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Burma, officially the Republic of the Union of Myanmar is a country in Southeast Asia. The country is bordered by the People's Republic of China on the northeast, Laos on the east, Thailand on the southeast, Bangladesh on the west, India on the northwest, and the Bay of Bengal to the southwest, with the Andaman Sea defining its southern periphery. One-third of Burma's total perimeter of 1,930 kilometres (1,200 mi) forms an uninterrupted coastline. Burma is the second largest country by geographical area in Southeast Asia.
The country's culture, heavily influenced by those of its neighbours, is based on Theravada Buddhism intertwined with local elements. Burma's diverse population has played a major role in defining its politics, history, and demographics in modern times, and the country continues to struggle to overcome its ethnic tensions. The military has dominated government since General Ne Win led a coup in 1962 that toppled the civilian government of U Nu. Burma remains under the tight control of the military-led State Peace and Development Council.
If ever there was a band that deserved a better place to play for this night, it is Periphery. The stage was almost non-existent and the lighting was horrible. There were times when you could not even see the band since the lighting was so uneven. My pictures reflect this. However, Periphery did not disappoint. They are technical wizards on their respective instruments. And they have fun on stage!
Si jamás fuera una banda que mereciera un mejor sitio para tocar, sería Periphery. Casi no existía algo que se llamaría un escenario y la iluminación era horrible. Había ocasiones en las que ni siquiera se podía ver la banda debido a las luces tan inconsistentes e irregulares. Mis fotos reflejan esto. No obstante, Periphery no me desilusionó. Todos los integrantes son magos técnicos en sus instrumentos respectivos. ¡Y se divierten en el escenario!
Fonte official FB page:
Over the course of Devin Townsend’s storied career, a single constant has persevered: change. As far back as Steve Vai’s Sex & Religion, which Townsend fronted, to 2001’s landmark full-length Terria to the multi-instrumentalist’s country rock outfit Casualties of Cool to his stunning new album Transcendence, the Canadian isn’t too interested in keeping an even musical keel. To stay the proverbial course is, well, anathema. For certain, he’s far too impatient to write the same Strapping Young Lad song over and over—which is why he folded the band in 2007—and it’s likely there will never be a fourth or fifth Ziltoid album (a third if we’re lucky) because by that point he’ll be in a totally different frame of mind for galactic puppets gone awry.
“The Devin Townsend Project is still essentially a solo project,” he reminds. “One of several, but the difference is that I've had a dedicated team of talented folks here that really had great ideas. of the ways I consciously stepped out of my comfort zone was to the solicit feedback from not only the band, but also to production and engineering. Opinions from people I trust at the management and label, and all with a sense of building a kind of archetype of the DTP sound that would not ostracize people who enjoy the style, but keeping it fresh for me as well. One of the things I did was present my vision—which I’ve always done—and within that framework, I’d massage it with the team. For this record, in those sections, I’d bring it to the band and say, ‘Look guys, here’s what it’s supposed to do. This is how it’s supposed to make me feel. And how the audience is supposed to feel. This is how it interacts with the parts prior and after. That’s why it exists. It’s not complicated because we’re trying to jerk off here. It’s complicated because, in my mind, the emotional component of the section is complicated. But in lieu of how quickly I tend to purge music I’m thinking: how can we make it cooler while I can still move quickly? 'Here’s the basic chord structure guys, this is what I think it should basically do, be it angular or in thirds or whatnot... Dave [Young; guitars] and Mike [St-Jean; keyboards] Ryan (VanPoederooyen: drums) and Brian (Waddell: bass) , can you think of something cooler there? I’ll be back tomorrow.’”
“It took a year to try and figure out a template for what DTP should be and still be of interest to me,” remembers Townsend, “And as much as I’ve been a control freak for so long, I’m also at an age where I recognize those elements—like friends—in my life are ultimately more important than music, and the need to control something like the DTP at this point is more rooted in insecurity now that necessity. I do enjoy being part of a team. I like to think after so many records with these guys that I don't really have to be at the center of everything. I can trust a team of people—the right people—to help where I need help. I need an engineer who has better ears than me. My ears are getting tired after all these years. If you put together a team whose strengths are better than yours, and then you put in your strengths, then what comes out of it, for no other reason than for an experiment, is really cool. And in line with my need for a project to have a theme to draw me into it, That’s what this records theme became. It’s an experiment put to music. If anything really kick started the inspiration for the record, it was that. The desire to get the DTP 'right' for what it is.”
