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One of the reasons I purchased the Canon 7D over the 60D was the ability to dial in some microadjustment. This was a feature lacking in my older 40D as well, and something I struggled with on prime lenses wide open. Here is the result of about 1 minutes effort to fine tune my Canon 50mm f/1.4 prime. This was shot about 4' away from the camera, with focus using the spot focus mode on the handwritten word 'photo'. That is the center of the image, and I've zoom in to show the difference. Left is the result with the lens adjustment set to +3, right is at the default of '0'.
Vive la difference! To the right you can see the results that I would usually get on my 40D and why make people feel this lens isn't sharp wide open. You can see this using live view - focus using the body, then magnify - I can get it a lot sharper than using AF (until it is properly adjusted)!
The reason for my visit to Al Kharj was to check out the so called " Meteor Craters" and seriously these craters are massive. I mean when you look at this picture compare the size of the whole crater with the jeep at the other end of the crater.
Ok coming back to my story , so we were told that like around 20 years ago a bunch of meteors fell here that created these massive craters. Not until recently when I was travelling back from Saudi Arabia I read in the in-travel magazine on the plane that these craters infact are abandoned wells they used to be functional a long time back and if Iam not wrong were used for irrigation and all.
What struck me about this place was the sheer neglect and dilapidation that was going on at this sight. This place could be developed into a decent tourist attraction but on the other hand its kind of rotting away in neglect. There is graffiti everywhere as you can see over here right to the left. There isnt any fencing around the whole rim of the well which makes it really dangerous also because the well is really really deep , when you look inside you can see bats and birds flying way deep inside it
In Arabic this place is known as "Ayoun as Seeh"
For whatever reason, 19308 had a functioning blind but was unable to display the 9 to/from Birchwood, so a paper route number in the windscreen saves the day while Stagecoach East Midlands (with the old logo) is shown above. It turns off Pelham Bridge to curve back round to the bus station on 26.1.21
Over night, the snow arrived...I am happy now. I love that muffled sensation, the quiet illusion of peace...
For some reason the type in the menu bar of Mac OS X 10.8 Mountain Lion never gets subpixel smoothing, regardless of the “LCD font smoothing” settings in System Preferences. As such, the type in the menu ends up looking much lighter and weaker, even on a Retina display.
View the full size image to get the most detail.
Screenshot made in Mac 10.8.1 on a 15″ MacBook Pro with Retina display.
Castle Combe has been called 'The Prettiest Village in England' and with good reason; visitors have been coming to enjoy its charms for at least a century and the small street leading from the Market Cross down to the By Brook is as picturesque today as it ever was.
In more recent times the village has played host to many filming activities, the most famous of these being ‘Doctor Doolittle’ filmed in and around the village in 1966. More recently the village has had a major role in 'War Horse', 'Stardust' and 'The Wolf Man'. The village is also a sanctuary to wildlife as it is a conservation area and enjoys the beauty of nature at its very best.
The village houses are all of typical Cotswold type, constructed in stone with thick walls and roofs made from split natural stone tiles. The properties are many hundreds of years old and are listed as ancient monuments. Strict rules apply to preserve the beauty and character of Castle Combe for later generations to admire.
Castle Combe is situated on the southern-most edge of the Cotswolds and is approximately 12 miles from the Georgian city of Bath.
So, here it is, the reason I drove across Norfolk: Trunch in all it's glory And it is glorious.
It has so many fascinating details, each one alone would be reason enough to visit, but together, in a fine village, next to the village pub, and with that font canopy, one of only four such in all of England, and one of two in the county.
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The oldest building in Trunch is St. Botolph's Church. It is mainly 14th. and 15th. Century but there are some fragments of stone in the walls which are believed to have been reused from an earlier Saxon church, which was recorded in the Domesday Book. There is much of interest in the church including a Rood Screen, a hammer beam roof and a rare Font Canopy.
trunchhistory.weebly.com/buildings.html
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The large village of Trunch is located about 5 miles from the north Norfolk coast. In the centre of the village, surrounded by a lovely collection of cottages and the more modern Crossroads Inn, is St Botolph's church. Much of what you see of the church is early 15th century, built upon earlier foundations.
Upon entering the church the first feature you will see is the font, which dates to the mid 14th century. Though the font is attractive, it is the carved and painted font canopy that really makes a visit to Trunch worthwhile.
This is a quite remarkable piece of woodwork, one of only four such canopies surviving in the entire country (the others are at St Peter Mancroft in Norwich, Durham Cathedral, and Luton). The canopy is supported on six beautifully carved legs. The carving detail is exquisite; with fanciful animal figures and foliage and a bit of political commentary, in the shape of a pig wearing a bishop's mitre.
In addition to the font canopy, Trunch features a superb 15th century hammer beam roof, a feature of many churches in Norfolk and Suffolk. Here the carvings of angels are beautifully performed. It is worth bringing along a pair of binoculars or a telescope in order to see the carvings properly.
Much easier to see are the medieval misericords (mercy seats) in the chancel. Each carving is unique; some represent angels, and others are more grotesque in nature. In addition there are some beautifully carved pew ends and a painted medieval rood screen that rivals many more famous churches in detail and colour.
There are 12 niches in the screen, each painted with a depiction of a single figure - 11 disciples plus St Paul. Much of the costume detail is well preserved, but the faces of the figures were destroyed during the upheavals of the Protestant Reformation in the 16th century.
www.britainexpress.com/counties/norfolk/churches/Trunch.htm
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William Earl Warren had the lordship of this town, (fn. 1) of which 3 freemen were deprived; one of them belonged to Herold, late King of England, another to Ralph Stalre, and the 3d to Ketel, who held 90 acres of land, and 14 borderers belonged to it, with 5 carucates among them; there was a church endowed with 10 acres, &c. 3 acres of meadow always valued at 30s. and there were also 5 freemen of Edric in King Edward's time, who had 34 acres of land, with 2 carucates, 2 acres and an half of meadow, always valued at 7s. 4d. (fn. 2)
This town also belonged to the Earl Warren's capital manor of Gimmingham, and paid suit and service to it. In the 34th of Henry III. Maud de Norwich granted by fine, to Richer, son of Nicholas, a messuage, 48 acres of land, a mill, and the sixth part of another in this town, Swathefeld and Bradfeld. In the 15th of Edward I. the Earl Warren claimed a weekly mercate, on Saturday, in this manor; and on the death of John Earl Warren, in the 21st of Edward III. the mercate was valued at 10s. per ann. the manor came after to the Earl of Lancaster, (as is before observed,) and so to John of Gaunt Duke of Lancaster, and King Henry IV. and is still in the Crown, as part of the dutchy of Lancaster.
The tenths were 4l. 10s. deducted 15s.
The Church is dedicated to St. Botolph, and is a regular pile, with a nave, 2 isles, and a chancel covered with lead, and has a tower with 4 bells.
In the chancel, on a little monument,
Lancelotus Thexton cappellanus Regis Edw. VI. sacre theologie baccalaureus, et rector de Trunch obt. 25. Febr. 1588, and this shield of arms, quarterly, in the first and fourth a cross between four lions heads erased, gules, in the 2d and 3d, ermine, fretty, azure.
In a window here, argent, a fess between two chevrons, sable.
On a gravestone
Hic jacet Magr. Robt. Cantell, quo'd. rector isti. ecclie, qui. obt. 1 Sept. Ao. Dni. 1480.
Gravestones
In memory of Thomas Worts, gent. who died November 13, 1693, aged 45, with his arms, three lions rampant, - - - — William Worts. gent. who married Elizabeth, daughter of Riches Brown of Fulmodeston, Esq. died August 25, 1694, aged 60, with the arms of Worts impaling Brown; two bars, between three spears heads, - - -
¶The patronage of the church was granted to the priory of Castleacre, by William Earl Warren, the first on his founding that priory. In the reign of Edward I. the rector had a manse, and 13 acres of land valued at 16 marks, Peter-pence 13d. and the prior of Castleacre had a pension or portion of tithe valued at 40s. the present valor is 10l. 13s. 4d. and pays first fruits, &c. the Norwich registers say that William, the second Earl Warren, granted the patronage, and Eborard Bishop of Norwich, confirmed it; and that Simon the Bishop confirmed the pension in 1268.
www.british-history.ac.uk/topographical-hist-norfolk/vol8...
