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I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
I find coal tits a problematic bird to photograph. They often look scruffy, they don't sit still, and it's not easy getting the exposure right between the black and white plumage on their head. This one was backlit on a branch that was blowing in the wind.
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
It is very problematic to be entered into the 'Akhara'(Temporary Staying) of the Naga Babas with a camera as they become violent seeing the camera men taking photos of them. On the next morning of our trip I and Kamalesh, one of my mates, collecting courage, entered into an Akhara - the great "Juna Akhara" of the fair. We were fortunate enough that we were welcomed there by Him, The Naga Baba. Infact in a short span he gave us a lot of Spiritual Knowledge and also His 'Prasad'. We took His permission to take some shots on Him. In the mean time some disciples come to take His voice and blessings. We did not want to miss the opportunity to take shots of that mood. Kamalesh and I took shots to project the common face of MahaKumbh as people think that Kumbh means only the Nagas.
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
The weather at Roa Island was problematic to say the least. Squally rain blowing sideways over the 8.94 metre high tide. I left the car ticking over with the heater blasting the passenger footwell to dry the EOS and camcorders inbetwen ship! in May!
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
This car had a lot of exposed light bulbs. Seriously, that must have presented a lot of technical problems back in the day. I think even just skinflints taking the bulbs may have been problematic.
A close-up view of what I believe was causing the signal fall off and poor connection in Excalibre's circuit... I believe the switch is worn out, and perhaps one or both pots have worn beyond their capacity to be adequately cleaned...
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
An elevated green, this was quite problematic to maintain especially during wet periods.
With high trees to the south behind it, wind circulation was almost non existent and outwith the summer months prolonged direct sunlight not there either.
A bunker built in to each side, there was also a small bunker guarding the front right, although this was removed early 90s.
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
Black and White InfraRed
Game trail cameras always give me problematic images. They are REALLY worth working as I have seen some AMAZING behavior and images from them. Many hundreds of them to date that are EXCELLENT situations. I’m thinking this is 256 shades of grey anyway out of that infrared camera. It’s amazing to me but it’s probably just me.
This random photo could have had a buck with big antlers in it but I still REALLY like it. There are more shades of grey in this “Black and White” than most I have seen of late. (Millions of shades of grey). IT’s a little grainy and there is a 3 pixel wide white line around all of the silhouetted tree. This is the problematic part of game trail cameras. It would take hours to eliminate all those white lines in that tree. Finishing photos is my passion but I’m a busy guy lol. Catching fun contrasts like this makes all those used up AA batteries to do so worth it.
I’m not sure who said “Grey is the richest color, it makes all the others speak. Grey causes a range of emotions from the underground coal mines under West Virginia to the Stars above all our heads. Current computer displays are 16bits per RGB pix or 65,536 shades of pure grey. Most of the charts available and printed for artists/painters/photofinishes are 256 shades of grey.
Location: Bliss Dinosaur Ranch, Wyoming / Montana borderlands (Wyotana)
Title: Black and White InfraRed
It takes work to make the firebox corners lay flat. Once they start to fold and buckle, they are much tougher to flatten.
A very large church in a very small churchyard, which makes exterior photography problematic. Inside seven bayed arcades, and very spacious, but obviously too large for the needs of the village today - and maybe even when it was built. The north aisle is screened off, but by low panelled (early C19?) screens rather than what happens today. The east two-thirds of this aisle have become a sort of museum. Here today was the Royal Arms, dated 1775, and obviously at the end of a restoration. The fine late Perp five-light east window has long been blocked. The chancel occupies the east three bays - and here some C15 parclose screens, integral with the stalls which have returned stalls as well. Sadly several pieces of glass were missing from the tower's west window which further shows the strain it must be to keep this huge church in good repair.
Debe ser entendido un poco el tema de la inmigracion de los centroamericanos y su paso por el pais, aveces es una situacion que muchos pueden desconocer.
a problematic way #2
rent, il periodico sulla cultura dell'affitto
issue 06
client: solo affitti spa
torino, 2010
photography: white
A very large church in a very small churchyard, which makes exterior photography problematic. Inside seven bayed arcades, and very spacious, but obviously too large for the needs of the village today - and maybe even when it was built. The north aisle is screened off, but by low panelled (early C19?) screens rather than what happens today. The east two-thirds of this aisle have become a sort of museum. Here today was the Royal Arms, dated 1775, and obviously at the end of a restoration. The fine late Perp five-light east window has long been blocked. The chancel occupies the east three bays - and here some C15 parclose screens, integral with the stalls which have returned stalls as well. Sadly several pieces of glass were missing from the tower's west window which further shows the strain it must be to keep this huge church in good repair.
Guaranteed problematic if taken by the handful.