Recorded at The Armoury Studios in Vancouver, Canada with Townsend and Adam ‘Nolly’ Getgood (Periphery, Animals as Leaders), Transcendence sounds absolutely massive. From the moment ‘Truth’—a re-work from the Infinity album—monstrously blends into the soul-stirring ‘Stormbending’ to the undulating cool of mid-point jam ‘Secret Sciences’ and Ween cover ‘Transdermal Celebration’, Townsend and crew have engineered a modern-day classic. The sheer scale of tracks like ‘Failure’, ‘Higher’, and the majestic title track is at once daunting and inviting. Transcendence pulls the listener in like a movie score. It has the emotional heft of Rosenman’s Star Trek IV: The Voyage Home and the mega-riff power of Black-era Metallica.
Even if Transcendence had its 'bikini wax' moments—(Townsend metaphorically refers to his process as 'professionally hitting myself in the face with a hammer')—the final product is fantastic. In many ways, it’s typical The Devin Townsend Project, however there is now an inviting sense of depth and relative breathing room in the sound. Always professional and sonically awash in darks, lights, and colors between, it turned out not only to be an acceptable new DTP record, but arguably one of the best. What also added to the overall quality was the addition of five guest musicians—including but not limited to ex-The Gathering vocalist Anneke Van Giersbergen, vocalists Ché Aimee Dorval and Katrina Natale—and a five-person choir called Tigers In A Tank. Their contribution to Transcendence’s overall ambiance is noteworthy and necessary.
“Well, I love working with female vocalists because I’m not particularly fond of singing and I really react emotionally to female voices,” posits the frontman. “I kind of fell into singing. I could never find someone who would sing like I wanted, so I begrudgingly took the job. Anneke’s obviously worked with me for a while now. Ché was on this record because she was with me in Casualties of Cool. And Katrina sang one song on the Ghost album. Also, I wanted the three of them on this record if this was to be the last DTP record. They bring it all together. So, sticking with the same people is the same reason I’ve been married for so long. Once I find great people, I have no need to look elsewhere for the similar things. It’s kind of great as it eliminates option paralysis in that area, though as different needs arise, often things evolve as well. As for the choir, it’s typically been inefficient. For the last record, I went to Amsterdam and it was crazy. I went to Sweden and it was cool but super-expensive. On Epicloud, I had a gospel choir, but had to over-dub a lot. For this one, I asked my buddy Eric [Severinson] to find three capable women and two men. I was able to create the choir by doing over-dubs and recording on-the-fly. It turned out great and it was very efficient.”
With over 60 songs in the bag for Transcendence, (not all, he is quick to point out, of the same quality) Townsend obviously had to pare down. The songs that made it, however, are breathtaking in their scope, beautiful in their presentation, and heavy—noticeably—enough to out-bombast the sum of The Devin Townsend Project’s previous full-lengths. Certainly, Townsend knows how he feels about the songs on Transcendence (and its accompanying second disc). Each song, from ‘Truth’ and ‘Secret Sciences’ to ‘Stars’ and ‘Offer Your Heart’, provoked a reaction from the man.
“My litmus test for whether or not a song or a record is working is really about my visceral reaction to it,” Townsend says. “If I react to it, then it’s correct, for me. That reaction could be repulsion, it could make me cry, it could irritate me, I could be loving it, it’s pretty much all the same. As long as I’m affected by the song, then I know I have something accurate.”
As for the Townsend’s loyal fans? The very fans who’ve been waiting with bated breath for Transcendence?
“If it gives me a reaction, then I hope it’ll contribute something to their world. Ultimately, I'm happy to contribute my observations to the massive sea of music. If there's anything that became clear to me throughout this all is the value of being part of something as opposed to being too concerned about 'being' the thing'
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
Picture Nimou#134
Datos: Camara Kodak DX6490 con Raynox DCR250 a F8, 1/350. Flash difusor home made. Campo de Tarragona Spain. Especimen captado en una rama de Hinojo, a punto de crisalida.