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Trunch is the largest of the villages between North Walsham and the sea; but as all the industrialisation and tawdry caravan sites are hard against the coast, and Trunch is several miles inland, it has avoided these excesses and retains a great rural charm. It has a magnificent church with lots of fascinating treasures, as well as a shop, a green, a pub run by an ex-professional footballer, and generally all the typical features you expect to find in a large village in deepest rural Norfolk.
The church is perhaps the most interesting of all round about; and, while the large village lends it an urban quality that lacks the charm of, say, the churches of neighbouring Edingthorpe and Crostwight, it has by no means the Victorianised sterility of those at Bacton or Happisburgh.
St Botolph is a big church, and its tight graveyard makes it rather hard to photograph. The whole piece seems to have been rebuilt in the early 15th century, although the chancel may be a little later, and there is a hint of Decorated about the nave. The tower is quite simple, even slight. It builds boldly enough, but at the top of the second stage fades into a simple bell stage, understated, elegant and probably intended. This is not a building that shouts at you. A curiosity is the massive priest porch surrounding the door in the chancel. These are very unusual, although there is another, smaller one at neighbouring Knapton.
The great treasure, of course, is the marvellous font canopy. It is particularly fascinating because of its date, coming in the early 16th century right on the eve of the English protestant reformation. Like all church furnishings at this time - the tombs at Oxborough, for instance - it gives us a hint of what the English renaissance might have been like if it had been allowed to flower. Here, the massive structure tumbles with intricacy; fruit and flowers, leopards and lions peep around the silvery oak of the six octagonal columns which are fluted with interlocking chains of detail. The glory is the massive crown of canopied niches, with the haunting ghosts of crucifixion groups still apparent on three of the faces. The whole thing is at once in perfect harmony with the west end of the church, but exists because it was believed to be beautiful rather than known to be useful.There is only one other font canopy in Norfolk, at St Peter Mancroft in Norwich; Outside of the county there is another at Durham Cathedral, and a fourth at the parish church in Luton - but that is it.
Above the canopy is a rich 15th century hammerbeam roof, by no means as dramatic as that at nearby Knapton, but more beautiful, I think. In the space beneath the tower there is what appears to be a gallery like the plough guild gallery at Cawston. This is not as elaborate, but its oak has silvered and it is painted beautifully with trailing rose foliage.
The benching, unfortunately, is pretty much all 19th century, but along with the font canopy and roof the medieval screen survives. Like the canopy, this is richly ornamented in relief, including a bold dedicatory inscription in diagonal ribbons across the top part of the dado. The twelve figures (11 disciples and St Paul) are boldly placed and coloured, but their faces have been completely vandalised by the 16th century reformers. Low down on the north side of the doorway is a rare surviving carved consecration cross, suggesting that this screen was already installed in the newly built church of the 15th century. The screen had detached buttressing running vertically at intervals in front of it, as at Ludham. They have been almost entirely destroyed, but you can still see the fixings between the panels. It must have been magnificent.
The return stalls in the chancel are pretty much all Victorian, but they retain medieval misericords, and also you can see quatrefoil holes set into a sounding chamber to amplify the singing. There is a very curious memorial above the priest door, featuring the instruments of the passion. I have no idea how old it is.
All of these features would be enough, but part of the attraction of St Botolph is the sense of harmony, the way everything works together. You can add to these the sedilia, the magnificent organ, and the modern design of the glass in the east window. It is a peaceful, inspiring space.
Cottages and houses hem in the graveyard, and in the corner is the modern pub. Incidentally, I don't really know if the bloke who runs it is an ex-professional footballer. But, like many rural Norfolk landlords, he seems to be a cheerful 40-something cockney who serves a decent pint and cheap food - a recommended stop for churchcrawlers.
Simon Knott, April 2005
www.norfolkchurches.co.uk/trunch/trunch.htm
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And the pub is still good.
For some reason, one of the dogs decided he needed some mods to his imaginary Mustang.
Geez.
What kinda dog have I fostered..?
The world is turning in front of me and sometimes it's hard for me to let go.
My flesh begins to rise and then I find out there's things I don't know.
I'm standing here but no one cares, I'm crying out but no one is there.
And I am me but who am I and will I ever find the reason?
Okay, this is definitely the most painful shot I've ever done, mostly because I haven't done backbends in forever and cause my ballerina toes got lost the day I quit ballet. Plus, I had to do like 15 backbends because the first time doesn't always turn out right. My back hurts now (today's the day right after I took this.) I couldn't sit right in church today without wanting to get the kink outta my back.
The term Sogod is an English term for beginning. And this was one of the reasons why the town of Sogod in Cebu started the Panagsogod Festival as not just a colorful celebration but a tradition in the local place.
Even in the legends of the town, Sogod is said to be the place where the white sands stretching far from the north really began and the place is also said as the borderline of the black and white beaches in Northern Cebu. The magic and wonder in Sogod have made the town not just a place to discover but also a place to unravel and explore.
The Panagsogod Festival brings the banner of the word sogod which means beginning. This is also a celebration festooned with colorful shades of street dancing and fiesta celebration of the town. The Panagsogod Festival is honored to the patron saint of Sogodanon, St. James the Apostle.
The Panagsogod Festival is an annual event in Sogod and it is just not a showcase of Sogod’s rich cultural heritage and natural wonders but also it is the time for the Sogodanons to become united with each other that will promote unity and peace all over the town. Local officials from Sogod make it sure that every year, the festival is a celebration of the true Sogodanon’s quality and attitude.
In the town of Sogod, The Panagsogod festival is also one way of the place to attract foreign visitors and business that might have an interest in the town’s bounty and beauty. The Panagsogod festival is Sogod’s pride and life. It reflects who the Sogodanons are. It is also a true implication that it is a festival of new beginnings as shown from the different people gathered together to celebrate and have fun.
The main reason I wanted two pukifees was that they just seem like the perfect size for mobile persocoms in comparence to us real humans. One of all my projects involves turning Pocca into Sumomo and Saga into Kotoko, the two mobile persocoms from the known manga Chobits.
The bell Saga is holding is one of four for Kotoko's hair and she is trying the eyes she's going to have as Kotoko. The eyes seems rather blue in this picture but theyre actually a bit more on the purple side, I think it may be becouse of her current faceup that they look more blue n_n
On another note, Im actually starting to like Saga's freckles. Will definitly give Pocca freckles like this when I redo Pocca's faceup C:
Hehe, it looks like I have really chubby fingers :D
"I come here once a week for purification"
"What reasons do you usually come here for?" I ask Putu
"Usually if I am having nightmares, bad thoughts or problems with my skin"
"And does it work for you?"
"Yes" he replies "I think the water here is holy but I also think it works because it is what I choose to believe- everything is in the mind"
Pura Tirta Empul is one of the places I was most looking forward to discovering. It is known for its holy spring water and Mother Nature has clearly decided to surround it in the most breathtaking and gracious manner. Many Balinese Hindus come to this temple to pray and to purify themselves in one of the pools where a specific number of fountains release holy water. The pool with 13 fountains for instance is reserved for cremation ceremonies. Another with 8 fountains is symbolically used for spiritual purification (ex: if someone is sick) and the pool with 5 fountains is for those who simply come to pray. I was hoping to see worshipers bathe in this special water, but the pools were empty as I probably showed up a little too early (to beat the tourist crowds)... But either way, not seeing any worshipers is a good excuse to come back to Bali wink emoticon. As cheesy as this may sound, Tirta Empul has been one of the places where I felt an incredible sense of inner calm. I'm certain the nature has something to do with it all...Unlike churches for instance, the idea of a "roof" is non-existant in Balinese Hindu temples. Nature plays an equally spiritual role and must surround one's prayers (this idea of nature & faith has truly fascinated me all throughout my trip). Tirta Empul is also embellished with countless carved stones and art ornating the many shrines. Even the ponds filled with "fish for luck" and the mangosteen trees add something special to this place. If you are ever in Bali, this is a gem that is definitely worth a visit...