Follow directions carefully. Do not quit taking this medication unless recommended by your physician.
We at America's pharmaceutical companies and our medical doctors on our dole wish you the best on your nearly impossible struggle to recover from mental illness.
Have a nice day!
The current design is problematic, which was pretty clear standing around watching this site, so I thought I'd photoshop how I might try doing it differently. The mammoth parking garage here frequently backs up traffic trying to enter it, so I felt this would be a place that would benefit from a right turn pocket, and having a bike lane to the left of it. Green can be used to highlight a conflict point in the style of Portland implementation, indicating space for drivers who may need to get over to turn into the garage.
Mission Statements – 3 – Contradictions and Logic
Problematic, because it’s self defined, my “living memory” concept is roughly this- if the stone is older than the second world war- I consider it fair game and part of the public record. Saying that, if you’ve seen a gravestone of a relative in one of my shots that you’d really rather not have public, contact me and it’s pulled (I’m not a dick)- just know that the shot was chosen for either its odd qualities or historical significance (like the O’Brien monument in Old Calvary), or because it’s a beautiful piece of sculpture that was chosen to illustrate the esthetic or political milieu of an era I’m trying to describe. Any editorial implications of the accompanying quoted references (from abc.com, in italics) or “humble narrator” copy should be discarded as the product of a sick, cowardly, and weary man who is “all ‘effed up”. No one will visit my grave, Lords and Ladies of Newtown, except to gloat and defecate.
I also never trespass, enter onto Railroad properties uninvited, or use transportation of any kind other than my feet when I’m out on one of my little missions. Kissing the right posterior and being “nice” offers tremendous access to these places, “legally”, and brings insight and opportunity. Why make trouble?
Dicyphus species found on low-lying vegetation by a footpath at the southern edge of the Kingstown Industrial Estate, Carlisle, 22 October 20.
I found one of these four days ago in Deer Field Park and although I managed to get some reasonable in situ shots (see earlier photos), I didn't manage to collect the specimen, which later turned out to be problematical when I tried to identify it down to species level. So this time I didn't bother with the camera - especially as the light was poor - and just made sure I captured it!
The bug was photographed using the integral camera on my SX10D microscope at 20x (Photo 1) and 40x (Photos 2 - 4) magnification. Photo 1 shows a dorsal view of the full insect and includes a length measurement; Photo 2 gives a more detailed view of the body; Photo 3 compares the length of the third antennal segment with the width of the head; Photo 4 includes measurements of each of the four antennal segments, and the lengths of the main components of a hind leg.
Although the specimen is believed to be Dicyphus stachydis (see below) it's noted that the measured length of 3.4mm is substantially smaller than the 4.5mm length specified on the British Bugs website:
www.britishbugs.org.uk/heteroptera/Miridae/dicyphus_stach...
The sighting has been submitted to iRecord and any feedback will be reported.
Note on the photos: One of the important factors in identifying Dicyphus species is the ratio of the length of the third antennal segment to the width of the head across the eyes. Although the latter can be easily measured it's more difficult to get a reliable figure for the former if the antenna being photographed is not lying in the horizontal plane. In Photo 2 (top right) a glass slide was carefully placed over the outer two segments in order to keep it flat. In the case of Photo 4 (upper) the best I could do was to manipulate the antenna with pins until its entire length was in focus, as due to the very shallow depth of field at 40x magnification this at least ensured that it roughly level. For Photo 4 (lower) the hind leg was first removed (which is a much easier task than removing an antenna!) and then placed under a glass slide. Some features have been photographed that are not mentioned in the following section (eg leg details, including tibial spines, as shown in Photo 4); however it's thought that these may be of relevance if the proposed Dicyphus stachydis identification is questioned.
Note on identification: It's clear from the British Bugs website that the specimen must belong to the genus Dicyphus, and six species are described. However, five of these can be eliminated as follows: the specimen is brachypterous, whereas D. epilobii and D. errans are always macropterous as adults; the third antennal segment is (marginally) longer than the width of the head across the eyes (Photo 3) which eliminates D. pallicornis, D. annulatus and D. globulifer. Although D. constrictus (which is not included in the British Bugs gallery) is perhaps a viable option, this is a less common species, with NBN Atlas currently showing only a single - unverified - county record, whereas there are numerous D. stachydis records mapped for north Cumbria. Also iRecord currently has no verified D. constrictus entries for the entire UK.
As previously noted, the bug was measured at 3.4mm in length (Photo 1) which is significantly smaller than 4.5mm specified on the British Bugs website for Dicyphus stachydis, but within, or close to, the size ranges quoted for D. pallicornis (3.5 - 4mm), D. annulatus (3 - 3.5mm) and D. globulifer (3.5 - 4mm). This issue currently remains unresolved.