Clase Insecta > Orden Lepidoptera
Family: Oecophorid Moths (Oecophoridae)
Subfamily: Depressariine Moths (Depressariinae)
Generally found occupying waste ground and dry pastures, this is a fairly common species throughout the British Isles.
As the English and scientific names suggest, the larvae feed on wild parsnip (Pastinaca sativa), but also on hogweed (Heracleum). At first the flowers and seeds are consumed, and later the larva enters the stem where it pupates.
The adults begin to hatch in September, and overwinter, appearing until the following May.
Larva: (description Ian F. Smith)
Foodplant: June to August on flowers and young seeds of Pastinaca sativa, Heracleum sphondylium, Apium nodiflorum (in Channel Islands) and Heracleum mantegazzianum (in Netherlands, Denmark and elsewhere in Europe, Nielsen, in litt.). Often gregarious in a silk web distorting the flower panicle. Occasionally in unopened flower buds.
Length: 19 mm to 24 mm described. Parasitized larvae may be larger. (variations of other instars in brackets).
Head: Black.
Prothoracic shield: Black, divided by a narrow yellowish medial line.
Thoracic legs: Black.
Body: Dorsally pale grey. Ventrally dull yellow. (9 mm; dull amber all over.)
Spiracles: Black peritreme.
Pinacula: Large, black. (9 mm relatively smaller.)
Setae: Black. (9mm brownish translucent.)
Anal plate: Distinct. Light brown with blackish periphery. (9mm coloured as body.) (MBGBI states black, but this colour not observed in large series of larvae raised from several sources).
Prolegs: Coloured as venter. Black collar on base and on planta (absent on 9 mm
larva).
Pupa: July to early September in the main stem of the food plant. Constricted
seedhead remains and a hole, about 3 mm diameter, indicate stems
occupied by pupae and, sometimes, fossilised failed larvae which retain
vestiges of the grey and yellow colouration.
Comment: Pastinaca, Heracleum mantegazzianum and probably other foodplants contain chemicals which can cause painful blistering in the presence of sunlight. Care should be taken to avoid contact with the sap from cut stems. Larvae are often adjusted to the toxins in a particular population of a foodplant, and may not prosper if transferred to the same species of plant from another source.
This is a 300dpi map of the top 50 PR twitterers (as per Stephen Waddington's analysis) and the interrelationships between them.
To generate this:
We first crawled all the accounts for "friends" (accounts that they follow) and "followers" (accounts that follow them). This is a profligate use of resources because we were always going to throw away a massive load of that data. But it's always more interesting to start with a large data set. You don't know what you're going to find.
Then I wrote a quick-and-dirty perl script to process the data looking only for those instances where one of the top 50 followed another.
Then we dropped everything into NetDraw (if you are at all interested in this stuff, you really should get hold of a copy and start reading around the subject.) We laid out the chart so that the people who have the most peer-group followers are in the centre of the chart - and to make it even more obvious, we sized their nodes according to the number of peer-group followers that they have.
So people on the peripheries (like me - mediaczar) are peripheral to the community, and those in the middle are central. Obvious, huh?
This chart already shows a massive difference between our analysis (as it progresses) and the raw data from Wadds's list. There are some really good reasons for this, which I'll go into on the blog.
For more on this, see this post on Twitter Social Network Analysis
Fotos para This is Rock
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In going to sleep, man passes out from the field of weight, into the field of light. By living in the field of light, when he has lived long enough without weight, he gets again a strong longing to feel weight around him, and he returns once more to weight — he awakes.
Now, think of something else: think of this: between birth and death man is bound to the earth, because his soul, having lived a time in light always hungers again for weight, and returns to the condition of weight. When a condition has been set up in which this hunger for weight no longer exists, man will follow light more and more. He does this up to a certain point, and when he has arrived at the outermost periphery of the universe, he has exhausted that which gave him weight in his lifetime; then begins a new longing for weight and he begins his path over again, back to a new incarnation. So that in that interval also between death and a new birth, at the midnight hour of existence, there arises a kind of hunger for weight. This is man's longing to return to a new earth-life. #rudolfsteiner
wn.rsarchive.org/Lectures/GA291/English/RSPC1935/19201210...