“No reason explains war”
From the 10th to the 13th November, our socio-cultural partners and friends in the AfroReggae Band from Rio de Janeiro, will be in and around the state of São Paulo to launch their latest show, “No reason explains war”. Formed by youth from the infamous shanties of Rio de Janeiro, the AfroReggae Band has been an important inspiration and motivation for the actions of our own youth group and especially the Beija-Flor Band.
São Paulo was chosen by the group for the launching and tour of their latest show, which will be passing through the cultural centres of SESC Pompéia (10/11), SESC Bauru (11/11), SESC Ribeirão Preto (12/11) and SESC Itaquera (13/11). The images in this series are from the show at SESC Pompéia. The relationship between AfroReggae and the SESC of São Paulo began in 2001 and extends further than just their circuit of shows and cultural presentations. This year, the choice by AfroReggae to realize the premier viewing of their prize-winning film Favela Rising, in São Paulo at the SESC Pinheiros, was no mere coincidence, not to mention all the other social, cultural and artistic activities already realized in partnership with the group.
The show coincides with the launching of their latest CD at the end of November. The CD, “No reason explains war”, unites 10 songs – most of which are unpublished – composed by diverse members of AfroReggae in partnership with some of the grand names in Popular Brazilian Music, such as Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina and Liminha, besides a new version of Caetano Veloso e Gilberto Gil’s music “Haiti”. With their unique sonority in the track titled “No reason explains war”, AfroReggae also counts on the special participation of the English Rappers, TY and Estelle.
The performances in São Paulo – directed by José Junior e Johayne Hidelfonso – brings us songs from the new álbum like "Negro Affairs", "I only want you" and “Another Chance”, besides great successes from their first album, like "I’m annoyed" and "Front Cover". Also acclaimed songs such as “Let’s Escape”, by Gilberto Gil and Liminha, “Fly In My Soup” by Raul Seixas, and “What country is This” by Renato Russo, are in the selection.
The AfroReggae Band surfaced in 1995, as a result of the dance and percussion workshops that were held by the NGO in the Vigário Geral Shanty. During the São Paulo tour, the band is made up of Ando (vocals); LG (vocals); Dinho (vocals); Altair Martins (percussion); Dada (percussion); Wallace (percussion); Juninho (percussion); Jairo Cliff (bass guitar); Joel Dias (guitar); Magic Julio (DJ); Cosme (drums); Maílson (keyboards) and Mariana Rangel (backing vocals).
With the passing of time, AfroReggae has also changed and gained new dimensions, increasing the sounds of the drums, bass and guitar. The presence of a DJ put final touches on the songs being composed by the band. In 1998, the first International invitiation delivered AfroReggae to Europe and in 2001 the banda launched their first album called “New Face”.
Portuguese Text:
“Nenhum motivo explica a guerra”
Entre os dias 10 e 13 de novembro, a banda AfroReggae estará em São Paulo para lançar o seu novo show, “Nenhum motivo explica a guerra”. O estado foi escolhido pela banda para começar a turnê de shows que passará pelas unidades do Sesc Pompéia (em 10/11), Sesc Bauru (11/11), Sesc Ribeirão Preto (12/11) e Sesc Itaquera (13/11). A relação entre o AfroReggae e o SESC-SP começou em 2001 e vai além do circuito de shows e apresentações. Neste ano o AfroReggae fez questão de fazer a primeira exibição do premiado filme Favela Rising, em São Paulo, para a direção do SESC-SP, na unidade de Pinheiros. Além de inúmeras ações sociais, culturais e artísticas.
Com lançamento marcado para o fim de novembro, o cd “Nenhum motivo explica a guerra” reúne 10 canções - a maioria inédita - compostas pela turma do AfroReggae em parceria com alguns dos grandes nomes da música popular brasileira como Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina e Liminha, além de uma versão para a música “Haiti”, de Caetano Veloso e Gilberto Gil. Com sonoridade única, a banda AfroReggae conta com participação especial dos rappers ingleses TY e Estelle, na faixa título “Nenhum motivo explica a guerra”.
A apresentação em São Paulo – com direção de José Junior e Johayne Hidelfonso - traz músicas do novo cd como "Coisa de negão", "Quero só você" e “Mais uma chance”, além de sucessos do primeiro disco como "Tô bolado" e "Capa de revista". Canções consagradas como “Vamos fugir”, de Gilberto Gil e Liminha, “Mosca na sopa” de Raul Seixas e “Que Pais é este”, de Renato Russo também estão na seleção.
Formada pelos integrantes Ando (voz); LG (voz); Dinho (voz); Altair Martins (percussão); Dada (percussão); Wallace (percussão); Juninho (percussão); Jairo Cliff (baixo); Joel Dias (guitarra); Magic Julio (Dj); Cosme (bateria); Maílson (teclado) e Mariana Rangel (backing vocal), a banda AfroReggae surgiu em 1995, a partir de oficinas de dança e percussão que eram realizadas em Vigário Geral.
Com o passar do tempo, o AfroReggae mudou e ganhou novas formas, acrescentando em suas melodias naipes de bateria, baixo e guitarra. A presença de um DJ deu um toque final às músicas que a banda começava a compor. Em 1998 surge o primeiro convite internacional, que levou o AfroReggae para Europa. Em 2001 a banda lança o primeiro Cd chamado “Nova Cara”.
This model is almost entirely the reason I decided to start a Skaven army. It was a treat to paint and looks great on the table. I will post pics of it in the Clanrat unit that pushes it later.
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The main reason for visiting Cambridge was to see King's College Chapel.
I must first than two friends, Simon K and Aidan for posting shots from Cambridge and so firing up my desire to visit.
Things fell into place and I found myself on a train last Sunday, and a place on the first tour of the day Monday morning.
I will add more thoughts as I post shots, but this for a start.
Quite the strongest emotional response I have ever had to a building, I had to choke back tears!
All chairs and seating have been removed, so there is just the building.
"Just."
Just a handful of us early visitors had the entire chapel to ourselves.
I followed up, not on purpose, a Japanese lady who was walking round with an i phone of a selfie stick, recording herself walking round the chapel, rather than the chapel itself. Which I know is her choice.
I saw the wonderful glass in the windows of the side chapel, so decided to photograph those too. Took some time.
No restrictions on photography, just don't "use flash on the Rubens" in the chancel. I was told.
In truth, there's more than enough in the Chapel for a whole day, as I'm sure new details would reveal themselves each time you looked.
I walked out into the college grounds, to walk to the bridge over the river. I mean, really, there was no one else out there, and a couple of punts were drifting past, so I wandered round the large square of grass, half of which had been apparently wild flowers, but now cut to look like a rough lawn.
The chapel has a 16th sundial, and marvellous lead drain downpipes. I snap them all.
I had, I thought, photographed what I could, and as I saw the next group coming in, I thought I would leave them to enjoy the chapel as sparsely crowded as I had.
So I walk to the south door, where the roped off path lead round to the west end of the chapel, then around another large grassed area to the banks of the river and a bridge to the meadows beyond.
I paused by the west door to photograph the arch and carvings, and gilded dragons on the ironwork.
On the bridge, I meet up with a volunteer already on a break. She looked at my two cameras and asked if I had good shots.
I had no idea and modest to say I had. But I scroll through some shots taken with the 50mm lens and show her shots of the side chapel glass. She was impressed, hardly anyone goes in there, she says. Even the guides don't take groups in the chapels.
Which I guess I can understand, as the chapel is a heck of a building as a whole, but the parts of it, from the glass panels, the chapels, carvings, rood screen, Rubens and all the other things make for one hell of an experience, but to pause and drink in the details, to be lost in a pair of ancient windmills, of bear witness to some ancient king's coronation, while the world turns without us noticing.
That is something not to miss.
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Begun by Henry VI, completed under the direction of Henry VII, the glass scheme installed under the somewhat-disinterested Henry VIII. 'The heart and soul of early 20th Century Anglicanism' according to M R James, the Festival of Nine Lessons and Carols begun here during the First World War helped invent the modern Christmas. The fan vaulting is spectacular, the proportions (300ft long, 40ft wide, 90ft high) almost shocking in their single-minded Perpendicular triumphalism. The Chapel vies with Ely and Peterborough Cathedrals as the best single medieval building in Cambridgeshire, but the vast scheme of early 16th Century glass is undoubtedly the biggest and best of its kind anywhere in the British Isles.
www.flickr.com/photos/norfolkodyssey/21007385075/in/album...
