View allAll Photos Tagged Questions
Participant asks question at Special Panel on Extractive Industries and the Sustainable Development Goals: Enhancing Collaboration for Transformation and Sustainability. 27 September 2015. New York, NY. Photo: Wynne Boelt/UNDP
Posted for a new young friend of mine in response to his questions at www.flickr.com/photos/8765199@N07/2578190812/in/set-72157...
This is a $100 Hanwei Practical Knightly sword on the left, shown in comparison to a $1000 customized Albion.
If you want a stout, servicable banger sword you won't go wrong with these Hanwei swords in my humble opinion. The Knightly sword is proportioned, weighted, and balanced appropriately. It stands up nicely to edge-on-edge theatrical swordplay. And it even rings pleasingly when the edge is struck. The handle is secure and comfortable in the hand. The tang is wide and peened well over the pommel. I have set this particular sword to banging in several afternoon sessions in the backyard against the Hanwei Practical hand-and-a-half with only minor nicking to the rebated edge.
Do not expect precision in the grind of these blades. They are polished with no rough edges, but the wavering hand-ground marks are still visible on the blade surface. That being said I have to point out that the fullers are as straight and evenly cut as most of the "museum quality" and "battle-ready" Windlass Swords I have inspected though!
I have seen these Hanwei practical swords around for years. They are a favorite among reenactors who do live steel sparring. Just look carefully at the swords worn by knights at reenactment events here on Flickr and you will see the Practical Knightly Sword is popular the world round. I finally bought two practical Hanweis last spring. Lets face it, if you like swords you like clanging them together in mock swordplay!
As a teenager I would spend weeks making a sword only to nick the thing to Hell and back in just a couple hours swordfighting with my buddy out in the woods. Yes, I remember well what it was like to want a sword when my budget was $0.00. Ha! That's why I started making swords in the first place. I couldn't afford one so I just forged my own.
When I was a kid back in the 1980s the ONLY swords available were those cheapo "Made in Toledo" wall-hangers advertised in the back of my Dad's hunting magazines. Even at a cool $40 the "Sword of Cortez" was far beyond my means to obtain.
When I was a senior in high school I remember agonizing over a brass-hilted India-made "Sword of King Arthur" that cost $125 in an SQP catalog, still too expensive for me to buy. You can get one of those swords for about $40 from a Bud K catalog these days, but I wouldn't own one now.
I was graduating from college when I made my first big sword purchase, a thirteenth century Del Tin that cost $279 from Museum Replicas! That was back in the old days when Museum Reps offered Del Tins before they went all Windlass. Since then I have bought several Del Tins and considered them top of the line until Albion came along a couple years ago.
Regardless of the sword you buy there are a few things to remember:
-Real swords were never meant to be hit edge-on-edge. Knights went to great pains to avoid abusing their swords in such a way. Swords were and still are expensive. Even the finest sword available will nick if struck on the edge. Fence with sharp broad-bladed swords like they do in movies and you will be left with two double-edged saw blades. Nuff said.
-Swords are not meant to cut through trees, bricks, rocks, chains or much else that they are shown to cleave on film. Believe me, I have proved this to myself the hard way many times and it is very frustrating :-(
Swords were made to cut flesh and bone and perhaps the lesser armor of the day. If you feel the need to do some hack and slash go at some dried tree branches or cardboard tubes. Broomsticks are fun to cut into kindling, but even a 1 inch dowel rod will test a rat-tail tang. A narrow tang may snap and send the pommel of your sword flying off with a solid blow. Again, this is the voice of experience you are reading here...
long section: Allium root tip
common name: onion
magnification: 100x
Berkshire Community College Bioscience Image Library
Technical Questions:bioimagesoer@gmail.com
Feel free to use these. But I ask NOT to repost them anywhere. These are to help everyone learn how to ID them, just share the link instead. Fair warning these can change or update when a dolphin moves or I get better photos. Please send questions about the animal or chart to me privately.
U.S. Ambassador to the Sultanate of Oman Leslie Tsou asks a question during the Chiefs of Mission Conference View from the Hill: U.S. Foreign Policy session, attended by Secretary of State Antony J. Blinken, Assistant Secretary for the Bureau of Legislative Affairs Naz Durakoglu, Senator Panelist Ranking Member James Risch (R-ID), and SFRC Chairman Bob Menendez (D-NJ), at the U.S. Department of State in Washington, D.C., on June 22, 2022. [State Department photo by Ron Przysucha/ Public Domain]
Santiago's Shop #1 & #2 is a distinguished family owned business that was established in 1992 by Santiago Cruz and Roberta Garcia. We're happy to announce that we've finally decided to go with the technological times. Therefore, we've created this website for our customers to gain an insight of the large array of unique items that we carry in our stores. We offer an eclectic range of merchandise from industrial to architectural salvage, to modern and a lot of weird and unusual things. We provide our clients with superior value and service that lead them to acquiring anything but ordinary items. Our business is built upon our constant hard work, honesty, and the desire for our customers to experience excellency at its finest. We gain access to our merchandise through the connections that we hold in the LA area (Bel Air, West Hollywood, Beverly Hills, Calabasas, Encino, Pasadena, Westlake, Thousand Oaks, etc.) Our items come from the best homes and some even come from celebrities' homes. We work with the best dealers on La Brea, La Cienega, Melrose, etc. Our store has been featured on several shows like Keeping Up with the Kardashians on E! and Antonio's Treatment on HGTV. We've also had a lot of celebrities visit our stores. This is only the beginning for us and our goal is to fulfill the customers' needs and to evolve into a bigger and better business. We invite you to visit us and experience exceptional service! There are new arrivals to the store everyday. Please don't hesitate to contact us if you have any questions or comments.
We have an eclectic range of items! From antiques, architectual salvage, to modern furniture and.... weird stuff!!!
You will never come across an antique store quite like ours!
Santiago Mid Century Antiques
5641 & 5645 Lankershim Blvd North Hollywood CA
Santiago Cruz (818) 445-8410
Roberta Garcia (818) 445-8409
santiagomidcenturyantiques@gmail.com
santiagomidcenturyantiques.com
George Nelson
Herman Miller
Frank Lloyd Wright
Barovier e Toso
Dyrlund
Paul McCobb
Paul Evans
Paul Frankl
Edmund Spence
George Nakashima
Milo Baughman
Harry Bertoia
Charles Eames
Charles and Ray Eames
Charles & Ray Eames
Jere
Kravet Furniture
Van Dyke
Hugo Troeds
Edward Wormley
Bjarnum
Bra Bohag
Credenza
Industrial
Architectural
Architectural Salvage
Architectural Pottery
modern
Danish
Antique
Mid Century Modern
Mid Century Antique
1950s
1960s
1970s
1980s
1990s
Fifties
Sixties
Seventies
Eighties
Nineties
Architecture
Furniture
high end
art
history
homes
vintage
wall sconces
chandelier
Murano Glass
lighting
Neblina
Lucite
20th Century
21st Century
Twentieth Century
Twenty-first Century
Holmby Hills
bookcase
candlestick
sculpture
desk
chair
dresser
Coffee Table
Teak
marble
Rosewood
marble mantle
Estate Sale
Speaker
Leather Chair
Leather Sofa
Modernism
retro
Italian
French
Spanish
Patio Furniture
bronze
bronze sculpture
memorabilia
movie poster
French furniture
Italian furniture
Spanish furniture
Art & Craft
Art and Craft
Spanish California
Panel
Panel screen
room divider
abstract
abstract art
sofa
couch
sectional sofa
Persian rug
runner
table lamp
table light
hanging lamp
hanging light
fixture
light fixture
bar stool
stool
Mahogany
Walnut
Brass
Wrought Iron
Art Deco
French Art Deco
Art Nouveau
Victorian
French Louis XV
Louis XV
French Louis the Fifteenth
Louis the Fifteenth
English Furniture
Gothic
Revival Antique
Revival Gothic
Outdoor Furniture
HGTV
E!
Keeping Up with the Kardashians
Antonio's Treatment
rocking chair
Armoire
Curio Cabinet
Rustic
Camera
Vintage Camera
armchair
dining table
dining room table
console table
end tables
hardware
sink
vanity
vanity sink
forged iron
office chair
Le Corbusier chair
Barcelona
Miles van de Rohe
Mid Century American
Neoclassic
Neo classic
Neoclassical
Lounge Chair
Ottoman
Lounge chair and ottoman
Rococo
Rococo Revival
Queen Anne
Chippendale Chair
Federal furniture
Mission Style Furniture
Empire Style
Mosaic glass
Handcarved
hand-carved
Moroccan
Moroccan Marquetry
Root
root table
Stone
stone sculpture
limestone limestone sculpture
end irons
irons
forged
Walnut Chair
Maria Theresa Style
Maria Theresa Style Chandelier
High style
Chesterfield
Tapestry
Rose Bowl Flea Market
PCC Flea Market
Pacific City College Flea Market
Long Beach Flea Market
candleholders
candelabra
drawer
chest
Old Medical supplies
Dentist Cabinet
Chinese
One of the most common questions people have regarding #cannabis is exactly what it is, and what types of cannabis tinctures you can have and how they compare to other products.