Identified
EVIDENCE
Provenance evidence: Inscription
Location in book: Title Page
Comments:
This copy inscribed by the author to Gil Ott and Julia Blumenreich in February 1989
IDENTIFICATION
Owner: Ott, Gil
Owner: Blumenreich, Julia
Other: Fitterman, Robert, 1959-
COPY
Repository: Penn Libraries
Call number: PS3606.I87 L4 1988 Ott copy
Collection: Ott Collection
Copy title: Leases
Author(s): Fitterman, Robert, 1959-
Published: New York City, 1988
Printer/Publisher: Periphery
FIND IN POP
cross section: human thyroid gland
magnification: 100x
hematoxylin eosin stain
Technical Questions:bioimagesoer@gmail.com
Misha Mansoor
Centro Dinámico Pegaso. October 28, 2017.
This photo was taken with a cell phone camera at KnotFest Mexico 2017. Centro Dinámico Pegaso, Toluca, Edo. Mex.
This huge church is located in Paris 17ème arrondissement close to the peripheric boulevard.
Its construction started in 1935 and ended in 1946.
Architect: Jacques Barge who chose a neo-byzantine style with three copolas and 72 m high bell tower, the highest one in Paris.
Construction is in reinforced concrete and the lower parts are coated with pink sandstones (from Alsace).
At the origin the church was to serve the population living in the social habitations built after WWI at the border of Paris on the site of the old fortifications.
Source: wikipedia
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
I had a meeting scheduled on the periphery of Winchester but unfortunately the other participant was let down by the bus service, the bus totally failing to materialise. After a half hour wait in the cold, he went home. I was already at the venue when I picked up his email message on my iPad so decided to go down into Winchester for a walkabout with my camera.
I drove into town, confronted the parking problem and made my way into the centre.
Approaching the main street, I heard a beautiful male voice and, turning the corner, found a man singing expressively and a small crowd of people listening intently, one or two taking photos on iPhones. I crossed over and indicated as I usually do that I'd like to take a photo. I took one or two and then Miguel, as I found he was called, stopped singing so I explained my strangers' project and asked if I could include him in it.
He wanted to know where the photo would be published so I described 365 Project and my dedication to it and also said that the photo would be posted on Flickr (where I have a newly opened account). Miguel was then happy to say yes and I took a few more photos, some in colour, others in b&w.
I thought Miguel might be Spanish or Italian but he replied 'Latin American'. Later in the conversation I learned that his native country is Peru but he has lived in England for some 20 years.
Miguel handed me his card with his email and his website details. This was welcome as I had nothing to write with and nothing to write on. In addition to a camera, a notebook and a pen should now be standard on my person, I think, as I often unexpectedly happen on opportunities for a portrait.
We agreed I should use the website for a little more information to accompany the portrait as I, for one, was conscious of folk waiting for the singing to begin again.
I discovered that Miguel is Miguel Moncloa, a tenor, and one half of a classical duo, Sul Fiato, formed in 2012, the other half being Naomi Scott de Moncloa, an Australian soprano.
Sul Fiato is Italian, meaning ‘on the breath’. On the website this is described as 'The ultimate technical goal for any classical singer, it also refers to the link between the breath and the soul or human spirit.'
Once again from the website: 'on the importance of music to him', Miguel says, “Music is the only way that I connect fully with my fellow human beings.
I have photos to email to Miguel. I was very appreciative of his time and interested to learn about his professional life.
This is my #12 submission to the Human Family Group. To view more street portraits and stories visit:
www.flickr.com/groups/thehumanfamily/
This photo is also in The Portrait Group and STRANGERS!
Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.
The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.
Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.
The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.
GEOGRAPHY
Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.
HISTORY
Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.
Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.
Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.
Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.
STRUCTURES
The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.
OVERVIEW
The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.
The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.
GATES
While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.
Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.
TEMPLES
Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.
The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.
PALACES
Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.
Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.
Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.
Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.
Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.
Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.
Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”
FORT MUSEUM
The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.
MAHARAJA RAI SINGHJI TRUST
Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.