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King's College Chapel is the chapel of King's College in the University of Cambridge. It is considered one of the finest examples of late Perpendicular Gothic English architecture and features the world's largest fan vault.[3] The Chapel was built in phases by a succession of kings of England from 1446 to 1515, a period which spanned the Wars of the Roses and three subsequent decades. The Chapel's large stained glass windows were completed by 1531, and its early Renaissance rood screen was erected in 1532–36. The Chapel is an active house of worship, and home of the King's College Choir. It is a landmark and a commonly used symbol of the city of Cambridge.
Henry VI planned a university counterpart to Eton College (whose Chapel is very similar, but not on the scale intended by Henry). The King decided the dimensions of the Chapel. Reginald Ely was most likely the architect and worked on the site since 1446.[6] Two years earlier Reginald was charged with sourcing craftsmen for the Chapel's construction.[6] He continued to work on the site until building was interrupted in 1461, having probably designed the elevations.[6] The original plans called for lierne vaulting, and the piers of the choir were built to conform with them.[6] Ultimately, a complex fan vault was constructed instead.[6] Reginald probably designed the window tracery at the extreme east of the church's north side: the east window of the easternmost side chapel, which unlike the Perpendicular style of the others is in curvilinear Gothic style.[6] The priest and later bishop Nicholas Close (or Cloos) was recorded as the "surveyor", having been the curate of St John Zachary, a church demolished to make way for the Chapel.[7][8][9]
The first stone of the Chapel was laid, by Henry himself, on the Feast of St James the Apostle, 25 July 1446, the College having been begun in 1441. By the end of the reign of Richard III (1485), despite the Wars of the Roses, five bays had been completed and a timber roof erected. Henry VII visited in 1506, paying for the work to resume and even leaving money so that the work could continue after his death. In 1515, under Henry VIII, the building was complete but the great windows had yet to be made.
The Chapel features the world's largest fan vault, constructed between 1512 and 1515 by master mason John Wastell. It also features fine medieval stained glass and, above the altar, The Adoration of the Magi by Rubens, painted in 1634 for the Convent of the White Nuns at Louvain in Belgium. The painting was installed in the Chapel in 1968; this involved the lowering of the Sanctuary floor leading up to the High Altar. It had been believed that gradations were created in 1774 by James Essex, when Essex had in fact lowered the floor by 5 1/2 inches,[10] but at the demolition of these steps, it was found that the floor instead rested on Tudor brick arches.
During the removal of these Tudor steps, built at the Founder's specific request that the high altar should be 3 ft above the choir floor, human remains in intact lead coffins with brass plaques were discovered, dating from the 15th to 18th centuries, and were disinterred.[12]
The eventual installation of the Rubens was also not without problems: once seen beneath the east window, a conflict was felt between the picture's swirling colours and those of the stained glass.[13][title missing] The Rubens was also a similar shape to the window, which "dwarfed it and made it look rather like a dependent postage stamp".[14] Plain shutters were proposed, one on each side, to give it a triptych shape (although the picture was never part of a triptych) and lend it independence of form, which is how one sees the Rubens today. The installation was designed by architect Sir Martyn Beckett, who was "philosophical about the furore this inevitably occasioned - which quickly became acceptance of a solution to a difficult problem."[15]
During the Civil War the Chapel was used as a training ground by Oliver Cromwell's troops, but escaped major damage, possibly because Cromwell, having been a Cambridge student, gave orders for it to be spared. Graffiti left by these soldiers is still visible on the north and south walls near the altar.[16] During World War II most of the stained glass was removed and the Chapel again escaped damage.[17]
Salvinia molesta, one of the main reasons for the collection of the silt in water tanks in Sri Lanka's Dry Zone. November, 2017
This photo relates to the project 'Strengthening the Resilience of Smallholder Farmers in the Dry Zone to Climate Variability and Extreme Events' adaptation-undp.org/projects/strengthening-resilience-sma...
[Downtown L.A.]
Reject Reason: The guy behind the man... i think it pretty much destroyed this photo... that or i'm crazy
A Reason to Smile, a life-scale bronze and aluminum sculptural tableau, was cast by Seward Johnson in 2004. Johnson chose to transform the experience, in total, of viewing Leonardo da Vinci's Mona Lisa. By creating a backdrop, a front wall, two French guards and a frame, he plays with the elements of the third dimension, allowing visitors to enter the picture frame and pose, side by side with the subject of the painting.
Seward Johnson: The Retrospective was scheduled to be on exhibition at the Grounds For Sculpture from May 4 to September 21, 2014 but due to overwhelming popularity, was extended through July 2015. The exhibit presents an overview of the New Jersey sculptor's 50-year career through a lifetime collection of over 150 of his works. In its first month on exhibit, the park attracted 30,000 visitors—nearly 20 percent of its normal annual attendance.
Grounds For Sculpture is a 42-acre sculpture park and museum located on the former site of the New Jersey State Fairgrounds in Hamilton Township. The grounds, which feature over 270 large scale contemporary sculptures, were founded in 1992 by John Seward Johnson II.
Against All Reason. Surrealism Paris - Prague.
Exhibition in Ludwigshafen am Rhein
Jindřich Štyrský, "man and woman", 1934
A Reason to Smile, a life-scale bronze and aluminum sculptural tableau, was cast by Seward Johnson in 2004. Johnson chose to transform the experience, in total, of viewing Leonardo da Vinci's Mona Lisa. By creating a backdrop, a front wall, two French guards and a frame, he plays with the elements of the third dimension, allowing visitors to enter the picture frame and pose, side by side with the subject of the painting.
Seward Johnson: The Retrospective was scheduled to be on exhibition at the Grounds For Sculpture from May 4 to September 21, 2014 but due to overwhelming popularity, was extended through July 2015. The exhibit presents an overview of the New Jersey sculptor's 50-year career through a lifetime collection of over 150 of his works. In its first month on exhibit, the park attracted 30,000 visitors—nearly 20 percent of its normal annual attendance.
Grounds For Sculpture is a 42-acre sculpture park and museum located on the former site of the New Jersey State Fairgrounds in Hamilton Township. The grounds, which feature over 270 large scale contemporary sculptures, were founded in 1992 by John Seward Johnson II.
Here we are at Twanoh State Park. Mama looks a bit like a severely bow-legged cowgirl, eh? And, she definitely needs a longer sweater. But aren't we cute?
for whatever reason I was overtaken with the desire to participate in the community parade tomorrow to welcom jaycee dugard home to her parents from her 18 years of captivity......then we headed to Carson City for some dog food, etc and I hit michael's for some pink items, Jaycee's fave color and the color of all the ribbons they have used for her memory and yes I have a SON
but he is wearing his jammies to try on the "balloon backpack" I made him with balloons, ribbon and some mounting squares...the 3 balloons are in the shape of a heart and i wrote on them welcome home jaycee...he has pink pom poms and a pink, crown I told him he will be king of the parade......we also have party blowers in pink polka dots and some additional pink ballons...i will take more daylight photos tomorrow, now I am a bit worried he may be so cute he will draw attention.....ugh....where is the line between community participation and media craze? I suspect this parade will be on national news....so if you see this cutie and his parents know I am waving HI
and yes he made the contra costa times
www.contracostatimes.com/portlet/article/html/render_gall...
Reason #532,024 I want a Photography Park. Shouldn’t a civilized society have a least one Public space open from which to watch a sunrise? A place you can take your kids to see their first one? Without having to pay a fee or rent a camp site or afford camping equipment?
At least one in your town? Your city? Your county? Just one?
Go look at your parks. See how many of them have signs that say, CLOSED SUNSET TO SUNRISE. (And most won’t even have a view.)
From the (closed) Monte Sano State Park overlook in Huntsville, Alabama.