Given that they are similar to the #CBD #oil that you see, a lot of times people mistake it for that. But what can you do differently with it?
That’s what we’re about to go into here, with the difference between a tincture and other products, and of course, why it matters.
What is a tincture
If you see #tinctures, you’re probably familiar with the little droppers that are attached to the caps of this.
But it’s pretty much a solution that has an alcohol solvent, along with animal extracts, and they’re oftentimes quite concentrated.
So, consuming them like you would a normal drink is not a good thing to do, but instead a drop or two goes a long way.
You need to use the dropper with this, because otherwise too much can impact the state of your body and mind as well.
How do they Work?
They’ve been around for centuries, and they are actually the main choice for delivering herbal medicine to others.
Why is that the case though?
They actually have a very powerful nature to them, and they do have higher concentration of compounds within this, and they can hit the affected areas quite fast.
Most of these used to be made with both #vinegar and #glycerin, but today, glycerin is on the list, but #alcohol is the main choice in these instances too.
The solvents are able to dissolve the #compounds of the organic matter that’s there, which is a fancy name for plant parts, and take the #ingredients that are out of them.
The process then brings those compounds directly to the body, and it does it so much faster than other sorts of means, and it’s a lot more potent than others too, sometimes more than #edibles in some cases too.
CBD Tinctures?
CBD tincture sis pretty much alcohol-based extracts, and most of the time, the manufacturer may use a higher level of alcohol to extract this, and in other cases, they use glycerin.
There are CBD tinctures and THC tinctures, and the main difference is the CBD one is CBD alcohol, and the THC one is THC alcohol infusions, and of course, neither of them are completely devoid of the other component either.
How to Use
You can use this in one of two ways.
The first, is you take that dropper and put either a drop or two directly underneath the tongue, and the effects happen within an hour of you doing this type of method.
The second way is additives. Take a food or a drink that you have, put it in, and consume it. While it does take longer for this to happen, if you don’t feel like buying or making your own edibles, this is a good way to do it.
The tinctures are not good to be used with application topically and aren’t considered good topicals in general.
The best way to start with tinctures is one drop, and then go from there. If you don’t feel the effects within an hour or so, you should then try again, or try another day in order to see if those effects are right for you.
The use of tinctures is important for so many who are interested in making sure that they get the most effects that they can out of this, and here, you learned about it.
Excited and proud to share this with you. Chad from Tin Questions interviewed me about my life and my portrait work. I had such a great time and I think it turned out wonderful. Read the intro in Chad's words:
I recently went camping and got ate up by mosquitos. My next guest on “Tin Questions”, Austrian wetplate photographer Markus Hofstätter, lives in a town known for these pesky insects. Not only is Markus a well known European photographer, he is also a great resource to the wetplate community, sharing his knowledge, doing equipment reviews and similar to "Tin Questions", conducting the occasional interview. Hear how a love of shooting pool with both sticks and cameras eventually turned into a desire to slow down and create beautiful images using a historic process.
Listen to “Tin Questions” on your favorite podcast provider.
open.spotify.com/show/4GtyKMPDLzL9wGIdjXu5do
podcasts.apple.com/at/podcast/tin-questions/id1662388680?...
All Saints, Gazeley, Suffolk
All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. Thus begins the original article about Gazeley parish church that I wrote for the Suffolk Churches site, back in May 2003. At that stage, I had visited more than 600 Suffolk churches, and the site was moving towards a kind of completion. The entries were becoming longer and tending more towards the philosophical. The acquisition of a digital camera meant that I could already see I would need to do the whole lot again, but that would be in the future. For now, I had Norfolk in my sights, and there was an end-of-term feel to what I was writing about Suffolk. I am afraid that All Saints, Gazeley, took the full brunt of it.
The article generated a fair amount of correspondence, as you may imagine. It was discussed on BBC Radio Suffolk. I was questioned rather cautiously about it by someone in the Diocese.
The parish themselves took it rather well. To be honest, I had caught them at a low ebb, and they welcomed the publicity. I had also visited them immediately before a time of great change, when heads had fallen, but loins were about to be girded, and the Church of England was stirring itself again in that lovely village. One of the advantages of visiting every parish church in East Anglia is that you also get to see every parish, of course, and I soon fell in love with these sleepy, fat villages along the Cambridgeshire border. I would move there tomorrow, quite happily.
However, the article still makes the point I was originally trying to make, and the contrast between then and now shows this special place in a light it thoroughly deserves, for this is one of East Anglia's loveliest churches, and deserves all the visitors it can get. Anyway, I thought so then, and I certainly think so now.
Here is what I wrote in 2003: 'All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. I was intrigued to know how a wealthy, reasonably large Suffolk village would respond to this challenge. What would they do with their church? I had a theory. I suspected that the old church buildings would continue to find a community use. Small groups of people would still congregate on a Sunday mornings to sing comforting songs and feel good about each other. The churches would still be used by secular couples wanting a fancy wedding, and the local villagers would still want to be buried in the graveyard. But the building would no longer have a Christian use.
It was with some dismay, however, that I arrived in Gazeley to discover that the rot had already set in. The first sign of this was the way in which the large windows facing onto the road had holes the size of small rocks in them. This was disturbing, especially because the east window at Gazeley is one of the most remarkable Decorated windows in East Anglia. The head of the window consists of two elegant overlapping trefoils, but there is no head to the arch, the head itself having cusps. You can see it in the left hand column; Cautley thought it was unique.
I went and tried the door, but of course it was locked. Ever since the announcement of God's non-existence, heads have dropped in the Anglican community, and many of them no longer have the will to welcome strangers and visitors. I went next door to the Rectory. I knocked on the door, rang the bell. Nobody came. Perhaps the Rector had fled town. I had tried phoning several numbers I had taken from the Diocesan website, but nobody had answered. There were keyholders listed in the church porch, but no phone numbers. Gazeley is a fairly large village, and we didn't have a street map, but by driving around (sorry about the carbon monoxide, folks) we tracked some of the houses down. Several cars were on the driveways outside (as I said, this is a wealthy village) but nobody came to the door. Perhaps they had given up in despair. I felt Gazeley's strange torpor beginning to settle on me like snow.
We found the house where the last address was supposed to be. I went to the side door, and eventually someone answered. "Yes?" he was very curt, so I don't know who he was expecting. I, however, was a model of charm and good manners, and explained my mission to see inside Gazeley church, and that I understood he was a keyholder, a churchwarden in fact. His wife came to the kitchen door behind him, to see who it was. I could smell cooking, and I assumed that they were both about to eat, the time being 5pm on a Saturday.
"The church is locked", he said. I agreed that this was the case, and wondered if access was possible. "It was open earlier today, you should have come then", he observed. I concurred that it would have been better, but that we had been visiting other churches, and had only just arrived in Gazeley. He thought for a second. "I'll have to come with you." The man checked that the twenty minutes I had suggested would not deprive him of his tea, and walked with me up to the church. On the way, the man explained how he and his wife had spent the day preparing the church for the harvest festival. I made a mental note that this was another event that had survived the death of God, as would Christmas probably.
We walked across the wide open graveyard, and I looked up at the great ship of Gazeley church. There is no doubt which county you are in; here, the complete rebuilding of the nave with clerestory and aisles was at the start of the 16th century, and as at Blythburgh they didn't get around to rebuilding the tower before the Protestant Reformation intervened. The huge chancel had been built on the eve of the Black Death, and has similarities with the one at Mildenhall. Perhaps a rebuilding was planned, but it never happened. The tower was largely reconstructed in the 19th century.
To my surprise, he took us not to either south or north porch, but to the great west door. This led us beneath the tower and behind the organ, and we stepped into darkness. Daylight was fading, but here it must be always gloomy, among the broom cupboards and stacks of junk. The churchwarden found the light switches, and we walked around the organ into the body of the church.
Back in the days when God still existed, I had been to Gazeley church before. It had been a bright, cold February morning in 1999, and I was cycling from Newmarket to Ipswich. I'd arrived in Gazeley to find the church open, and had thought it lovely. There was a delicate balance between respect for the medieval and the demands of the modern liturgy. It felt at once a house of prayer and a spiritual touchstone to the long generations. However, the slight crimp in all this was that, at the time, the regular Sunday congregation of Gazeley church had been reduced to single figures. The same was true of neighbouring Kentford. The Rector may not have been to blame; he was very energetic in in his pastoral activities in the village, and people still turned up for the big occasions. But I wondered what effect all this had had, and asked the churchwarden.
He was very candid. He told me that they had had a terrible time of it. The electoral roll had fallen to just three people, and this is not a small village. Nobody wanted to come to church any more. He had lived in the village for years, and had seen all this happen. It was only in the last year or so that he felt the church had been turned around by the new Rector (the one I had suspected of leaving town). Now, there were more than twenty of them, and they felt like a proper community again, he said.
I found this interesting. The previous Rector had been a Forward in Faith-supporting Anglo-catholic, and such a tradition was not terribly popular with the suits at Diocesan House. The new Rector had moved the church back towards the mainstream.
I looked around the vast open nave. All Saints is one of the biggest churches in the west of the county, and it must take a good five hundred people to make it feel full. I tried to imagine what it must have been like here, just three in the congregation.