WIKIPEDIA
This is a rare example of central fibrosis in a granuloma in sarcoidosis. In sarcoidosis fibrosis of granulomas usually begins at the periphery of the granuloma and spreads centrally. In this case it is possible the the central fibrosis represents a healed area of central necrosis.
The periphery of the Agra fort is about 3 km long, and most of the view is similar from the outside, with a 20 foot (~7 meters) tall compound wall all around, and buildings visible beyond the walls in typical Moghul architecture. They certainly spared no expense - it is amazing how much detail is built into the external walls.
Leica S2 + 70mm Summarit-S f/2.5
S2002081
Sao Paulo, Brazil © Carlos Cazalis, www.cazalis.org
Photo Collaboration with BOOMTOWN BABYLON (Lotje Sodderland)
A slum on a hillside on the western periphery of Sao Paulo. The hills surrounding western Sao Paulo were previously covered with mass vegetation. The population in these periphery areas had its first surges in the 1970's from the northeastern states when Sao Paulo was the countries industrial hub, today that immigration flux has significantlly diminished but continues to grow exponentially as the Brazilian economy grows and provides them a higher income and credit availability that allows for bigger families.
Form with gold-tinted body and cerata. White stipple on periphery of foot.
Oosterschelde, Netherlands, June, 2006. © R. Groeneveld.
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Aeolidiella glauca (Alder & Hancock, 1845)
Synonyms: Eolis glauca Alder & Hancock, 1845.
Current taxonomy: World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=138711
GLOSSARY BELOW
Description
The body grows up to 40 mm long. It is translucent whitish, often with a fawn, orange fig. 01 flic.kr/p/2nYKVwj or, occasionally, golden fig. 02 flic.kr/p/2nYJjp9 suffusion of varying intensity and extent. The notum has opaque flecks of white fig. 04 flic.kr/p/2nYKVsB or a whitish shade of the general body tint fig. 01 flic.kr/p/2nYKVwj .
The cerata are arranged in about fifteen transverse rows on each side of the body. They sometimes conceal most of the notum fig. 05 flic.kr/p/2nYKVs1 , but much of it is often exposed fig. 01 flic.kr/p/2nYKVwj . The cerata are translucent white or pinkish revealing a pinkish fig. 03 flic.kr/p/2nYMiVQ , orange-brown fig. 01 flic.kr/p/2nYKVwj or grey-brown fig. 04 flic.kr/p/2nYKVsB internal digestive gland, with large white cnidosacs at the tip. Some of, but rarely all of, each ceras in the anterior row may be occupied for about half its length by a very large whitish cnidosac fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 to form a white ruff resembling the usually more fully developed one on A. alderi. There is usually extensive opaque whitish mottling on the surface of the cerata fig. 04 flic.kr/p/2nYKVsB & fig. 07 flic.kr/p/2nYFZeA .
The smooth, sometimes wrinkled fig. 07 flic.kr/p/2nYFZeA , translucent rhinophores are usually tinted orange of varying intensity fig. 06 flic.kr/p/2nYKVn6 with an opaque cream-white apical stipple.
The head is translucent white fig. 05 flic.kr/p/2nYKVs1 or tinted orange fig. 01 flic.kr/p/2nYKVwj . Internal eyes visible are visible at the posterior base of the rhinophores, unless hidden by the tilt of a rhinophore fig. 05 flic.kr/p/2nYKVs1 . The internal, opaque white internal jaw and buccal mass are often visible fig. 05 flic.kr/p/2nYKVs1 , and they may be tinted by the overlying translucent integument fig. 08 flic.kr/p/2nYKViU . The distance between oral tentacles at their base is about equal to thickness of a single tentacle base fig. 08 flic.kr/p/2nYKViU . Oral tentacles translucent white, nearly always without tinting of another colour, and with opaque white flecks fig. 03 flic.kr/p/2nYMiVQ .
The broad foot is three times as wide as the body, narrowing to a slender posterior point fig. 08 flic.kr/p/2nYKViU & fig. 09 flic.kr/p/2nYMiGD . The convex anterior continues into short propodial tentacles which often bend forwards at the tip resulting in a sigmoid foot anterior fig. 09 flic.kr/p/2nYMiGD . The sole is usually transparent colourless, clearly revealing the body and its overhanging cerata. Round white ovotestes may be visible through the sole. The dorsal surface of the foot usually has white peripheral pigment flecks fig. 21 flic.kr/p/2nYLSNc , but they are often hidden by overhanging cerata apart from its protruding posterior fig. 01 flic.kr/p/2nYKVwj or through the sole from below fig. 09 flic.kr/p/2nYMiGD .