Nikon D7200 — Nikon 18-300mm F6.3 ED VR
44mm
F8@4 seconds
ISO 400
DSB_7185.JPG
©Don Brown 2024
So, here it is, the reason I drove across Norfolk: Trunch in all it's glory And it is glorious.
It has so many fascinating details, each one alone would be reason enough to visit, but together, in a fine village, next to the village pub, and with that font canopy, one of only four such in all of England, and one of two in the county.
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The oldest building in Trunch is St. Botolph's Church. It is mainly 14th. and 15th. Century but there are some fragments of stone in the walls which are believed to have been reused from an earlier Saxon church, which was recorded in the Domesday Book. There is much of interest in the church including a Rood Screen, a hammer beam roof and a rare Font Canopy.
trunchhistory.weebly.com/buildings.html
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The large village of Trunch is located about 5 miles from the north Norfolk coast. In the centre of the village, surrounded by a lovely collection of cottages and the more modern Crossroads Inn, is St Botolph's church. Much of what you see of the church is early 15th century, built upon earlier foundations.
Upon entering the church the first feature you will see is the font, which dates to the mid 14th century. Though the font is attractive, it is the carved and painted font canopy that really makes a visit to Trunch worthwhile.
This is a quite remarkable piece of woodwork, one of only four such canopies surviving in the entire country (the others are at St Peter Mancroft in Norwich, Durham Cathedral, and Luton). The canopy is supported on six beautifully carved legs. The carving detail is exquisite; with fanciful animal figures and foliage and a bit of political commentary, in the shape of a pig wearing a bishop's mitre.
In addition to the font canopy, Trunch features a superb 15th century hammer beam roof, a feature of many churches in Norfolk and Suffolk. Here the carvings of angels are beautifully performed. It is worth bringing along a pair of binoculars or a telescope in order to see the carvings properly.
Much easier to see are the medieval misericords (mercy seats) in the chancel. Each carving is unique; some represent angels, and others are more grotesque in nature. In addition there are some beautifully carved pew ends and a painted medieval rood screen that rivals many more famous churches in detail and colour.
There are 12 niches in the screen, each painted with a depiction of a single figure - 11 disciples plus St Paul. Much of the costume detail is well preserved, but the faces of the figures were destroyed during the upheavals of the Protestant Reformation in the 16th century.
www.britainexpress.com/counties/norfolk/churches/Trunch.htm
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William Earl Warren had the lordship of this town, (fn. 1) of which 3 freemen were deprived; one of them belonged to Herold, late King of England, another to Ralph Stalre, and the 3d to Ketel, who held 90 acres of land, and 14 borderers belonged to it, with 5 carucates among them; there was a church endowed with 10 acres, &c. 3 acres of meadow always valued at 30s. and there were also 5 freemen of Edric in King Edward's time, who had 34 acres of land, with 2 carucates, 2 acres and an half of meadow, always valued at 7s. 4d. (fn. 2)
This town also belonged to the Earl Warren's capital manor of Gimmingham, and paid suit and service to it. In the 34th of Henry III. Maud de Norwich granted by fine, to Richer, son of Nicholas, a messuage, 48 acres of land, a mill, and the sixth part of another in this town, Swathefeld and Bradfeld. In the 15th of Edward I. the Earl Warren claimed a weekly mercate, on Saturday, in this manor; and on the death of John Earl Warren, in the 21st of Edward III. the mercate was valued at 10s. per ann. the manor came after to the Earl of Lancaster, (as is before observed,) and so to John of Gaunt Duke of Lancaster, and King Henry IV. and is still in the Crown, as part of the dutchy of Lancaster.
The tenths were 4l. 10s. deducted 15s.
The Church is dedicated to St. Botolph, and is a regular pile, with a nave, 2 isles, and a chancel covered with lead, and has a tower with 4 bells.
In the chancel, on a little monument,
Lancelotus Thexton cappellanus Regis Edw. VI. sacre theologie baccalaureus, et rector de Trunch obt. 25. Febr. 1588, and this shield of arms, quarterly, in the first and fourth a cross between four lions heads erased, gules, in the 2d and 3d, ermine, fretty, azure.
In a window here, argent, a fess between two chevrons, sable.
On a gravestone
Hic jacet Magr. Robt. Cantell, quo'd. rector isti. ecclie, qui. obt. 1 Sept. Ao. Dni. 1480.
Gravestones
In memory of Thomas Worts, gent. who died November 13, 1693, aged 45, with his arms, three lions rampant, - - - — William Worts. gent. who married Elizabeth, daughter of Riches Brown of Fulmodeston, Esq. died August 25, 1694, aged 60, with the arms of Worts impaling Brown; two bars, between three spears heads, - - -
¶The patronage of the church was granted to the priory of Castleacre, by William Earl Warren, the first on his founding that priory. In the reign of Edward I. the rector had a manse, and 13 acres of land valued at 16 marks, Peter-pence 13d. and the prior of Castleacre had a pension or portion of tithe valued at 40s. the present valor is 10l. 13s. 4d. and pays first fruits, &c. the Norwich registers say that William, the second Earl Warren, granted the patronage, and Eborard Bishop of Norwich, confirmed it; and that Simon the Bishop confirmed the pension in 1268.
www.british-history.ac.uk/topographical-hist-norfolk/vol8...
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Trunch is the largest of the villages between North Walsham and the sea; but as all the industrialisation and tawdry caravan sites are hard against the coast, and Trunch is several miles inland, it has avoided these excesses and retains a great rural charm. It has a magnificent church with lots of fascinating treasures, as well as a shop, a green, a pub run by an ex-professional footballer, and generally all the typical features you expect to find in a large village in deepest rural Norfolk.
The church is perhaps the most interesting of all round about; and, while the large village lends it an urban quality that lacks the charm of, say, the churches of neighbouring Edingthorpe and Crostwight, it has by no means the Victorianised sterility of those at Bacton or Happisburgh.
St Botolph is a big church, and its tight graveyard makes it rather hard to photograph. The whole piece seems to have been rebuilt in the early 15th century, although the chancel may be a little later, and there is a hint of Decorated about the nave. The tower is quite simple, even slight. It builds boldly enough, but at the top of the second stage fades into a simple bell stage, understated, elegant and probably intended. This is not a building that shouts at you. A curiosity is the massive priest porch surrounding the door in the chancel. These are very unusual, although there is another, smaller one at neighbouring Knapton.
The great treasure, of course, is the marvellous font canopy. It is particularly fascinating because of its date, coming in the early 16th century right on the eve of the English protestant reformation. Like all church furnishings at this time - the tombs at Oxborough, for instance - it gives us a hint of what the English renaissance might have been like if it had been allowed to flower. Here, the massive structure tumbles with intricacy; fruit and flowers, leopards and lions peep around the silvery oak of the six octagonal columns which are fluted with interlocking chains of detail. The glory is the massive crown of canopied niches, with the haunting ghosts of crucifixion groups still apparent on three of the faces. The whole thing is at once in perfect harmony with the west end of the church, but exists because it was believed to be beautiful rather than known to be useful.There is only one other font canopy in Norfolk, at St Peter Mancroft in Norwich; Outside of the county there is another at Durham Cathedral, and a fourth at the parish church in Luton - but that is it.
Above the canopy is a rich 15th century hammerbeam roof, by no means as dramatic as that at nearby Knapton, but more beautiful, I think. In the space beneath the tower there is what appears to be a gallery like the plough guild gallery at Cawston. This is not as elaborate, but its oak has silvered and it is painted beautifully with trailing rose foliage.
The benching, unfortunately, is pretty much all 19th century, but along with the font canopy and roof the medieval screen survives. Like the canopy, this is richly ornamented in relief, including a bold dedicatory inscription in diagonal ribbons across the top part of the dado. The twelve figures (11 disciples and St Paul) are boldly placed and coloured, but their faces have been completely vandalised by the 16th century reformers. Low down on the north side of the doorway is a rare surviving carved consecration cross, suggesting that this screen was already installed in the newly built church of the 15th century. The screen had detached buttressing running vertically at intervals in front of it, as at Ludham. They have been almost entirely destroyed, but you can still see the fixings between the panels. It must have been magnificent.