The warden and his wife had tried hard to decorate the church for the harvest festival, and it looked particularly lovely towards the east. The greenery on the tombchest and piscina was very well done. But inevitably the fruit and vegetables were sparse, and there was no disguising the general air of shabbiness and decay underneath the decoration. I felt a bit sorry for the churchwarden, for he had stuck with the place through thick and thin, and clearly loved it. The chancel and central eastern part of the nave were clean and tidy, but all around were the encroaching shadows, and here lurked the dust and dirt.
The higher you looked, the filthier it became. The clerestory windows were coated in grime, and the lower parts cloaked in decades of cobwebs. The medieval cross beams are still in place, but the Victorian roof above is leaky, and areas of damp showed above the high arcades. It seemed unlikely that all this could have happened in the short time since the Geneva declaration of 2007 announced all faith in a Supreme Being to be 'utterly null and void'. Mortlock had commented on the poor condition of the royal arms as long ago as 1988. Could it be that they were in this state when this building was still in use for Christian worship?
Having seen the stone holes in the windows, I was mightily relieved that the Victorians had reset the medieval glass up in the clerestory. This seems a curious thing to have done, since it defeats the purpose of a clerestory, but if they had not done so then we might have lost it. The glass matches the tracery in the north aisle windows, so that is probably where they came from. I had seen them on my previous visit, but could not remember where they were, and when I asked the keyholder he did not seem aware that the church had any medieval glass. Eventually I found it. There are angels, three Saints and some shields, most of which are heraldic but two show the instruments of the passion and the Holy Trinity. I would not be surprised to learn that some of the shields are 19th century, but the figures are all original late 15th or early 16th century. The Saints are an unidentified Bishop, the hacksaw-wielding St Faith and one of my favourites, St Apollonia. She it was who was invoked by medieval people against toothache.
It struck me as I gazed up that many parish churches had much less to lose than Gazeley. At one time, these places were vibrant hubs of spiritual communities, but now they would be left to wither and die. Some would become houses of course, but Gazeley's church is much too big. Some might be kept as examples of our redundant belief systems, but here at Gazeley there would be too much to tidy up and sort out. So All Saints at Gazeley must be considered merely as a treasure house. Here, then, is a guide to why it must survive the 2007 Geneva Declaration.
Firstly, the chancel. Here, the space created by the clearing of clutter makes it at once mysterious and beautiful. Above, the early 16th century waggon roof is Suffolk's best of its kind. Mortlock points out the little angels bearing scrolls, the wheat ears and the vine sprays, and the surviving traces of colour. The low side window on the south side still has its hinges, for here it was that updraught to the rood would have sent the candles flickering in the mystical church of the 14th century. On the south side of the sanctuary is an exquisitely carved arched recess, that doesn't appear to have ever had a door, and may have been a very rare purpose-built Easter sepulchre at the time of the 1330s rebuilding. Opposite is a huge and stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast. It is one of the most significant Decorated moments in Suffolk.
On the floor of the chancel there is a tiny, perfect chalice brass, one of only two surviving in Suffolk. The other is at Rendham. Not far away is the indent of another chalice brass - or perhaps it was for the same one, and the brass has been moved for some reason. There are two chalice indents at Westhall, but nowhere else in Suffolk. Chalice brasses were popular memorials for Priests in the 15th and early 16th centuries, and thus were fair game for reformers. Heigham memorials of the late 16th century are on the walls. Back in the south aisle there is a splendid tombchest in Purbeck marble. It has lost its brasses, but the indents show us where they were, as do other indents in the aisle floors. Some heraldic brass shields survive, and show that Heighams were buried here. Brass inscriptions survive in the nave and the chancel, dating from the late 16th and early 17th centuries.
Piled up and decrepit in the south west corner are some extraordinary 14th century benches with pierced tracery backs. Some of them appear to spell out words, Mortlock thought one might say Salaman Sayet. The block of benches to the north appear to have been made using sections of the 15th century rood loft. Further north, the early 17th century benches may appear crude, but were almost certainly the work of the village carpenter.
The 14th century font is a stunning example of the tracery pattern series that appeared in the decades before the Black Death. They may have been intended to spread ideas at that time of great artistic and intellectual flowering before it was so cruelly snatched away. The cover is 17th century.
The place is absolutely glorious, but few people seem to know about it, and fewer seem to care. If it had been clean, tidy and open, Simon Jenkins England's Thousand Best Churches would not have been able to resist it. Should the survival of such a treasure store depend upon the existence of God or the continued practice of the Christian faith? Or might there be other reasons to keep this extraordinary building in something like its present integrity? It needs thousands spent on it, hundreds of thousands, but is this something that we as a nation or culture should consider worth doing? Will it be sufficient to photograph it all and then let it fall, or do we need to rescue this building before it is too late?
Increasingly, it seemed to me that what the parish needed was not condemnation for the state the building was in, but encouragement to put it right. I pointed out several of the features outlined above, but I think the poor man was beginning to register quite what a task he had on his hands, so I fell quiet. I did reassure him that the building really was the responsibility of us all, and not just the Church of England; it was the heart and touchstone of the whole village, and not just of his faith community.
We'd been there for nearly an hour. I took pity, and offered to lock up and return the key to his house. He thought about it for a moment. I guessed he was weighing up whether or not he trusted us to make the church secure, but he just said "you don't need to bring the key back, it's a yale lock. Just let yourself out, and let the door close behind you." And he said goodbye and went home - rather more thoughtfully, I fear, than he had left it.
It was dark. I put out the lights, and stood for a moment in the wide gloom, in the infinite stillness. I listened to the sound of my own breathing. I knew this was the most endangered building I had visited so far on my travels. But I'm determined we won't lose it.'
And that was that. At the end of the original article, I had pointed out that the 2007 Geneva Declaration on the non-existence of God was, of course, entirely fictitious. This was partly to reassure the good people of Gazeley, but also to save confusing any excitable Dawkinsites. Gazeley church was, after all, still in use for Christian worship. I also pointed out that the rest of the article was completely true as things had stood in May 2003. However, over the next few months I received a number of e-mails from people in the parish telling me how the church was being taken to task, tidied up, cleaned out, and, even more important, made accessible. Coming back in May 2008 I was delighted to discover than both the south and north doors were now open, and I stepped out of the sunlight into an interior which positively shouted its welcome to pilgrims and strangers. Perhaps it helped that it was such a beautiful day, for the interior was full of light falling across ancient stone and woodwork. Everything shone with love and care. Quite frankly, it lifted the heart. Perhaps the most moving sight was of the brightly coloured children's table and chairs, which have been given pride of place at the east end of the south aisle, rather than being tucked away under the tower or behind the font. Having once almost lost its congregation altogether, the community at Gazeley now puts its children's corner in a prominent position, where everyone can see it.
The wide open space of the chancel was still one of the loveliest interiors I knew in Suffolk, but now it had something else, a feeling of hope. Great things had happened here. I mentioned it afterwards to a Catholic Priest friend of mine, and he said he hoped I knew I'd seen the power of the Holy Spirit at work. And perhaps that is so. Certainly, the energy and imagination of the people here have been fired by something. I wanted to find someone to ask about it, to find out how things stood now. But there was no one, and so the building spoke for them.
Back outside in the graveyard, the dog daisies clustered and waved their sun-kissed faces in the light breeze. The ancient building must have known many late-May days like this over the centuries, but think of all the changes that it has known inside! The general buffeting of the winds of history still leaves room for local squalls and lightning strikes. All Saints has known these, but for now a blessed calm reigns here. Long may it remain so.
World Bank President, Jim Yong Kim answers questions during a press conference with Chile's President, Sebastian Pinera Echenique (right) and Chile's Minister of Finance, Felipe Larraín (left) at the La Moneda Presidential Palace in Santiago, Chile on July 4, 2013. Photo © Dominic Chavez/World Bank.
Un merci spécial à Emerson, Robbie et Darcy @ChildrensWishNC qui ont posé des questions aujourd’hui.
NASA’s Hubble Space Telescope has also observed the galaxy cluster MACS-J0417.5-1154, but the dusty red galaxy that appears multiple times to form a question mark shape is much more prominent in the Webb image. The infrared light that Webb detects is better able to pass through the cosmic dust of its home galaxy to reach the telescope. Astronomers used Hubble’s ultraviolet observations to help determine where star formation is happening in both the red galaxy and its close companion, a face-on spiral galaxy.
Technical information about the images:
The Hubble image is a composite of separate exposures acquired by the ACS instrument on the Hubble Space Telescope. Several filters were used to sample various wavelength ranges. The color results from assigning different hues (colors) to each monochromatic (grayscale) image associated with an individual filter. In this case, the assigned colors are: Blue= F435W, Green=F606W, Red= F814W.
Likewise, the Webb image is a composite of separate exposures acquired by the NIRCam instrument. The color results from assigning different hues (colors) to each monochromatic (grayscale) image associated with an individual filter. In this case, the assigned colors are: Blue: F090W Green: F150W Red: F444W
Credits: NASA, ESA, CSA, STScI, Vicente Estrada-Carpenter (Saint Mary's University)
Image Description: The same region of space in side-by-side images. The left image is labeled “Hubble” and the galaxies shown have an overall yellow tone and haze. The image on the right is labeled “Webb.” In the center of that image, several images of an elongated red galaxy for a shape like the top of a question mark. In comparison it’s clear that some of the features creating the question mark shape are present in the left-hand image as well, but probably wouldn’t be noticed if that image stood alone. The right-hand image is more colorful and defined than the image on the left, with shades of white, red, and a little blue.
