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Supported by Reclamation funding, the Sailor Bar Project is an ambitious, concentrated endeavor taking place on a river that flows through suburban Sacramento County and which attracts multitudes of hikers, cyclists and rafters. The month-long project is implemented via the Water Forum, a consortium of public agencies, business groups and non-governmental organizations.
What's poppin, y'all?
Take a look at Ember's Undenial Toy Review here:
breannaburton.blogspot.co.uk/2016/08/project-mc2-ember-ev...
A massive crawler transports the Saturn-Apollo vehicle and the umbilical tower from the vertical assembly building to the launch pad.
Project Apollo: Mission to the Moon
by Charles Coombs
Scholastic Books, Inc., 1965
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I should probably be focusing on my GCSEs..
First up; ASHPD claws! Designed by me and laser cut by Ponoko/Razorlab. They've done a preeetttyy good job, there are some obvious areas where the heat has fractionally deformed the edge of the plastic, but nothing major. 3mm black acrylic; needs to be finely sanded to a matte finish
Secondly, the ASHPD main barrel.
Yeaah I know it doesn't look like much, but all good things start off a little rough; need to obviously add a lot to that, so i won't bother going through that
Shadow Link's sword has made some progress, slowly bits here and there starting to form despite my absence from it.. (thanks Rodge! It's not even your project and you've done a load on it)
And finally, Hei's mask. The last update I had on that was the PVC test buck; but since then I refined most of the dents and surface discrepancies, and then got the school tech-technician (thanks Katie, not that you'll ever read this anyway) to vac form it in white HIPs. Then I whipped up a quick vector for the eyes, lightening bolt and mouth, stuck them on and stenciled them and shtuff
This photo isn't the final version, and since I took it I've cleaned up those edges, brought in the mouth a bit (it's clearly too wide) and then Brasso'd over to get rid of any unwanted bleed from the masking (I got A LOT of bleed)
If anyone for any reason whatsoever is interested in either of those vector files (claws and mask) just send FM and we can talk.
Drowning.
When I was about five years old, my mother found me at the bottom of the Grand Rapids public pool, so this represents that for me.
A new 11 month old grand girl. She is on her last month before she hits the one-digits. I know it is so cliche, but man do they grow fast. This is in my backyard, we have lots of flag stonework that I love.
new personal project, started yesterday.
all us photographers know about the 365 project. a way to keep us accountable of taking a photo every day for a long period of time. i attempted to take a photo every day in May and didn’t eve accomplish that. but i like to take on things that overwhelm me, with the end result usually being failure. so of course thought every day of an entire year would be a smart idea. than i thought, why not just start this now. on an average day i am looking at at least 87,493 more photos than i take, pouting about how brilliant they are and how brilliant mine aren’t. part of this (which i need to keep reminding myself) is that i am young. which is no excuse just a reminder that i don’t have to have a wonderful portfolio and have traveled the world, yet. i am at the age where i need to learn, i need to do and make and create and expand. So that is why i am taking on this project, because right now a lot of my photography i am disappointed with, not because it is bad but because i want it to be better. so day by day i will document my self taught (and some friend taught) progress.
Day 39 - 25 January 2012
The behaviour of the Snaggletooth Underwear Monster has never been seen. Until today that is, when the somewhat confused monster, crawled out of the underwear drawer (for some fresh air, we suspect). Bewildered by the flash, it quickly disappeared into the drawer again.
Canon EOS 550D
f/3.5
1/100 sec
ISO 200
Classic Lotus Track Expansion for Project CARS, now available on Demand!
More info:
www.projectcarsgame.com/home/classic-lotus-track-expansio...
We're spreading this one over the weekend, as we've got something tomorrow as well, but it's Sue's birthday!
Happy birthday! :)
This shot was grabbed totally off the cuff. Cian grabbed her hands and started walking with her around the room. She loved it, constantly beckoning him to pick her up again when he let go. So cute!
Three of the heads from the defunct Doggie Diner Restaurants that used to be around the SF Bay Area. These heads sit on Treasure Island, not too far from the old bowling alley.
This morning before I went on a little walk in the trail behind my house, I had to knock the snow off of a few of my bushes. This is how the snow looked on top of one of my smaller trees. The snow is melting a little bit which is causing it to look like it does in this picture.
.22 converted Crosman 1377 with removable stock and silencer with AGS mildot 3-12x44 swat scope fitted.
Designed as a packable weapon suitable for getting game in the field to supplement rations when silence and the preservation of ammunition is important. Something like a custom Ruger 22 auto pistol with silencer would be the normal weapon for game used by SF operators when they can.
Like this one ;-) >> suppressorbuyersguide.com/Articles.php?action=detail&...
The VACANCY Project invites the public (and local government officials) into Richmond's vacant Central National Bank on April 8th 2011 to experience a series of light and sound installations through the building's interior. The project hopes to creatively address and affect issues of building vacancy in Richmond by observing the history of the Central National Bank and its current state of decay and disuse. Lighting design in the space is compo...sed with respect to the building's architectural features, history, and deterioration. The project's sound design is composed of natural audio recorded at the Bank in 2011, and of local popular music recorded in Richmond in 1929.
Once Richmond's tallest building, the twenty three story Central National Bank stood as a testament to Richmond's economic strength during America's Depression. Built in 1929 to provide needed office space and draw new businesses to the heart of the city, it became the pulse of a bustling Virginia economy.
Times changed and the city shifted. The skyscraper now stands vacant (along with 2,400 other structures), with rich history and potential, visible to nearly all of Richmond.
The VACANCY Project is a collaboration between sculptor Joshua Bennett and sound artist John Dombroski, undergraduate students who received a research grant from the VCU School of the Arts supporting the project.
The Eastern Hellbender Juvenile Habitat Restoration project is funded through the State Wildlife Grant Program to assess survival in juveniles receiving an enriched captive environment and enriched juvenile habitat in the Blue River, IN. This research project is with the Indiana DNR and the Purdue Aquaculture Research Lab at Purdue University. In addition, 167 juvenile hellbenders will continue to be reared at the Purdue aquaculture facility and be released in 2017 as part of the reintroduction program.
The overarching goals of this research are to assess the historical eastern hellbender habitats for potential reintroductions and reintroduce captive reared juveniles into a former portion of their native range. The specific goals of the project include conducting eDNA screening, habitat suitability assessments, and estimating post-release survival using radio-telemetry. Ultimately, the results of this research could influence management decisions to repatriate eastern hellbenders throughout portions of its former range within Indiana and prevent extirpation.
Photos by Jessica Piispanen/USFWS.
I've been moved to a different room on the hospital ward.
A different room, a different view from the window.
Thursday, 18th August 2016
MTA New York City Transit conducted extensive outreach to notify and educate the public about the L project and its service impact when the tunnel rehabilitation portion of the project began on Friday, April 26, 2019. The project is expected to take 15-18 months to complete.
Altered and embellished vintage dress.
Blogged at: teteenlair-headintheclouds.blogspot.com/2011/04/project-r...
I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.
I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.
I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.
In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?
The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.
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Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.
You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.
In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.
I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.
So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.
But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.
The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.
The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.
However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Simon Knott, June 2006, updated July 2010 and January 2017
Images by Josephine Cross.
For more information please visit the Ghana Teaching project page of the Frontier website.