Key identification features
Identification should be made with more than one feature as there is some interspecific overlap. For example, a white ruff of anterior cerata can be found on some of all three Aeolidiella species, though it is usually most distinct on A. alderi.
Aeolidiella glauca
1) Maximum length 40 mm (Thompson & Brown, 1984). Body broad fig. 09 flic.kr/p/2nYMiGD in comparison with A. sanguinea and A. alderi . Often, overall pinkish appearance from cerata, especially when viewed through translucent foot.
2) From above, internal eyes usually visible through translucent body fig. 03 flic.kr/p/2nYMiVQ .
3) Anterior cerata may be white and resemble the more fully developed white ruff on A. alderi fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 .
4) Anterior half of body copiously speckled with pale opaque pigment fig. 01 flic.kr/p/2nYKVwj .
5) Distance between oral tentacles about same as thickness of single tentacle base fig. 01 flic.kr/p/2nYKVwj .
6) Anterior edge of foot has short propodial tentacles which may curve forwards at the tip fig. 09 flic.kr/p/2nYMiGD .
7) White pigment stipple on dorsal periphery of foot fig. 21 flic.kr/p/2nYLSNc & fig. 09 flic.kr/p/2nYMiGD , oral tentacles, cerata and, distally, on rhinophores fig. 03 flic.kr/p/2nYMiVQ .
8) Body translucent white, anterior often translucent orange fig. 01 flic.kr/p/2nYKVwj .
9) Spawn, a plain non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 ; white contents divided into sections by clear breaks; ova small so width of spawn line 5 or 6 times diameter of one ovum fig. 11 flic.kr/p/2nYMiDT .
Similar species
Aeolidiella alderi (Cocks, 1852) fig. 12 flic.kr/p/2nYJsRu .
1) Maximum length 37 mm (Thompson & Brown, 1984). When extended, fairly robust but more slender than Aeolidia papillosa, A. filomenae and Aeolidiella glauca. Usually straighter than the more slender, sinuous A. sanguinea.
2) From above, internal eyes usually visible through translucent body unless hidden by tilt of rhinophore.
3) Front row of cerata makes a white ruff with white zone in each ceras usually 50% or more of length.
4) No opaque flecks on dorsum.
5) Distance between oral tentacles about same as thickness of single tentacle base .
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles which do not usually curve forward at the tip .
7) White or yellow pigment distally on rhinophores, oral tentacles and cerata, but no white pigment stipple on dorsal periphery of foot.
8) Body translucent white. Some tinted yellowish or reddish fig. 13 flic.kr/p/2nYMiCW .
9) Spawn is a deeply sinuous line arranged loosely in a disc fig. 14 flic.kr/p/2nYJsPA .
Aeolidiella sanguinea (Norman, 1877) fig. 15 flic.kr/p/2nYFZ4q & fig. 16 flic.kr/p/2nYLSWo .
1) Maximum length 46 mm (Thompson & Brown, 1984). Slender sinuous body is more slender than A. alderi.
2) From above, internal eyes usually visible through translucent body.
3) All cerata have a large white cnidosac slightly tinted by the orange to red surface of the cerata. The front row of cerata can make a white ruff, and the white zone, tinted orange or red, in each ceras can be more than 50% of ceras length. But the ruff is not usually as fully developed as on A. alderi.
4) No opaque flecks on notum.
5) Distance between oral tentacles about same as thickness of single tentacle base.
6) Anterior edge of foot often sigmoid with short propodial tentacles curved forward at tip.
7) No surface pigment on dorsal periphery of foot, oral tentacles or cerata, but rhinophores have distinctly demarcated white tips.
8) Body, rhinophores and cerata are translucent red, orange or yellow,
9) Spawn; a plain spiral line.
Aeolidia papillosa (Linnaeus, 1761) fig. 17 flic.kr/p/2nYKV7S .