After a long time…
It’s time again for…
The YODA QUESTIONS!
„Your opinion you tell me! “
Who do you like more?
The droids or the clones?
(BTW i've finally got my recharger back ^^)
WeatherGirl was particularly keen to return to the V&A because she wanted to see their temporary exhibit Out of the ordinary: Spectacular craft. There was some very cool work there a number of different (and very diverse) artists, all of whom share a certain obsessive quality and intense level of detail. (It reminded us a lot of Jess Larson's cool work, especially her wonderful girdles.)
I took quite a few photos of the artworks, but (much to my surprise) this may be my favorite. Naomi Filmer focuses on the human body, but taking unusual views or using unusual techniques. This is from a lenticular image where you see this face in different ways as you move around it; I really like the superposition of these two angles.
One of my gorgeous nieces (I'm lucky to have 6). One of her favourite games with her dad is for him to ask her a "really hard question but not so hard". Captured while she was waiting for the "really hard question".
The spiral galaxy NGC 3596 is on display in this NASA/ESA Hubble Space Telescope image that incorporates six different wavelengths of light. NGC 3596 is situated 90 million light-years from Earth in the constellation Leo, the Lion. British astronomer Sir William Herschel first documented the galaxy in 1784.
NGC 3596 appears almost perfectly face-on when viewed from Earth, showcasing the galaxy’s neatly wound spiral arms. These bright arms hold concentrations of stars, gas, and dust that mark the area where star formation is most active, illustrated by the brilliant pink star-forming regions and young blue stars tracing NGC 3596’s arms.
What causes these spiral arms to form? It’s a surprisingly difficult question to answer, partly because spiral galaxies are so diverse. Some have clear spiral arms, while others have patchy, feathery arms. Some have prominent bars across their centers, while others have compact, circular nuclei. Some have close neighbors, while others are isolated.
Early ideas of how spiral arms formed stumped astronomers with the ‘winding problem’. If a galaxy’s spiral arms are coherent structures, its arms would wind tighter and tighter as the galaxy spins, until the arms are no longer visible. Now, researchers believe that spiral arms represent a pattern of high-density and low-density areas rather than a physical structure. As stars, gas, and dust orbit within a galaxy’s disk, they pass in and out of the spiral arms. Much like cars moving through a traffic jam, these materials slow down and bunch up as they enter a spiral arm, before emerging and continuing their journey through the galaxy.
Text credit: European Space Agency
Image credit: ESA/Hubble & NASA, D. Thilker
For more information: science.nasa.gov/missions/hubble/hubble-comes-face-to-fac...
HOLLYWOOD - A blaze broke out Wednesday morning which consumed a vacant theater that was tucked between several other buildings on three sides. Thankfully, firefighters protected all surrounding structures without injury, and have two persons of interest being questioned.
The Los Angeles Fire Department responded to the 1400 block of North Las Palmas Avenue at 8:57 AM on Wednesday, July 13, 2022 to find a vacant two-story theater with smoke showing. Firefighters ascended ladders to the roof, and made ground-level entry to the interior of the 9,082 square-foot theater built in 1905. Shortly after, flames erupted through the roof. The Incident Commander announced a change to defensive tactics on the radio and all crews withdrew from the building.
Firefighters spent the majority of the incident in defensive operations, as heavy fire compromised the structure, making it extremely hazardous to enter. Firefighters deployed hose lines, heavy streams, and ladder pipes from the exterior of the building, and on adjacent rooftops. Despite the heavy fire load and partial structural collapse of the vacant structure, firefighters were able to successfully protect all neighboring structures (on all three sides with neighbors), including several stand-alone units of the Hollywood Center Motel, the Hollywood Guest Inn, and a multi-family residential building.
Firefighters extinguished the flames in just under two hours. This address will be red tagged by the Department of Building and Safety due to the significant structural damage. Fire investigators from LAFD's Arson/Counter Terrorism Section arrived on scene for investigation and, in coordination with LAPD, have detained one man and one woman for questioning. Thankfully, there were no injuries caused by this fire. The fire-cause investigation remains active.
LAFD Incident: 071322-0476
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Gary Apodaca
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Events as they are unfolding in the Dail this afternoon, October 3.
The proceedings can be accessed from this link Dail TV
Below is a copy of the statement released by the Labour Party leader Deputy Pat Rabbitte
HEART OF MATTER IS : ‘WAS AHERN RIGHT TO ACCEPT MONIES?’
It is fair comment that the Opposition has shown restraint in the matter of the Taoiseach accepting money for private use while a serving Minister. However, since Mr Ahern had created a context that sought to explain the Drumcondra monies in terms of his private family affairs, common decency required that opposition politicians should have demonstrated a certain restraint.
And then on Sunday I heard Minister of State, Conor Lenihan, ridicule that restraint. It was, he said, ineffectiveness, not decency, on the part of the Opposition. The suggestion was apparently that the Opposition should cut through the smokescreen to the heart of the matter. To me the heart of the matter is: was Mr Ahern right to do what he did? Is it remotely credible that monies outstanding for 13 years, without any repayment of any kind, can suddenly be called loans? You don’t need to be as bright as Minister Lenihan to know that these transactions, if they happened, were gifts and therefore there are tax implications.
Can we do more than highlight the absolute impropriety of a serving Minister for Finance accepting payment for a nixer outside the State. Never mind the “no law was broken” defence. By any standards it was wrong. What would have happened to a Senior Civil Servant in the Department of Finance if he trousered money for a private encounter in Manchester? He would be sacked. Why is it alright for the Minister but not alright for the civil servant? What does it say about this Government’s standards that not a single Cabinet Minister can bring himself or herself to say what everybody knows: that what happened at Manchester was wrong. You believe in the tooth fairy if you believe that businessmen happen along to a function in a posh hotel to listen to any old Joe Soap talk to them about the Irish economy and then organise an impromptu collection to give him something for himself.
In normal life you get gifts from your friends and you take loans from strangers. Yet Mr Ahern got loans from his friends and gifts from strangers.
Maybe Minister of State Lenihan’s derision of the Opposition is because we didn’t adequately probe behind the discreet veil drawn over the other 50,000 by Mr Ahern when he says enigmatically that he “put back into” his account. “Back into his account from where”? is the questions that must be answered. Where was the 50.000 resting since Mr Ahern didn’t have a bank account? In a sock in the hotpress? If the Taoiseach says this 50.000 was savings I accept that but if he enjoyed a T.D’s salary, a Ministerial salary and the use of a premises bought by friends of Fianna Fail, how can it be portrayed that he was in straitened circumstances?
Why if there were 50.000 in “savings” was it necessary to raise a Bank loan and if a Bank Loan was in place why was it necessary to have a whiparound to replace the Bank Loan ?
An effective Opposition doing its job must ask the Taoiseach: have you evaded tax? Why did you say you paid CGT and gift tax? Why is that relevant here? Are you serious that you had no Bank account while Minister for Finance? Did you have a Bank Account elsewhere on the Island? Or outside the jurisdiction? Or did someone else open one on your behalf? If the whiparound was among friends why is there a cheque in there for 5,000 from NCB stockbrokers? How many times have NCB been retained by the State? How many of the donors were appointed on how many occasions to state boards? Who were the donors in Manchester? What was the function? Are they involved in business in Ireland? Did any of them win state contracts? Is this another loop in the golden circle?
Our new Tanaiste is also impatient with the Opposition. On Thursday he told the House he could scarcely forbear to sit in silence and watch the Opposition squander the opportunity for accountability. Well the Tanaiste had better grow accustomed to sitting in silence. The only question he will be allowed at Cabinet after this debacle is “Bhuil cead agam dul amach?” Mr McDowell sought and got a mandate to ride shotgun on Fianna Fail standards in government. He has comprehensively failed the first test. As he said himself:
“A party that stands for nothing will stand for anything.”
If the Tanaiste can no longer ask questions aloud maybe he would ask himself what Des O’Malley would have said if the Taoiseach of the day admitted receiving money, not for political purposes, but for his private use while a serving Minister?
Forget the orchestrated phone-ins to radio stations, the unscientific polls and the packed television audiences, was it right or wrong to accept money for private use while a serving Minister? You are on the record as saying you did nothing wrong and your Cabinet Ministers without exception have parroted that line. Brian Lenihan alone said it would be unthinkable.
But all the rest Hannafin, O’Donoghue, O’Dea, Dempsey, Ahern, Coughlan, Martin and Cullen can see no wrong. If anything demonstrates why this country needs a change of government it is the media parade of your Ministers, blind to standards, defending the indefensible.
From the Official Programme
THE NATIONAL COMMEMORATION OF THE CENTENARY OF THE GALLIPOLI CAMPAIGN AND ANZAC DAY AT THE CENOTAPH, WHITEHALL, LONDON
HOSTED BY THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND IN PARTNERSHIP WITH THE HIGH COMMISSIONS OF AUSTRALIA AND NEW ZEALAND IN LONDON
On 25 April 1915 Allied soldiers landed on the Gallipoli peninsula in Turkey in one of the most ambitious amphibious assaults in history.
