters. Its coldness
Holding him to itself, he grants the grasp,
For to swim is also to take hold
On water's meaning, to move in its embrace
And to be, between grasp and grasping, free.
He reaches in-and-through to that space
The body is heir to, making a where
In water, a possession to be relinquished
Willingly at each stroke. The image he has torn
Flows-to behind him, healing itself,
Lifting and lengthening, splayed like the feathers
Down an immense wing whose darkening spread
Shadows his solitariness: alone, he is unnamed
By this baptism, where only Chenango bears a name
In a lost language he begins to construe —
A speech of densities and derisions, of half-
Replies to the questions his body must frame
Frogwise across the all but penetrable element.
Human, he fronts it and, human, he draws back
From the interior cold, the mercilessness
That yet shows a kind of mercy sustaining him.
The last sun of the year is drying his skin
Above a surface a mere mosaic of tiny shatterings,
Where a wind is unscaping all images in the flowing obsidian,
The going-elsewhere of ripples incessantly shaping.
Swimming Chenango Lake, Charles Tomlinson.
Just practising my close-up photography.Taken with Zuiko 35mm macro lens and twin flash, but in a white-lined box with the flashes pointing outwards so the light was bounced around the box. Works well for small objects.
Inbetween the Walls, View of Pinnacle @ Duxton.
© я ë ñ ë z
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Himeno from Azone's Pure Neemo line of semi-posable dolls. I've always liked their clothing and furniture, so I decided to see how well the PN doll would go with them.
ZEN MAGNETS - Neodymium Magnetic Balls (@Varies) - Fun with 5-ball pentagon rings part 3
(@060) - Diamond subunit (3-layer) = (4 x (3 x 5))
(@040) - 12-pointed star / Dome = =((6 x (Diamond subunit (3-layer)) + (6 x (3 x 5))
(@030) - 2-layer triangle subunit - (3 x (2 x 5))
(@120) - Outwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@360) - Outwards quad-tri triangle = (3 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri star= (5 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v1 = (5 x (Outwards quad triangle subunit))
(@480) - Outwards quad-tri square = (4 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v2 = (5 x (Outwards quad triangle subunit))
(@120) - Inwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@600) - Inwards quad-tri pentagon = (5 x (Inwards quad triangle subunit))
(@600) - Inwards quad-tri spaceship v3 = (5 x (Inwards quad triangle subunit))
(@960) - Triangle subunit ring variations v1 = (8 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@040) - Triangle subunit ring variations squares = (16 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@070) - Heptagon subunit = (7 x (2 x 5))
(@140) - Heptagon subunit stacker v1 = (2 x (Heptagon subunit))
(@560) - Heptagon subunit stacker v2 = (8 x (Heptagon subunit))
Note: Outward = three pentagon rings facing outward, Inward = three pentagon rings facing inward. For polarity reversed, separate two from the rest, and use a separator card in-between to flip the two ball from top set to bottom set.
More build pics here:
The font in St Paul's Bow Common, reflecting the roof.
Taken during Open House London 2017
St Paul's Bow Common
Robert McGuire & Keith Murray
Very nearly 150 years ago, this area of East London was beginning to emerge as a populated area after centuries of being no more than common grazing land (hence our name of Bow Common!). The coming of the railway lines, together with two canals nearby, guaranteed the growth of a working population clustered near to vital transport links. London was on the move, expanding ever outwards.
To serve this growing population a grand and lofty Victorian Gothic church was built in 1858, with a great spire and a huge stained glass window at the west end. This first St. Paul’s, Bow Common became a real focus for the neighbouring community for most of the next century. Then disaster struck during the Blitz of World War II and in 1941 incendiaries gutted the church, reducing it to a shell.
The War ended but growth & recovery were slow after so much widespread destruction. It was a full decade before thoughts could turn to re-building the church and thanks to War Reparation funds, a new church could be built, but it had to seat a minimum of 500 people.
The Vicar who came in 1951, the late Revd. Gresham Kirkby, was a young radical who drew like-minded people about himself. Already, in the 1950s there was a serious re-evaluation in progress far and wide, among churches and architects alike, as to what exactly the purpose and function of a church is, and how its configuration should express its deepest purposes. Interest was stirred again in the earliest forms of church architecture and in exploring the very roots of Christian worship. Emerging out of all of this, in the 1950s, churches were being built in Europe expressing these radical ideas.
All of this passionately concerned Fr. Kirkby but he was not impressed by what he saw abroad! And so he approached a young designer in his early 20s – the late Keith Murray – whose work had impressed him in local commissions at Queen Mary College and St. Katherine’s Foundation Chapels. Teaming up with the equally young & gifted Robert Maguire, the architect and designer worked together from 1958-1960 to build the church in which you stand – regarded widely as the most significant post-War Church in Britain.
The creators of this church & the parish priest proudly regarded themselves as purposeful rebels! They were politically, socially & theologically attuned. This was the most radical and pure expression of a movement which focused so much upon the relations of the gathered worshipping community, one with another, and together as one Body, in relationship with God.
In 2010 Robert Maguire wrote:
‘We were trying to build a church which would encourage true relationships in the liturgy – priest to people, people to one another, priest to God and people to God, the worship of the whole Church together. Encourage, but not cause; because it is only people coming together with understanding and faith which bring those relationships to life.‘
The roots and antecedents of this building’s design run deep – to classical forms and the Renaissance Revival – to the fundamental geometry of square and circle - influences owing a debt to Brunelleschi, Palladio, Bramante – and further back, to the churches of Torcello, to Hagia Sophia in Constantinople and to the great Pantheon in Rome. This was no mere ‘bright new idea’! Around them they drew other young and gifted workers and designers. The mosaics which you see encircling the walls are the work of Charles Lutyens (great-nephew of the great architect Edwin Lutyens) carried out over a period of five years after the church had already been opened for use.
In form, the building is basically a stack of three diminishing cubes with ancillary spaces added at the sides. Maguire and Murray’s defining geometry was that of two bounded areas – contained by the exterior and barely broken bounding walls and also by the inner ‘transparent’ but effective encircling line of colonnades.
In this way distinct areas are subtly but effectively delineated within the volume of the church, as well as areas serving the varying needs of the Christian community – not only for worship, but for the whole of our life. This was seen very much as a space in which the whole common life of the worshipping community could be lived out – and from which they would then go out into the world. Benches were designed to be easily moveable so that they could be set aside or re-arranged according to the needs of our common life.
Today our life includes exhibitions, from intimate displays of just one art work to 800 square feet of dazzling external installation or walls completely bedecked with textile panels made in the community by ‘Stitches in Time.’
In 2010, we celebrated the 50th anniversary of the consecration of the church and, reflecting on the ways in which St. Paul’s, Bow Common has proved to be so extraordinarily adaptable and appropriate for uses in a social context never imagined 50 years earlier, Robert Maguire said:
’I designed the building as "liturgical space", informed by how I saw the nature of liturgy as the formative activity in realising the community as the Body of Christ. Later (and now) I would call it 'inclusive space' – space that enables everyone within it, wherever they are, to feel included in what is happening, wherever in the space that may be. So this quality naturally extends inclusiveness to anything the community wishes to do in the building, and the building should lend itself creatively to community-building of any kind.'
[Open House website]