The return stalls in the chancel are pretty much all Victorian, but they retain medieval misericords, and also you can see quatrefoil holes set into a sounding chamber to amplify the singing. There is a very curious memorial above the priest door, featuring the instruments of the passion. I have no idea how old it is.
All of these features would be enough, but part of the attraction of St Botolph is the sense of harmony, the way everything works together. You can add to these the sedilia, the magnificent organ, and the modern design of the glass in the east window. It is a peaceful, inspiring space.
Cottages and houses hem in the graveyard, and in the corner is the modern pub. Incidentally, I don't really know if the bloke who runs it is an ex-professional footballer. But, like many rural Norfolk landlords, he seems to be a cheerful 40-something cockney who serves a decent pint and cheap food - a recommended stop for churchcrawlers.
Simon Knott, April 2005
www.norfolkchurches.co.uk/trunch/trunch.htm
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And the pub is still good.
Prague
Stalin's index finger and the laughter of Václav Havel
The "Museum of Communism" in Prague was founded by an American and shows the sabre-rattling Matryoshka dolls or the blazing blue-shirt-demonstrators. Does it trivialize history for this reason?
After the American director Philip Kaufman had filmed Milan Kundera's novel "The Unbearable Lightness of Being" in 1984, the writer immediately dissociated himself from the adaptation - it was cliché-laden. However, as hundreds of thousands of filmgoers with the large, frightened eyes of Juliette Binoche saw the penetration of the Soviet tanks into the city and thus probably for the first time got an idea of the tragedy of August 21, 1968, is waiting for museum visitors of today a discovery: in the "Museum of Communism". It was founded near the Wenceslas Square by an American. The English name of the memorial is just as much attributable to him as the posters, which show a sabre-rattling Matryoshka doll or blazing blue-shirt-demonstrators provided with the image line "But the shiniest were in the uranium mines".
Trivialization of history? Not necessarily. It is rather the case that in the appearing gloom exhibition rooms the scandal of the communist human experiment is presented in an effective way. The historical dimension is by no means omitted: the foundation of Czechoslovakia in 1918 is documented as well as the Western treason of Munich in 1938 and Hitler's subsequent invasion. Also the liberation of Prague by the Red Army in May 1945 is not withheld. But then, starting with the Communist Seizure of Power 1948, the visitors in the rooms "Reality" and "Nightmare" is awaiting an oppressive exhibit show: original faithfully reproduced prison cells from the time of the Stalinist Show Trials, causing goosebumps radio recordings of malignant fizzling prosecutors, in addition the dubious oil paintings of Socialist Realism on which country women as blond as bread roll throw red carnations to resolutely looking soldiers, or Josef Stalin exhorting the pointing finger.
Kafka, Marx and the soldier Svejk
The fact that totalitarianism differentiated itself exactly here from traditional dictatorships that it did not suppress the people clumsily but turned those people into brainwashed complices of its domination exercise - it is a lesson, which is here sensually comprehensible and is conveyed completely en passant in the literal sense. Many of the young tourists who go through the exhibition in neat, foolish "Czech it" or beer-stein-Kafka-und-Schwejk T-shirts get the first impression of the Communist system and which for a while even cast a spell over a few naive Westerners. Even if, for example, the path of Marx's theories to the crimes of the regime were somewhat shortened, the fascinating intellectual environment of the Prague Spring might have been represented a bit more in detail: whoever sees the historical TV recordings of the protesters who are at Wenceslas Square fearlessly facing the Soviet tanks with the red star is by no means emotionally manipulated but catches an impression of the essence.
Thus, the museum can be visited in two ways: with the curious eyes of an upcoming generation born around the year 1989, as well as with the eye of the contemporary, who is regarding very critical if the complex history has been given the due attentiveness. Is it not a standard formula of the repressers from Prague to East Berlin, in the last years of its existence, the Party regime had become more moderate and was then peacefully imploded? But now the museum shows pictures of pre-military youth education from the eighties, shows - in pictures of the Austrian television - pictures of one of the numerous arrests of Václav Havel and in addition police, who yet in November 1989 were bashing up demonstrators and dragging students on the hair over the pavement - again on the Wenceslas square near the museum.
In a free word
Even who knows all this is shattered, and must not be ashamed at the end of the exhibition of his emotion when he finally sees the freedom triumphant on the screens and monitors. On November 24, 1989, Alexander Dubcek and Václav Havel stand laughing and arm in arm on the balcony of the publishing house Svobodné Slovo (The Free Word) and talk to the demonstrators who finally now can be what they have dreamed for so long: free citizens of a city that begins to breathe again.
"Museum of Communism", Prague, Na Príkope 10, open daily from 9 am to 9 pm.
Prag
Stalins Zeigefinger und das Lachen von Václav Havel
Das „Museum of Communism“ in Prag wurde von einem Amerikaner gegründet und zeigt zähnefletschende Matrjoschka-Puppen oder strahlende Blauhemden-Demonstranten. Trivialisiert es deswegen die Geschichte?
Nachdem 1984 der amerikanische Regisseur Philip Kaufman Milan Kunderas Prag-Roman "Die unerträgliche Leichtigkeit des Seins" verfilmt hatte, distanzierte sich der Schriftsteller sogleich von der Adaption - sie sei klischeebeladen. Doch so, wie inzwischen Hunderttausende Kinozuschauer mit den großen, erschreckten Augen Juliette Binoches das Eindringen der sowjetischen Panzer in die Stadt gesehen haben und damit wohl zum ersten Mal eine Ahnung bekamen von der Tragödie des 21. August 1968, so wartet auch auf Museumsbesucher von heute eine Entdeckung: im "Museum of Communism". Gegründet wurde es, nahe dem Wenzelsplatz, von einem Amerikaner. Ihm ist der englische Name der Gedenkstätte ebenso zu verdanken wie die Plakate, die etwa eine zähnefletschende Matrjoschka-Puppe zeigen oder strahlende Blauhemden-Demonstranten - versehen mit der Bildzeile "But the shiniest were in the uranium mines".
Trivialisierung der Geschichte? Nicht unbedingt. Eher ist es so, dass in den düster anmutenden Ausstellungsräumen das Skandalon des kommunistischen Menschenversuchs entsprechend effektvoll präsentiert wird. Auf die historische Dimension wird dabei keineswegs verzichtet: Die Gründung der Tschechoslowakei im Jahre 1918 wird ebenso dokumentiert wie der westliche Verrat von München 1938 und Hitlers nachfolgender Einmarsch. Auch die Befreiung Prags durch die Rote Armee im Mai 1945 wird nicht unterschlagen. Dann aber, beginnend mit der kommunistischen Machtergreifung 1948, wartet auf den Besucher in den Räumen "Reality" und "Nightmare" eine bedrückende Exponatenschau: Originalgetreu nachgebaute Gefängniszellen aus der Zeit der stalinistischen Schauprozesse, Gänsehaut verursachende Radio-Aufnahmen bösartig fistelnder Staatsanwälte, dazu an den Wänden die Ölschinken des Sozialistischen Realismus, auf denen semmelblonde Bäuerinnen entschlossen dreinblickenden Soldaten rote Nelken zuwerfen oder Josef Stalin mahnend den Zeigefinger hebt.
Kafka, Marx und der Soldat Schwejk
Dass sich der Totalitarismus genau darin von traditionellen Diktaturen unterschied, dass er das Volk nicht plump unterdrückte, sondern zum gehirngewaschenen Komplizen seiner Herrschaftsausübung machte - es ist eine Lektion, die hier sinnlich nachvollziehbar und im Wortsinn ganz en passant vermittelt wird. Viele der jungen Touristen, die in nett-törichten "Czech it" oder Bierhumpen-Kafka-und-Schwejk-T-Shirts durch die Ausstellung gehen, bekommen hier wohl das erste Mal eine Ahnung davon, weshalb sich das kommunistische System so lange halten und für eine Weile sogar manch naive Westler in seinen Bann zu ziehen vermochte. Mag auch in den Erklärungstafeln etwa der Weg von Marx' Theorien zu den Verbrechen des Regimes etwas verkürzt dargestellt sein, hätte man das faszinierende intellektuelle Umfeld des Prager Frühlings auch etwas ausführlicher darstellen können: Wer die historischen Fernsehaufnahmen von den Demonstranten sieht, die sich am Wenzelsplatz todesmutig den Sowjet-Panzern mit dem roten Stern entgegenstellten, wird keineswegs emotional manipuliert, sondern erhascht einen Eindruck vom Wesentlichen.