More than 550,000 soldiers from Britain, Ireland, France, Australia, New Zealand, the Indian sub-continent, Canada and Sri Lanka waged this historic campaign, including 400,000 from Britain alone. 58,000 Allied servicemen and 87,000 from Turkey died in this campaign.
ANZAC Day was established by Australia and New Zealand as an annual day of commemoration to remember their servicemen who died in Gallipoli. The first ANZAC Day march in London took place on 25 April 1916. ANZAC Day has been commemorated in London on 25 April every year since then.
ORDER OF SERVICE
11:00 Big Ben strikes the hour
Two minutes’ silence
The Last Post Sounded by buglers from the Band of Her Majesty’s Royal Marines
Reading by Michael Toohey, age 22, descendant of Private Thomas Toohey, Royal Dublin Fusiliers, killed in action at V beach on 25 April 1915, aged 22.
The Fallen by Laurence Binyon, 4th verse, published in The Times on 21 September 1914
They shall grow not old, as we that are left grow old: age shall not weary them nor the years condemn. At the going down of the sun and in the morning, we will remember them.
All: We will remember them.
Laying of Wreaths
After Her Majesty The Queen has laid a wreath the Massed Bands will play Elegy (1915) – in memoriam Rupert Brooke – by F S Kelly (1881–1916) and Largo by G F Handel (1685–1759).
Her Majesty The Queen lays the first wreath followed by:
The Right Honourable David Cameron, Prime Minister Great Britain and Northern Ireland
Senator the Honourable George Brandis QC, Attorney General, Commonwealth of Australia
The Right Honourable David Carter MP, 29th Speaker of the New Zealand House of Representatives
A representative of the Republic of Turkey
The Right Honourable Nick Clegg, Deputy Prime Minister Great Britain and Northern Ireland
The Right Honourable Michael Fallon, Secretary of State for Defence
The Right Honourable Sajid Javid, Secretary of State for Culture, Media and Sport
The Right Honourable Hugo Swire, Minister of State, Foreign and Commonwealth Office
Helen Grant, Minister for the First World War Centenary
Dr Andrew Murrison, Prime Minister’s Special Representative for the First World War Centenary
The Right Honourable Ed Miliband, Leader of Her Majesty’s Opposition
Keith Brown MSP, Cabinet Secretary for Infrastructure, Investment and Cities, Scottish Government
The Right Honourable Carwyn Jones, First Minister, Welsh Government
A representative of the Northern Ireland Executive
Lieutenant General Sir Gerry Berragan KBE CB, Adjutant General
Air Marshal Dick Garwood CB CBE DFC, Director General Defence Safety Authority
Vice Admiral Sir Philip Jones KCB, Fleet Commander and Deputy Chief of Naval Staff
Lieutenant General John Caligari AO DSC, Chief Capability Development Group, Australian Defence Force
Brigadier Antony Hayward ONZ, Head New Zealand Defence Staff, New Zealand High Commission
Colonel Ömer Özkan, Air Attaché, Embassy of Turkey
A representative of the People’s Republic of Bangladesh
Steven Vandeput, Minister of Defence of Belgium
His Excellency Gordon Campbell, High Commissioner for Canada
A representative of the Republic of France
A representative of the Federal Republic of Germany
His Excellency Dr Ranjan Mathai, High Commissioner for the Republic of India
His Excellency Daniel Mulhall, Ambassador of Ireland to the United Kingdom
His Excellency The Honourable Joseph Muscat, Prime Minister of the Republic of Malta
A representative of the Federal Democratic Republic of Nepal
His Excellency Muhammad Nawaz Sharif, Prime Minister of the Islamic Republic of Pakistan
His Excellency The Honourable Peter O’Neill CMG MP, Prime Minister of the Independent State of Papua New Guinea
His Excellency Mr Obed Mlaba, High Commissioner for the Republic of South Africa
A representative of the Democratic Socialist Republic of Sri Lanka
Sonata Tupou, Acting High Commissioner for the Kingdom of Tonga
The Honourable Bronwyn Bishop MP, Speaker to the Australian House of Representatives
Bill Muirhead AM, Agent-General for South Australia
Ken Smith, Trade Commissioner for Europe and Agent General for UK at Trade & Investment Queensland
Kevin Skipworth CVO, Agent-General for Western Australia
Ian Matterson, Representative of the Premier of Tasmania
Mathew Erbs, on behalf of the Agent-General for Victoria
Gary Dunn, Deputy Commonwealth Secretary General
General The Lord Richards of Herstmonceux GCB CBE DSO, Deputy Grand President, British Commonwealth Ex-Servicemen’s League
Vice Admiral Peter Wilkinson CB CVO, National President, the Royal British Legion
Right Honourable The Viscount Slim OBE DL, Returned and Services League of Australia
Colonel Andrew Martin ONZM, Royal New Zealand Returned and Services Association
Lindsay Birrell, CEO, London Legacy
Captain Christopher Fagan DL, Chairman, The Gallipoli Association
The Honourable Mrs Ros Kelly AO, Commissioner, Commonwealth War Graves Commission
Sue Pillar, Director of Volunteer Support, Soldiers’ And Sailors’ Families Association (SSAFA)
Captain Jim Conybeare, Master, The Honourable Company of Master Mariners
Lyn Hopkins, Director General, The Victoria League for Commonwealth Friendship
Sir Anthony Figgis KCVO CMG, Chairman, Royal Overseas League
Reveille sounded by buglers from the Band of Her Majesty’s Royal Marines
THE PRAYERS
Prayer by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
God our Father, we come together today to honour all those who gave themselves with great courage in service and sacrifice for their country in the Gallipoli Campaign. We pray that their example may continue to inspire us to strive for the common good, that we may build up the harmony and freedom for which they fought and died.
Help us O Lord, to lift our eyes above the torment of this broken world, and strengthen our resolve to work for peace and justice, and for the relief of want and suffering. As we honour the past, may we put our faith in your future; for you are the source of life and hope, now and forever. Amen.
Hymn led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
I Vow To Thee My Country
All:
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.
I heard my country calling, away across the sea,
Across the waste of waters, she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And around her feet are lying the dying and the dead;
I hear the noise of battle, the thunder of her guns;
I haste to thee, my mother, a son among thy sons.
And there’s another country, I’ve heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.
Prayer read by Grace van Gageldonk (14 years old) from Australia
God of compassion and mercy, we remember with thanksgiving and sorrow, those whose lives in world wars and conflicts past and present, have been
given and taken away.
Enfold in your love, all who in bereavement, disability and pain, continue to suffer the consequences of fighting and terror; and guide and protect all those who support and sustain them. Amen.
National anthem Advance Australia Fair
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
Australians all let us rejoice,
For we are young and free;
We’ve golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature’s gifts
Of beauty rich and rare;
In history’s page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
‘Advance Australia Fair’.
Prayer read by Kathryn Cooper (11 years old) from New Zealand
God of hope, the source of peace and the refuge of all in distress, we remember those you have gathered from the storm of war into the everlasting peace of your presence; may that same peace calm our fears, bring reconciliation and justice to all peoples, and establish lasting harmony among the nations.
We pray for all members of the armed forces who strive for peace and fight for justice today; bless and keep their families and friends at home awaiting their return. Help us, who today remember the cost of war, to work for a better tomorrow, and bring us all, in the end, to the peace of your presence; through Jesus Christ our Lord. Amen.
National anthem God Defend New Zealand
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
E Ihowā _Atua,
O ngā _iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō _atawhai;
Manaakitia mai
Aotearoa
God of Nations at Thy feet,
in the bonds of love we meet,
hear our voices, we entreat,
God defend our free land.
Guard Pacific’s triple star
from the shafts of strife and war,
make her praises heard afar,
God defend New Zealand.
Reading Atatürk’s message to bereaved pilgrims, 1934, read by Ecenur Bilgiç (14 years old) from Turkey
Those heroes that shed their blood and lost their lives…
You are now lying in the soil of a friendly country. Therefore rest in peace.
There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours…
You, the mothers, who sent their sons from faraway countries, wipe away your tears; your sons are now lying in our bosom and are in peace, after having lost their lives on this land they have become our sons as well.
National anthem İstiklal Marşı (The Independence March)
Led by Burak Gülşen from Turkey, accompanied by the Massed Bands
Korkma, sönmez bu şafaklarda yüzen al sancak;
Sönmeden yurdumun üstünde tüten en son ocak.
O benim milletimin yıldızıdır, parlayacak;
O benimdir, o benim milletimindir ancak.
Çatma, kurban olayım, çehreni ey nazlı hilal!
Kahraman ırkıma bir gül! Ne bu şiddet, bu celal?
Sana olmaz dökülen kanlarımız sonra helal…
Hakkıdır, Hakk’a tapan, milletimin istiklal!
Fear not! For the crimson flag that flies at this dawn, shall not fade,
As long as the last fiery hearth that is ablaze in my country endures.
For that is the star of my nation, which will forever shine;
It is mine; and solely that of my valiant nation.
Frown not, I beseech you, oh thou coy crescent!