Note added 26 October: I think I might have cracked it! Although Dicyphus stachydis is predominantly brachypterous, it can also be found in macropterous form. The following website specifies size ranges for the male and female Dicyphus stachydis as 3.3-4.8mm and 3.6-4.9mm respectively:
www.commanster.eu/Commanster/Insects/Bugs/SuBugs/Dicyphus...
Thus if British Bugs is using the value for a typical macropter, then my measurement of 3.4mm might still be within the accepted range for a brachypterous male, and only slightly outside of the range for a brachypterous female. I'll need to look into this further...
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
Wild hives generally are not problematic if left undisturbed. However, if you have a hive infesting your property and would like it removed, many local beekeeping guilds are happy to add the hive bees to their collection, where they will care for them as they try to increase the local population. If they are outside in an easy to reach location, the beekeepers will often take them from you for free, but they might request a small fee for more difficult removals.
For more information, please check out the following links:
Santa Clara: beeguild.org/
San Mateo: www.sanmateobeeguild.org/
Bay Area Resources: www.citybees.com/resources.htm
Dicyphus species found on low-lying vegetation by a footpath at the southern edge of the Kingstown Industrial Estate, Carlisle, 22 October 20.
I found one of these four days ago in Deer Field Park and although I managed to get some reasonable in situ shots (see earlier photos), I didn't manage to collect the specimen, which later turned out to be problematical when I tried to identify it down to species level. So this time I didn't bother with the camera - especially as the light was poor - and just made sure I captured it!
The bug was photographed using the integral camera on my SX10D microscope at 20x (Photo 1) and 40x (Photos 2 - 4) magnification. Photo 1 shows a dorsal view of the full insect and includes a length measurement; Photo 2 gives a more detailed view of the body; Photo 3 compares the length of the third antennal segment with the width of the head; Photo 4 includes measurements of each of the four antennal segments, and the lengths of the main components of a hind leg.
Although the specimen is believed to be Dicyphus stachydis (see below) it's noted that the measured length of 3.4mm is substantially smaller than the 4.5mm length specified on the British Bugs website:
www.britishbugs.org.uk/heteroptera/Miridae/dicyphus_stach...
The sighting has been submitted to iRecord and any feedback will be reported.
Note on the photos: One of the important factors in identifying Dicyphus species is the ratio of the length of the third antennal segment to the width of the head across the eyes. Although the latter can be easily measured it's more difficult to get a reliable figure for the former if the antenna being photographed is not lying in the horizontal plane. In Photo 2 (top right) a glass slide was carefully placed over the outer two segments in order to keep it flat. In the case of Photo 4 (upper) the best I could do was to manipulate the antenna with pins until its entire length was in focus, as due to the very shallow depth of field at 40x magnification this at least ensured that it roughly level. For Photo 4 (lower) the hind leg was first removed (which is a much easier task than removing an antenna!) and then placed under a glass slide. Some features have been photographed that are not mentioned in the following section (eg leg details, including tibial spines, as shown in Photo 4); however it's thought that these may be of relevance if the proposed Dicyphus stachydis identification is questioned.
Note on identification: It's clear from the British Bugs website that the specimen must belong to the genus Dicyphus, and six species are described. However, five of these can be eliminated as follows: the specimen is brachypterous, whereas D. epilobii and D. errans are always macropterous as adults; the third antennal segment is (marginally) longer than the width of the head across the eyes (Photo 3) which eliminates D. pallicornis, D. annulatus and D. globulifer. Although D. constrictus (which is not included in the British Bugs gallery) is perhaps a viable option, this is a less common species, with NBN Atlas currently showing only a single - unverified - county record, whereas there are numerous D. stachydis records mapped for north Cumbria. Also iRecord currently has no verified D. constrictus entries for the entire UK.
As previously noted, the bug was measured at 3.4mm in length (Photo 1) which is significantly smaller than 4.5mm specified on the British Bugs website for Dicyphus stachydis, but within, or close to, the size ranges quoted for D. pallicornis (3.5 - 4mm), D. annulatus (3 - 3.5mm) and D. globulifer (3.5 - 4mm). This issue currently remains unresolved.
Note added 26 October: I think I might have cracked it! Although Dicyphus stachydis is predominantly brachypterous, it can also be found in macropterous form. The following website specifies size ranges for the male and female Dicyphus stachydis as 3.3-4.8mm and 3.6-4.9mm respectively:
www.commanster.eu/Commanster/Insects/Bugs/SuBugs/Dicyphus...
Thus if British Bugs is using the value for a typical macropter, then my measurement of 3.4mm might still be within the accepted range for a brachypterous male, and only slightly outside of the range for a brachypterous female. I'll need to look into this further...
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.