So lässt sich das Museum auf zwei Arten besichtigen: mit den neugierigen Augen einer nachwachsenden Generation, die um das Jahr 1989 erst geboren wurde, wie auch mit dem Blick des Zeitzeugen, der durchaus kritisch betrachtet, ob man hier der komplexen Geschichte gerecht wurde. Lautet nicht eine Standardformel der Verdränger von Prag bis Ostberlin, in den letzten Jahren seiner Existenz habe sich das Partei-Regime doch gemäßigt und sei anschließend friedlich implodiert? Nun zeigt das Museum aber Bilder vormilitärischer Jugendausbildung aus den Achtzigern, zeigt - in Aufnahmen des Österreichischen Fernsehens - Bilder von einer der zahlreichen Verhaftungen Václav Havels und dazu Polizei, die noch im November 1989 auf die Demonstranten eindrosch und Studenten an den Haaren über das Pflaster schleifte - wiederum auf dem nahe beim Museum liegenden Wenzelsplatz.
Auf ein freies Wort
Selbst wer dies alles kennt, ist erschüttert und muss sich am Ende der Ausstellung seiner Ergriffenheit gewiss nicht schämen, wenn er auf den Schautafeln und Monitoren die Freiheit letztlich doch triumphieren sieht: Am 24. November 1989 stehen lachend und Arm in Arm Alexander Dubcek und Václav Havel auf dem Balkon des Verlagshauses Svobodné Slovo (Das freie Wort) und sprechen zu den Demonstranten, die nun endlich das sein können, was sie so lange erträumt haben: freie Bürger einer Stadt, die wieder zu atmen beginnt.
„Museum of Communism“, Prag, Na Príkope 10, täglich geöffnet von 9 bis 21 Uhr.
www.faz.net/aktuell/reise/nah/prag-stalins-zeigefinger-un...
I have no reason to riot. None, what so ever.
My life is great!
Strobist:
Canon 430EX at 1/1 in snoot camera left
Vivitar DF400MZ at 1/2 with blue gel camera right
Vivtar DF400MZ at 1/2 with yellow gel in the back
Vivtar DF400MZ at 1/1 with red gel in the back
Smoke machine in the back
Atheism Violates The Laws Of Reason And Logic
I grew up in and live in, what we call, the South...here in the U.S. A large portion of the population here are Baptists and have a strong tradition and faith in the Bible. I would suppose the Southern Baptists are the largest denomination in the South.
In fact, I have an uncle that is a Baptist minister, whom I occasionally visited as a fairly young child.
Raised more in an "in-town" Presbyterian church in GA, I was somewhat confused by some of the tone and timbre of these Appalachian services I attended when visiting my uncle and aunt in W. Virginia....where they doing mission work (their term) for a number of years.
For one, I thought West Virginia was part of the USA, so I was not certain why they did not know about Baptists. But, I kept my mouth shut because it was a pretty disciplined place I found myself in, and I was a little intimidated by the intensity everyone displayed when we went to church.
But, at some point, I could not help confronting my uncle with the age old tirade of "how do you really know God exists" along with some grade school arguing. At some point, he basically told me that it was simply a matter of faith.
And that was about the best answer I have gotten for the next 45 years...until I read this article by one of my favorite writers Perry Marshal. I will let his words take over from here.....
Gödel’s Incompleteness Theorem:
The #1 Mathematical Discovery of the 20th Century
In 1931, the young mathematician Kurt Gödel made a landmark discovery, as powerful as anything Albert Einstein developed.
Gödel’s discovery not only applied to mathematics but literally all branches of science, logic and human knowledge. It has truly earth-shattering implications.
Oddly, few people know anything about it.
Allow me to tell you the story.
Mathematicians love proofs. They were hot and bothered for centuries, because they were unable to PROVE some of the things they knew were true.
So for example if you studied high school Geometry, you’ve done the exercises where you prove all kinds of things about triangles based on a list of theorems.
That high school geometry book is built on Euclid’s five postulates. Everyone knows the postulates are true, but in 2500 years nobody’s figured out a way to prove them.
Yes, it does seem perfectly reasonable that a line can be extended infinitely in both directions, but no one has been able to PROVE that. We can only demonstrate that they are a reasonable, and in fact necessary, set of 5 assumptions.
Towering mathematical geniuses were frustrated for 2000+ years because they couldn’t prove all their theorems. There were many things that were “obviously” true but nobody could figure out a way to prove them.
In the early 1900′s, however, a tremendous sense of optimism began to grow in mathematical circles. The most brilliant mathematicians in the world (like Bertrand Russell, David Hilbert and Ludwig Wittgenstein) were convinced that they were rapidly closing in on a final synthesis.
A unifying “Theory of Everything” that would finally nail down all the loose ends. Mathematics would be complete, bulletproof, airtight, triumphant.
In 1931 this young Austrian mathematician, Kurt Gödel, published a paper that once and for all PROVED that a single Theory Of Everything is actually impossible.
Gödel’s discovery was called “The Incompleteness Theorem.”
If you’ll give me just a few minutes, I’ll explain what it says, how Gödel discovered it, and what it means – in plain, simple English that anyone can understand.
Gödel’s Incompleteness Theorem says:
“Anything you can draw a circle around cannot explain itself without referring to something outside the circle – something you have to assume but cannot prove.”
You can draw a circle around all of the concepts in your high school geometry book. But they’re all built on Euclid’s 5 postulates
which are clearly true but cannot be proven. Those 5 postulates are outside the book, outside the circle.
You can draw a circle around a bicycle but the existence of that bicycle relies on a factory that is outside that circle. The bicycle cannot explain itself.
Gödel proved that there are ALWAYS more things that are true than you can prove. Any system of logic or numbers that mathematicians ever came up with will always rest on at least a few unprovable assumptions.
Gödel’s Incompleteness Theorem applies not just to math, but to everything that is subject to the laws of logic. Incompleteness is true in math; it’s equally true in science or language or philosophy.
And: If the universe is mathematical and logical, Incompleteness also applies to the universe.
Gödel created his proof by starting with “The Liar’s Paradox” — which is the statement
“I am lying.”
“I am lying” is self-contradictory, since if it’s true, I’m not a liar, and it’s false; and if it’s false, I am a liar, so it’s true.
So Gödel, in one of the most ingenious moves in the history of math, converted the Liar’s Paradox into a mathematical formula. He proved that any statement requires an external observer.
No statement alone can completely prove itself true.
His Incompleteness Theorem was a devastating blow to the “positivism” of the time. Gödel proved his theorem in black and white and nobody could argue with his logic.
Yet some of his fellow mathematicians went to their graves in denial, believing that somehow or another Gödel must surely be wrong.
He wasn’t wrong. It was really true. There are more things than are true than you can prove.
A “theory of everything” – whether in math, or physics, or philosophy – will never be found. Because it is impossible.
OK, so what does this really mean? Why is this super-important, and not just an interesting geek factoid?
Here’s what it means:
Faith and Reason are not enemies. In fact, the exact opposite is true! One is absolutely necessary for the other to exist. All reasoning ultimately traces back to faith in something that you cannot prove.
All closed systems depend on something outside the system.
You can always draw a bigger circle but there will still be something outside the circle.
Reasoning inward from a larger circle to a smaller circle is “deductive reasoning.”
Example of a deductive reasoning:
1. All men are mortal
2. Socrates is a man
3. Therefore Socrates is mortal
Reasoning outward from a smaller circle to a larger circle is “inductive reasoning.”
Examples of inductive reasoning:
1. All the men I know are mortal
2. Therefore all men are mortal
1. When I let go of objects, they fall
2. Therefore there is a law of gravity that governs falling objects
Notice than when you move from the smaller circle to the larger circle, you have to make assumptions that you cannot 100% prove.