Come smile upon my heroic race! Why this rage, this fury?
The blood we shed for you shall not be blessed otherwise;
For independence is the absolute right of my God-worshipping nation.
Remembering Gallipoli a commemoration created by Michael McDermott
Music composed by Michael McDermott
Reading by James McDermott (17 years old) from the United Kingdom
The Attack at Dawn (May, 1915) by Leon Maxwell Gellert (1892–1977)
‘At every cost,’ they said, ‘it must be done.’
They told us in the early afternoon.
We sit and wait the coming of the sun
We sit in groups, — grey groups that watch the moon.
We stretch our legs and murmur half in sleep
And touch the tips of bayonets and yarn.
Our hands are cold. They strangely grope and creep,
Tugging at ends of straps. We wait the dawn!
Some men come stumbling past in single file.
And scrape the trench’s side and scatter sand.
They trip and curse and go. Perhaps we smile.
We wait the dawn! … The dawn is close at hand!
A gentle rustling runs along the line.
‘At every cost,’ they said, ‘it must be done.’
A hundred eyes are staring for the sign.
It’s coming! Look! … Our God’s own laughing sun!
Closing prayers by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
Eternal God,
from whom all thoughts of truth and peace proceed;
Kindle, we pray, in the hearts of all, the true love of peace
and guide with your pure and peaceable wisdom
those who take counsel for the nations of the world,
that in tranquillity your kingdom may go forward,
and all people may spend their days in security, freedom and peace;
through Jesus Christ our Lord. Amen.
Merciful God
we offer to you the fears in us
that have not yet been cast out by love:
may we accept the hope you have
placed in the hearts of all people,
and live lives of justice, courage and mercy;
through Jesus Christ our Lord. Amen.
The Lord’s Prayer
All:
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come, thy will be done;
on earth as it is in heaven.
Give is this day our daily bread.
And forgive is our trespasses,
And forgive us our trespasses,
as we forgive those that trespass against us.
And lead is not into temptation;
but deliver us from evil.
For thine is the kingdom,
the power and the glory,
fro ver and ever. Amen.
The Blessing
God grant to the living grace, to the departed rest,
to the Church, the Queen, the Commonwealth and all people,
unity, peace and concord,
and to us and all God’s servants, life everlasting;
and the blessing of God almighty,
the Father, the Son and the Holy Spirit,
be among you and remain with you always. Amen.
National anthem God Save the Queen
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
God save our gracious Queen,
Long live our noble Queen.
God save the Queen!
Send her victorious,
Happy and glorious,
Long to reign over us;
God save the Queen!
They Are At Rest by Sir Edward Elgar (1857–1934), sung by the Choirs of Chelmsford Cathedral (unaccompanied)
THE MARCH PAST
Contingents from:
The Royal Navy
HMS QUEEN ELIZABETH
The Fleet Air Arm
The Submarine Service
Hybrid (HMS OCEAN, HMS ALBION,
Britannia Royal Naval College)
The Royal Marines
Maritime Reserves (Royal Navy
and Royal Marines Reserves)
Representatives from the Armed Forces of other countries who fought at Gallipoli
invited to join the March Past:
Australia
New Zealand
Canada
Turkey
India
Germany
Ireland
France
Bangladesh
Pakistan
South Africa
Papua New Guinea
Tonga
The Gallipoli Association
Naval Services Associations
The Royal Naval Association
The Royal Marines Association
Army Units and their Associations
The Royal Regiment of Artillery
The Royal Corps of Engineers
The Royal Regiment of Scotland
The Princess of Wales’ Royal Regiment
The Duke of Lancaster’s Regiment
The Royal Regiment of Fusiliers
The Royal Anglian Regiment
The Yorkshire Regiment
The Mercian Regiment
The Royal Welsh
The Royal Irish Regiment
The Royal Gurkha Rifles
The Rifles
The Royal Logistics Corps
The Royal Army Medical Corps
The Royal Army Veterinary Corps
The Royal Yeomanry
The Royal Wessex Yeomanry
The Scottish and North Irish Yeomanry
The London Regiment
Court & City Yeomanry Association
In-Pensioners of the Royal Hospital Chelsea
The Turkish Air Force Band plays Marche Mustafa Kemal Atatürk by Fazıl Çağlayan
Followed by: Descendants of those whose ancestors were involved in the Gallipoli campaign and others who march past the Cenotaph every year to commemorate Anzac Day.
www.easyvegan.info/2008/09/10/kinship-circle-animal-evacu...
---------- Forwarded message ----------
From: Kinship Circle - kinshipcircle [at] accessus.net
Date: Wed, Sep 10, 2008 at 2:42 PM
Subject: Animal Evacuations In A Post-Katrina World
KINSHIP CIRCLE PRIMARY / LOUISIANA’S FIRST ANIMAL EVACUATIONS, POST-KATRINA
Dear Kinship Circle Primary,
Please except our apologies for the lack of alerts in recent weeks. We were in New Orleans from 8/27 to 9/1, assisting with animal evacuations after Hurricane Gustav. We’ve continued to manage volunteers, working with MuttShack Animal Rescue on post-Gustav issues -- and are on standby to help animals in Hurricane Ike, if necessary. Gratefully, hurricane season won’t last much longer...so we can resume animal advocacy alerts! Kinship Circle
9/10/08: Hurricane Gustav - Photo Log
It was surreal. We shifted from awards mode to action mode as Hurricane Gustav loomed behind the Katrina Animal Memorial 8/29/08 in New Orleans. When Humane Society of Louisiana's magical day ended, Kinship Circle set-up a volunteer intake table to assist MuttShack Animal Rescue for the evacuation of pets with their people. The Louisiana State Animal Response Team (LSART) implemented a system for animal evacuations -- that did not exist during Katrina. Photos courtesy of Kinship Circle.
Kinship Circle receives a Pioneer Spirit Award for its work in the Gulf Coast.
Jeff Dorson, executive director, Humane Society of Louisiana and host of the Katrina Animal Memorial 2008.
===========================
Louisiana Animal Evacuations In A Post-Katrina World
===========================
HURRICANE GUSTAV ANIMAL EVACUATIONS
August 28-31, 2008: Kinship Circle volunteers joined other LSART partner organizations/individuals to work at pre-designated sites where people could evacuate with their animals from 12 coastal parishes.
MUTTSHACK AND KINSHIP CIRCLE
MuttShack Animal Rescue -- on the ground pre-Gustav to help in many capacities -- enlisted Kinship Circle to coordinate volunteers. MuttShack provided animal transport trucks and helped Parish Pickup Points (PPPs) before/during evacuations. Kinship Circle commends MuttShack for its professionalism and dedication to animals during disasters.
Volunteers associated with Kinship Circle (pre/post-Gustav) include: Cheri Deatsch, Kim Lea, Adrienne DeArmas, Kim Johnson, Robyn Urman, Teri Meier, Sandy Lynn, Kylie Shafferkoetter, Ghen Dennis, Sarah Rose, Lisa Roussel, Tracie Dawson, June Towler, Joanne Greene, Debby Osburn, Jim York, Kristy McShan, Sandi Corrado, Jeanne Develle... This list is by no means inclusive. We are grateful to ALL who committed their time and energy to the most innocent disaster victims -- the animals.
LOUISIANA STATE ANIMAL RESPONSE TEAM (LSART)
LSART is an organization that includes governmental agencies, veterinarians, animal control officers, humane organizations, and citizen volunteers with an interest in animal well-being related to emergencies or disasters.
KINSHIP CIRCLE ANIMAL DISASTER AID NETWORK
We’re a network of independent volunteers who communicate during disasters to mobilize volunteers, supplies, and other resources for animal victims. Kinship Circle may work directly at disaster sites or in conjunction with other groups. We also provide news and updates during disasters.
www.kinshipcircle.org/disasters
===========================
Union Station, Loyola Street, New Orleans
===========================
This Shitzu pup reminded me so much of my Lhasa Apso Mandy, I became fast friends with her mom. Evacuees appreciated comforting words and smiles.
Brenda Shoss, Kinship Circle
At PPPs, we tagged animals with numbered bands that matched wristbands worn by their people -- in case they became separated, as happened to stranded animals after Katrina. After detailed paperwork, evacuees boarded buses with small animals on their laps. Large animals traveled in airline carriers on climate-controlled trucks. Animals and people went to a "Mega Shelter" in Shreveport, Louisiana, where they stayed side by side.
Animals under 15 pounds (exotics, cats, small dogs) could ride with their people on buses. We let as many of the little guys as possible evacuate on familiar laps. (I’m fairly certain some weighed over 15 pounds).
This burly New Orleans police officer (right) brought in his Shitzu and bunny rabbit, Teddy! We also registered an iguana, several birds, and some residents with eight or more cats (who mostly traveled on laps and burrowed inside carriers...so no cat photos).
First responders, such as the police officer above, evacuated their companion animals while they remained on the ground for Gustav. During intake, some evacuees recalled fur kids lost to Katrina, when officials refused to let them board buses or helicopters with their animals.
This resident was so sad to separate from his dogs, especially Ms. Prissy, he cried in our arms as we assured him they’d reunite at the shelter.