1) Maximum length120 mm (Thompson & Brown, 1984). Body broader than Aeolidiella glauca.
2) Internal eyes not, or barely, visible through opaque pigment.
3) Dull whitish cnidosac visible if not obscured by white apical pigment.
4) Much opaque pigment on dorsum.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Much pigment on rhinophores and cerata. Often dark and whitish pigment stipple on dorsal periphery of foot.
8) Most of body, rhinophores and cerata not translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 18 flic.kr/p/2nYJsHy .
Aeolidia filomenae Kienberger, Carmona, Pola, Padula, Gosliner & Cervera, 2016 fig. 19 flic.kr/p/2nYKV6p .
1) Maximum length at least 70 mm. Body broader than Aeolidiella glauca.
2) Internal eyes sometimes faintly visible in light specimens.
3) Apices of cerata are white, often revealing large white cnidosacs.
4) Dorsum white or pale colour with opaque white or brown flecks which may concentrate locally into dense brown markings.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Rhinophores and cerata are translucent with varying amounts of opaque white and brown freckling. Usually no pigment stipple on dorsal surface of foot.
8) Some parts of body and cerata may be translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 20 flic.kr/p/2nYFYXo .
Habits and ecology
A. glauca is found sublittorally and, occasionally, at low water spring tide at sheltered sites, usually where there is some mud or silt present; its broad foot supports it on soft sediment fig. 21 flic.kr/p/2nYLSNc . Thompson & Brown, (1984) list its prey as Sagartiogeton spp., Cylista troglodytes (Price in Johnston, 1847), C. elegans (Dalyell, 1848) fig. 22 flic.kr/p/2nYKUXi , Cereus pedunculatus (Pennant, 1777) and Diadumene cincta Stephenson, 1925.
Like other nudibranchs, A. glauca is a simultaneous hermaphrodite. Spawn is deposited in a non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 . The white ova within are divided into sections by several unoccupied short lengths of the transparent colourless line fig. 11 flic.kr/p/2nYMiDT . The spawn line is five or six times as wide as the diameters of the small ova fig. 12 flic.kr/p/2nYJsRu . Veliger larvae hatch from the spawn and drift as plankton before settling on the sea floor and transforming into adults.
Distribution and status
Available online images show that A. glauca occurs from Norway and Faeroe to the Netherlands and the south coast of Britain. Uncertainty about identifications of Aeolidiella records lacking the support of clear images make defining of its southern limit difficult. Thompson and Brown (1984) cited Tardy (1969) as recording it from Arcachon Bay near Bordeaux and said it probably does not occur in the Mediterranean. Some Iberian guides and websites show images of probable A. alderi as A. glauca or, in the absence of local finds, use images of A. glauca from north-west Europe. Careful search online with Google, GBIF, iNaturalist, Flickr and Facebook failed to find any incontestable image of A. glauca in southern Europe. In Britain, some old records aggregate A. alderi with A. glauca but an unmistakable image of A. glauca fig. 23 flic.kr/p/2nYFYKu from the Lizard, Cornwall, the southernmost tip of Britain, puts beyond doubt that it extends to the south coast of Britain. It is widespread in Britain and Ireland, UK map NBN species.nbnatlas.org/species/NBNSYS0000173623
GBIF map www.gbif.org/species/2291946
Acknowledgements
For use of images I thank Jim Anderson, Roy Dahl, Guy Freeman, Rokus Groeneveld, Arne Kuilman, Sylvain Le Bris, Mathias Meunier and Lou Valence, Malcolm Storey, Stefan Verheyen and Neil Ward. I thank Simon Taylor for specimens, and Marco Faasse for information about sea anemones.
References and links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society. Family 3, Plate 11. www.biodiversitylibrary.org/item/131598#page/326/mode/1up
Anderson, J. Aeolidiella glauca (Alder & Hancock, 1845), Scottish nudibranchs and sea slugs (accessed 12 November 2022) www.nudibranch.org/Scottish%20Nudibranchs/aeolidiella-gla...