===========================
An Empty City On The Eve Of A Hurricane
===========================
5:00pm on Sunday, 8/31/08 -- With Gustav imminent, we registered stragglers. Rosemarie Jarreau’s family arrived late with 10 dogs to band and register. All buses had left and a final Amtrac train waited for them at Union Station.
Rosemarie Jarreau and her son Devontay Jenkins hug their puppies at an emergency pet evacuation center before boarding the last Amtrac train to depart New Orleans, Louisiana, enroute to Memphis, Tennessee, August 31, 2008, after a mandatory evacuation was ordered ahead of Hurricane Gustav.
news.aol.ca/article/no-pets-left-behind-in-new-orleans-ev...
HOUR-54: Parish pickup points open. Volunteers report for duty.
HOUR-30: Contra-flow begins. Police control flow of traffic out of city only.
Only credentialed responders can enter.
HOUR-12: All volunteers evacuate. Can load animals until H-12
Kinship Circle's Cheri Deatsch and Kim Lea joined Brenda and her husband Grady to help city-assisted evacuees with animals -- working alongside LSU students, EARS, ARNO, LSPCA, Humane Society of Missouri. HSUS dropped by after we'd wrapped operations, to photograph some animals...
===========================
No Animals Left Behind?
===========================
Gustav made landfall as a Grade 3 hurricane on Monday, 9/1/08. WERE ANIMALS LEFT BEHIND? There are always gaps in a first-time system. While we didn't see the hundreds of thousands of animals who suffered after Katrina, phone calls flowed in about animals confined in homes, tethered in backyards, or seen roaming. A week after evacuations in harder-hit southeastern Louisiana animals were seen hungry, wandering...some dead. What went wrong?
Mainly, it seems, there was a communication discrepancy between Parish Emergency Planners and citizens within their communities.
At Parish Pickup Points, only volunteers registering animals asked: “Did you leave any animals behind?” It was suggested that volunteers ask people-only evacuees the same question.
Finally, the complexity of instructions regarding animal evacuations may have overwhelmed some. Animal caretakers were told to bring carriers and vaccinated animals (with veterinary papers). In fact, animals were placed in donated cardboard carriers or mesh "pet purses" to sit atop laps on buses. Larger animals traveled inside airline carriers. If some issues had been better clarified, more evacuees might have arrived with their animals.
===========================
Kinship Circle Animal Disaster Aid Network was enlisted to coordinate volunteers for Gustav/Ike evacuations and aftermath. DONATIONS are greatly appreciated to help cover our nationwide communications.
DONATE ONLINE: www.kinshipcircle.org/donation/
DONATE BY MAIL: Kinship Circle * 7380 Kingsbury Blvd. * St. Louis, MO 63130
Kinship Circle is a 501c3 nonprofit animal advocacy organization.
All donations are tax-deductible.
Action Campaigns I Literature I Animal Disaster Aid Networking
info [at] kinshipcircle.org or kinshipcircle [at] accessus.net
www.kinshipcircle.org/disasters/
**************************
UNSUBSCRIBE:
* Select a Kinship Circle ALERT received in your mailbox
* Hit "FORWARD"
* Enter kinshipcircle [at] accessus.net
* Type UNSUBSCRIBE in your subject line and hit send
SUBSCRIBE:
Kinship Circle Primary: subscribe [at] kinshipcircle.org
Action campaigns on animal cruelty issues worldwide
Kinship Circle Animal Disaster Aid Network: kinshipcircle [at] accessus.net
Animal rescue coordination/news in disasters + companion animal alerts
Nikon D810 Photos Misty Malibu Morning! Dr. Elliot McGucken's Hero's Odyssey Fine Art Landscape Photography! The breaking Malibu mist was epic!
The trees slowly appeared though the rising mist as the sun burned through the fog! The big tree was magical on that Malibu morning!
Hero's Odyssey Fine Art Landscape & Nature Photography for Los Angeles Gallery Show !
Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!
And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!
The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)
Some (almost) final edits for my Los Angeles Gallery Show! Here's how I do it:
Print: Fuji Crystal Lightjet Metallic front-mounted to 1/4" Acrylic.
Acrylic: 1/4" with regular polished edge
Backing: White aluminum 3mm
Hanging Mechanism: Silver aluminum float box
I'll be using the top-of-the-line, museum-quality gallery format consists of the highest-quality prints on Fujicolor Crystal Archival Paper, front-mounted to UV-resistant protective acrylic, backed by a solid aluminum sheet, and fastened to an aluminum silver frame "float box" for mounting on the wall.
Wish you all could come (and hang out with the goddesses)!
Let me know your favs.!
New Instagram!
Videos!
I booked a major photography show at a major LA gallery in December! Will also be giving some lectures on the story--the Hero's Odyssey Mythology--behind the photography!
Follow me on facebook!
www.facebook.com/elliot.mcgucken
Preparing for some gallery shows this fall to celebrate 300,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D8010 with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Odyssey Mythology Photography!
Epic Scenic HDR Landscapes Shot with Nikon D810: Hero's Odyssey Mythology Photography!
Three-Seven exposures @ 1EV finished in photomatix.
Enjoy the Hero's Odyssey Mythology Photography, and all the best on a hero's odyssey of your own making!
High Dynamic Range (HDR) photos rock in capturing the full dynamic range of the scene!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Nikon D810 Sunset Photos of Malibu Sea Cave! Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show !
45SURF Hero's Odyssey Mythology Photography
Homer's Odyssey: Tell me, O muse, of that ingenious hero who travelled far and wide. . . Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; --Homer's Odyssey translated by Samuel Butler
join my new facebook page! www.facebook.com
Feel free to ask any questions about composing, shooting, finishing, mounting, and presenting Fine Art Photography! :)
All the Best on your Epic Hero's Odyssey from Johnny Ranger McCoy! The reflections of the reeds are titled "The Rage of Achilles!" :) Enjoy!
Big Sur Breaking Storm! Dr. Elliot McGucken Fine Art Landscape Photography
Join my new Instagrams:
instagram.com/johnnyrangermccoy
All the best on your Epic Hero's Odyssey from Johny Ranger McCoy!
28 February 2020, Rome Italy - FAO Director-General QU Dongyu attends a press question time briefing with Italy’s Minister for Technological Innovation and Digitalization, Paola Pisano, Microsoft President Brad Smith, IBM Executive Vice President John Kelly III and Archbishop Vincenzo Paglia, following a Signing Ceremony and conference on Artificial Intelligence at Rome's Auditorium della Conciliazione. The FAO Director-General Qu joined Italy’s Minister for Technological Innovation and Digitalization, Paola Pisano, Microsoft President Brad Smith and IBM Executive Vice President John Kelly III in signing the “Rome Call for AI Ethics” in a ceremony presided by Archbishop Vincenzo Paglia, President of the Pontifical Academy for Life. European Parliament President Davide Sassoli was also in attendance.
Photo credit must be given: ©FAO/Alessandra Benedetti. Editorial use only. Copyright ©FAO.
Documenta Kassel
------------------
This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @
#biennial #biennale #emergencyart #ultracontemporary
Andrea Zittel (born 1965) is an American artist based in Joshua Tree, CA whose practice encompasses spaces, objects and modes of living in an ongoing investigation that explores the questions "How to live?" and "What gives life meaning?"
Her work has been described as an "expansive approach to art and space making, creating social sculptures that traverse boundaries between art, architecture, design and technology." Her installations, wearables and sculptures transform the necessities of daily living, such as eating, socializing, sleeping and bathing, "into artful experiments and scenarios for new ways of living.”
In the early 1990s, Zittel began making art in response to her own surroundings and daily routines, creating functional objects relating to shelter, furniture, and clothing "in an ongoing endeavor to better understand human nature and the social construction of needs." It was then she began working under the name "A-Z Administrative Services," which evolved into the A-Z Enterprise that continues to encompass all aspects of day-to-day living. Home furniture, clothing, food all become the sites of investigation in an ongoing endeavor to better understand human nature. Zittel reconsiders the significance of given social structures, revealing that what may seem fixed and rational is often arbitrary. "What I'm interested in," Zittel said, "is that each person examines his own goals, talents and options, and then based on these begins to invent new models or roles to fulfill his or her needs." From Zittel's 2005 manifesto:
"What makes us feel liberated is not total freedom, but rather living in a set of limitations that we have created and prescribed for ourselves."
(Wikipedia)
www.etsy.com/listing/85381310/black-swan-zine-book-print?...
I was watching an interview with the Rodarte Sister and the stylest for Black Swan. It was very interesting when they pointed out how the colors in Nina's (nathalie portman) clothing change through out the film. In the beginning she wears mostly pink with some blues and purple. Then in the middle she brings in brown into her wardrobe. And all the way to the end she wears black. I thought it would be cool to make a zine of Black Swan!
Info: print, 8"x5.5", 6 pieces of paper that are double sided, comes with my signature on the back.
Illustrations:
-there are ten illustrations
- A lot of cute and fun pages including: plain credits for the lead actors, Bio on Nina (Nathalie Portman's character), Nina's wardrobe, Quote from the movie(" I just want to be perfect"), illustration with subtitles and a few other pretty illustrations from photo's i found on tumblr.
If you have any comments or questions, please contact me :)
And if you have an request for a movie or a fashion icon zine, let me know!
Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.
The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]
Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]
Contents
1 Biography
1.1 Early life and studies
1.2 Adulthood and literary career
1.3 Exile, later life and death
2 Character and style
3 Adaptation
4 Works
5 See also
6 References
7 External links
Biography
Early life and studies
Childhood home in Romanów
Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.
Adulthood and literary career
Photograph of Kraszewski taken before 1886
In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]
Exile, later life and death
In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]
Character and style
An Ancient Tale by Kraszewski, 1876
In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."
Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".
Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.
Page from Kraszewski's 1875 novel Brühl
In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]
Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).
Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.
Adaptation
In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.
Works
Józef Ignacy Kraszewski
Sceny i charaktery z życia powszedniego (1878)
Barani Kożuszek (1881)
Biografia Sokalskiego organisty Kotlety
Boża czekoladka (1858)
Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku
Bracia rywale
Bratanki
Brühl (1874)
Budnik (1847)
Całe życie biedna
Caprea i Roma (1859)
Cet czy licho?
Chata za wsią (The Cottage outside the Village, 1842)
Czarna Perełka (1871)
Czasy kościuszkowskie
Czercza mogiła
Cześnikówny
Cztery wesela
Diabeł (1855)
Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)
Dwa światy (1856)
Dziad i baba
Dziadunio (1868)
Dzieci wieku (1857)
Dziecię Starego Miasta (1863)
Dziennik Serafiny (1876)
Dziwadła
Emisariusz
Ewunia
Głupi Maciuś
Grzechy hetmańskie. Obrazy z końca XVIII wieku
Herod baba
Historia kołka w płocie (1860)
Historia o bladej dziewczynie spod Ostrej Bramy
Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)
Historia Sawki (1842)
Hołota
Hrabina Cosel (1873, e-book)
Interesa familijne
Jak się pan Paweł żenił i jak się ożenił
Jaryna (1850)
Jermoła (Iermola, 1857)
Jesienią
Kamienica w Długim Rynku
Kartki z podróży
Kawał literata (1875)
Klasztor
Klin klinem
Komedianci
Kopciuszek
Kordecki
Kościół Świętomichalski w Wilnie
Król i Bondarywna. Powieść historyczna
Krzyż na rozstajnych drogach
Krzyżacy 1410
Kunigas (1881)
Kwiat paproci
Lalki: sceny przedślubne
Latarnia czarnoksięska (1843–1844)
Listy do rodziny
Lublana
Ładny chłopiec
Ładowa Pieczara (1852)
Macocha
Maleparta
Męczennicy. Marynka
Męczennicy. Na wysokościach
Milion posagu
Mistrz Twardowski (1840)
Mogilna. Obrazek współczesny
Morituri (1874–1875)
Moskal: obrazek współczesny narysowany z natury (1865)
Na bialskim zamku
Na cmentarzu – na wulkanie
Na tułactwie
Na wschodzie. Obrazek współczesny (1866)
Nad modrym Dunajem
Nad Sprewą
Nera
Niebieskie migdały
Noc majowa
Ongi
Orbeka
Ostap Bondarczuk (1847)
Ostatni z Siekierzyńskich (1851)
Ostrożnie z ogniem
Pałac i folwark
Pamiętnik Mroczka (1870)
Pamiętnik panicza
Pamiętniki
Pan i szewc
Pan Karol
Pan Major
Pan na czterech chłopach (1879)
Pan Walery
Panie kochanku: anegdota dramatyczna w trzech aktach
Papiery po Glince
Pod Blachą: powieść z końca XVIII wieku (1881)
Poeta i świat (1839)
Polska w czasie trzech rozbiorów 1772–1799
Pomywaczka: obrazek z końca XVIII wieku
Powieść bez tytułu (1854)
Powrót do gniazda (1875)
Półdiablę weneckie
Profesor Milczek
Przed burzą
Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego
Pułkownikówna
Ramułtowie
Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis
Resurrecturi
Resztki życia
Roboty i prace: sceny i charaktery współczesne
Rzym za Nerona (1865)
Sąsiedzi
Sceny sejmowe. Grodno 1793 (1873)
Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana
Serce i ręka (1875)
Sfinks (1847)
Sieroce dole
Skrypt Fleminga
Sprawa kryminalna
Stara baśń (An Ancient Tale)
Stańczykowa kronika od roku 1503 do 1508 (1841)
Stara Panna
Staropolska miłość
Starosta warszawski: obrazy historyczne z XVIII wieku
Starościna Bełska: opowiadanie historyczne 1770–1774
Stary sługa
Sto Diabłów
Syn marnotrawny (1879)
Szalona (1880)
Szaławiła
Szpieg (1864)
Śniehotowie
Tomko Prawdzic
Trapezologion
Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go
Tułacze (1868)
U babuni
Ulana (1842)
W baśń oblekły się dzieje
W pocie czoła. Z dziennika dorobkiewicza (1884)
W starym piecu
Warszawa 1794 (1873)
Wielki nieznajomy
Wielki świat małego miasteczka
Wilczek i wilczkowa
Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września
Wspomnienia Wołynia, Polesia i Litwy
Z chłopa król
Z siedmioletniej wojny (1875)
Z życia awanturnika
Zadora
Zaklęta księżniczka
Zemsta Czokołdowa
Złote jabłko
Złoty Jasieńko
Zygmuntowskie czasy. Powieść z roku 1572 (1846)
Zygzaki
Żacy krakowscy w roku 1549 (Kraków Students in 1549)
Żeliga
Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)
Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski
Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)
Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)
Adama Polanowskiego dworzanina króla Jegomości Jana III notatki
Bajbuza: czasy Zygmunta III
Banita: czasy Stefana Batorego
Biały książę: czasy Ludwika Węgierskiego
Boleszczyce: powieść z czasów Bolesława Szczodrego
Boży gniew: czasy Jana Kazimierza
Bracia Zmartwychwstańcy: powieść z czasów Chrobrego
Dwie królowe
Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku
Infantka
Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta
Jelita: powieść herbowa z r. 1331
Kraków za Łokietka: powieść historyczna
Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego
Król Piast: (Michał książę Wiśniowiecki)
Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego
Lubonie: powieść z X wieku
Masław
Matka królów: czasy Jagiełłowe
Na królewskim dworze: czasy Władysława IV
Pogrobek: powieść z czasów przemysławowskich
Saskie ostatki: August III
Semko: czasy bezkrólewia po Ludwiku
Jagiełło i Jadwiga
Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego
Stara baśń (An Ancient Tale, 1876)
Strzemieńczyk: czasy Władysława Warneńczyka
Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego
Waligóra: powieść historyczna z czasów Leszka Białego
Za Sasów
From the map:
"The Town of Leesburg laid out. being on part of Col Nichlas Minors Land was Established by act of Assembly in the year 1759. Jn Hough" For more on Leesburg's founding, see "A Brief History of Leesburg" on the Town of Leesburg's webpage.
The original resides in Loudoun County Clerk of the Circuit Court Archives
***
To view a larger version of the map, right click on the map and choose a different size. For directions on how to download a map, our contact information, and answers to other questions, please click here.
Posted By Norman Reedus (Daryl Dixon) - 4 Questions from Kojima's Naked Norman Reedus Game, 'Death Stranding' | Heat Street t.co/pO2VFgvNks #DarylDixon #TWD #NormanReedus #TheWalkingDead June 16, 2016 at 03:17PM
Source: walkingdead.affiliatebrowser.com/4-questions-from-kojimas...
07/07/2021. London, United Kingdom. Prime Minister Boris Johnson leaves 10 Downing Street for Prime Ministers Questions at the Houses of Parliament. Picture by Simon Dawson / No 10 Downing Street
..\description_code.txt
Description:
ITEM Identifier: 87-M130, 66o.
Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.
Repository: Schlesinger Library on the History of Women in America.
Collection: Elisabeth Coit Papers
Call Number: 87-M130
Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565
Questions? Ask a Schlesinger Librarian
To the Zion Narrows and Wall Street! Sony A7RII Fine Art Zion National Park Autumn Winter Hike! Dr. Elliot McGucken Fine Art Landscape Photography!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
みーとぅー、やってみたよ。
色味しっぶいな。
Simply type your answer to each of the questions below into Flickr search.
Then, using only the first page, pick an image.
Then, copy and paste each of the URLs for the images into this mosaic maker:
www.bighugelabs.com/flickr/mosaic.php
1. What is your first name? Tomo
2. What is your favorite food? curry
3. What high school did you go to? musashi
4. What is your favorite color? green
5. Who is your celebrity crush? 椎名林檎
6. Favorite drink? tea
7. Dream vacation? nowhere
8. Favorite dessert? ビスコ
9. What you want to be when you grow up? paleontologist
10. What do you love most in life? cat
11. One Word to describe you. optimist
12. Your flickr name. tomoto,
1. Tomo-05-03, 2. Mom's Pineapple Prawns Curry, 3. Musashi, 4. Green coat - canon eos 550d, 5. 我要推這張-椎名林檎 - 私と放電, 6. tea time, 7. Nowhere man., 8. 昭和45年ごろのビスコ, 9. Junior Paleontologists 2009, 10. Cat / Animals / Kitten / Photography, 11. optimist , 12. tomoto, group gift