Groeneveld, R. & Reijs, S. (accessed 12 November 2022). Zeenaaktslakken, Nudibranchia. www.diverosa.com/FF_NL/ff_zeenaaktslakken.htm
Tardy, J. 1969. Étude systématique et biologique sur trois espèces d’Aeolidielles des côtes européennes (Gastéropodes Nudibranches). Bull. Inst. Oceanogr. Monaco 68: 1 – 40.
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Glossary
acontia = thread-like tissue containing numerous stinging nematocysts which are released by some sea anemones
buccal mass = anterior of digestive system including an odontophore that supports anterior of radula, and a complex of muscles to operate them and other mouthparts.
cerata = (sing. ceras, adj. ceratal) lobes on notum of some nudibranchs.
Cnidaria = hydroids, jellyfish, sea anemones etc. which possess cnidocytes.
cnidocytes = explosive stinging cells of Cnidaria. en.wikipedia.org/wiki/Cnidocyte
cnidosac = storage capsule at tips of cerata of Aeolidiidae for ingested cnidocytes.
digestive gland = large organ in gastropods which acts like the liver and pancreas in mammals to absorb food.
distal = away from centre of body or from point of attachment.
hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner.
notum = (of sea slugs) the dorsal surface of the body; the back.
ovotestis = (pl. ovotestes) hermaphrodite organ serving as both ovary and testis.
propodial tentacles = tentacular, lateral extensions on anterior of the foot.
rhinophore = chemo-receptor tentacle; many sea slugs have a pair on top of the head.
veliger = shelled larva which moves by action of cilia on a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.
Another look at the colourfu little Chinese shrine called Hok Siean Tua, which is located at the very edge of the Banzaan Night (food) Market. I couldn't zoom in further with my iPhone, and I didn't want to disturb those in prayer by going closer, especially considering the small size of the temple. Founded in January 2011, the Hok Siean Tua temple is a popular spiritual centre for many of Patong residents, especially during the annual Vegetarian Festival. Overall, Banzaan Market comes across as a friendly neighbourhood market in Phuket. Set up at night around the periphery of the Banzaan wet market in the Patong area of Phuket, Thailand, the Banzaan Night (food) Market offers a dazzling array of grilled meats, juices, ice cream and other delectable goodies. Just round the corner from the food market are stalls selling clothing, trinkets and tourist kitsch, shoes etc. I photographed these stalls from a distance (see subsequent pictures later in this album) but did not go close to them. (Phuket, Thailand, Oct/ Nov. 2019)
Rediscovering Delhi 2011
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06/16/2011
Today's my first day back in Delhi. I am off on a month's vacation and on my agenda is a hope to re-discover Delhi. To check out places that have existed here since time immemorial. Yet, I never thought much about them growing up amongst these wonderful historical monuments.
I hope to capture these dilapidated monuments in my camera. They have withstood the onslaught of time and give Delhi that unique blend of a glorious past, interwoven with the threads of different cultures, and a dynamic booming future threatened by a population boosting at its seams.
Begumpuri Mosque
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Just a short walking distance from where I stay. Surrounded by urban Delhi and close to the Sarvapriya Vihar metro station, it's the latest addition on the Metro line that snakes through the heart of Delhi cutting commuting time drastically.
Yet, this monument of time seems lost and out of place. Desperately searching for it's place in this city.
Perhaps an identity crisis? It lies as if uncared surrounded by rubble, yet standing tall majestically...
This grand, yet simple mosque was most probably built around the 14th century by Mohammad Tughlaq era minister, Khan Jahan Junan Shah. It's surrounded by the Kalusarai village today.
The western side of the mosque faces Mecca and was probably used for Friday prayers. This mosque is dead today and lies in ruins. Although the periphery is fenced off by the ASI, kids use it as a play area and wannabe lovers write graffiti all over the ancient walls that have borne witness to the passage of time.
The mosque was built on a raised plinth perhaps to harness the soft breeze. There are 44 domes on three sides and has a small staircase, on the left, leading up to the roof. Some of the ASI repairs have been undertaken using regular bricks and some of the domes appear to have been plastered recently.
The courtyard is pretty big and covers approximately 90,000 sq ft. It's the second biggest mosque after Jama Masjid.
On the right is a small staircase that I could not even dream of squeezing into. It probably led into the women's mosque, called the zenana mosque.