For example you cannot PROVE gravity will always be consistent at all times. You can only observe that it’s consistently true every time. You cannot prove that the universe is rational. You can only observe that mathematical formulas like E=MC^2 do seem to perfectly describe what the universe does.
Nearly all scientific laws are based on inductive reasoning. These laws rest on an assumption that the universe is logical and based on fixed discoverable laws.
You cannot PROVE this. (You can’t prove that the sun will come up tomorrow morning either.) You literally have to take it on faith. In fact most people don’t know that outside the science circle is a philosophy circle. Science is based on philosophical assumptions that you cannot scientifically prove. Actually, the scientific method cannot prove, it can only infer.
(Science originally came from the idea that God made an orderly universe which obeys fixed, discoverable laws.)
Now please consider what happens when we draw the biggest circle possibly can – around the whole universe. (If there are multiple universes, we’re drawing a circle around all of them too):
There has to be something outside that circle. Something which we have to assume but cannot prove
The universe as we know it is finite – finite matter, finite energy, finite space and 13.7 billion years time
The universe is mathematical. Any physical system subjected to measurement performs arithmetic. (You don’t need to know math to do addition – you can use an abacus instead and it will give you the right answer every time.)
The universe (all matter, energy, space and time) cannot explain itself
Whatever is outside the biggest circle is boundless. By definition it is not possible to draw a circle around it.
If we draw a circle around all matter, energy, space and time and apply Gödel’s theorem, then we know what is outside that circle is not matter, is not energy, is not space and is not time. It’s immaterial.
Whatever is outside the biggest circle is not a system – i.e. is not an assemblage of parts. Otherwise we could draw a circle around them. The thing outside the biggest circle is indivisible.
Whatever is outside the biggest circle is an uncaused cause, because you can always draw a circle around an effect.
We can apply the same inductive reasoning to the origin of information:
In the history of the universe we also see the introduction of information, some 3.5 billion years ago. It came in the form of the Genetic code, which is symbolic and immaterial.
The information had to come from the outside, since information is not known to be an inherent property of matter, energy, space or time
All codes we know the origin of are designed by conscious beings.
Therefore whatever is outside the largest circle is a conscious being.
In other words when we add information to the equation, we conclude that not only is the thing outside the biggest circle infinite and immaterial, it is also conscious.
Isn’t it interesting how all these things sound suspiciously similar to how theologians have described God for thousands of years?
So it’s hardly surprising that 80-90% of the people in the world believe in some concept of God. Yes, it’s intuitive to most folks. But Gödel’s theorem indicates it’s also supremely logical. In fact it’s the only position one can take and stay in the realm of reason and logic.
The person who proudly proclaims, “You’re a man of faith, but I’m a man of science” doesn’t understand the roots of science or the nature of knowledge!
Interesting aside…
If you visit the world’s largest atheist website, Infidels, on the home page you will find the following statement:
“Naturalism is the hypothesis that the natural world is a closed system, which means that nothing that is not part of the natural world affects it.”
If you know Gödel’s theorem, you know that all logical systems must rely on something outside the system. So according to Gödel’s Incompleteness theorem, the Infidels cannot be correct. If the universe is logical, it has an outside cause.
Thus atheism violates the laws of reason and logic.
Gödel’s Incompleteness Theorem definitively proves that science can never fill its own gaps. We have no choice but to look outside of science for answers.
The Incompleteness of the universe isn’t proof that God exists. But… it IS proof that in order to construct a rational, scientific model of the universe, belief in God is not just 100% logical… it’s necessary.
Euclid’s 5 postulates aren’t formally provable and God is not formally provable either. But… just as you cannot build a coherent system of geometry without Euclid’s 5 postulates, neither can you build a coherent description of the universe without a First Cause and a Source of order.
Thus faith and science are not enemies, but allies. It’s been true for hundreds of years, but in 1931 this skinny young Austrian mathematician named Kurt Gödel proved it.
No time in the history of mankind has faith in God been more reasonable, more logical, or more thoroughly supported by science and mathematics.
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Atheism Violates The Laws Of Reason And Logic
I really like how Perry's thoughts tie it all together for me. I hope that you will give his words, and more importantly, Godel's, a chance to make sense of much of what have been on your mind as well. If your faith has been strong, this can only enhance what you have known all a long.
Le Cimetière du Père Lachaise, Paris, France
On the face of it, Père Lachaise is not as interesting a cemetery as Montparnasse, but I had a number of reasons for coming here, not least because my Paris friends tell me that it is the most beautiful cemetery in the city, and I think they are right. It is true that you cannot be on your own wandering around here like you can at Montparnasse, but it is four times as big and its sloping site gives rise to winding little impasses that can be yours alone for the time you are in them.
If you are planning a visit yourself, it is worth noting that the best thing to do is to take the metro to Gambetta rather than to Père Lachaise. This brings you in at the top of the cemetery rather than the bottom. This is the quieter part of the cemetery, and very quickly I picked off Maria Callas, Stephane Grappelli and Gertrude Stein without being bothered too much by other visitors.
At this top end of the cemetery the visitor-magnet is the grave of Oscar Wilde. This is a fabulous sculpture by Jacob Epstein. The Irish government, which owns the grave and is responsible for maintaining it, has recently put a Perspex screen around it to stop visitors kissing it with lipstick kisses. Quite how anyone could think Wilde would want to be kissed by a girl is beyond me, though I suppose that all the lipstick kissers might not have been girls. Wilde's grave is easily found, being on a main avenue, but not all such significant figures are as accessible. I eventually found the tomb of Sarah Bernhardt after much searching, some distance from the nearest avenue. It did not appear to have been visited much at all in recent months.
In one quiet corner of the cemetery is a wall with a memorial to the Paris Commune. The communards had taken advantage of the siege of Paris during the Franco-Prussian War to declare a utopian republic, something along the lines of the one of seventy years earlier, but hopefully without the tens of thousands of opponents being guillotined this time. Incidentally, the French love to discuss and argue about politics so much that there is no chance of the country ever opting for a totalitarian regime. When the revolutionaries of the 1780s and 1790s started executing those who mildly disagreed with them, it was the start of a slippery slope at the bottom of which no one would have been left alive. Anyway, the communards hoped to avoid that. When the siege was over and the mess had been cleared up, they were brought to this wall in their hundreds and shot, their bodies dumped into conveniently adjacent mass graves.
This corner of the cemetery has become a pilgrimage site for Communists, and many of the graves around are for former leaders of the French Communist Party, in its day the largest and most powerful in Western Europe. In the 1980s, when I first started coming to Paris, they ran many of the towns and cities, especially in the industrial north.
Near here are some vast and terrifying memorials to the victims of the German occupation of France and Nazi concentration and death camps. Each camp has its own memorial, usually surmounted by an anguished sculpture, and with an inscription with frighteningly large numbers in it. There is a silence in this part of the cemetery. It is interesting to me that memorials in this part of France refer to 'the Nazi occupation and the Vichy government collaborators', while in the southern half of the country, which was under Vichy rule, the memorials usually talk about 'the German barbarity'.
I sat for a while, and then went off looking for more heroes. Marcel Proust and Frederick Chopin were easily found, Francis Poulenc less so. Wandering around I chanced by accident on the grave of the artist Théodore Géricault, which carries bronze relief versions of his Raft of the Medusa, starting point of the Musee d'Orsay, as well as other paintings. To be honest, the most interesting memorials are those to ordinary upper middle class Parisians who were raised to grandeur through art in death in a way that they cannot have known in life.
One of the saddest corners, and a rather sordid one, is to the American pop singer Jim Morrison, who died in Paris at the age of 27, burnt out and 20 stone after gorging himself on whisky, burgers and heroin. Well, so did Elvis, you might retort, but at least Elvis had some good tunes. The survival of Morrison's legend seems to rest entirely on the romance of his death and burial. Surely no one can be attracted by his music, those interminable organ solos and witless lyrics? His simple memorial (a bust was stolen in the 1980s) is cordoned off by barriers, and is the only one where a cemetery worker is permanently in attendance. I looked around at a crowd of about thirty people, all of whom were younger than me, and none of whom could have been alive when the selfish charlatan drank and drugged himself to death.
Shaking my head in incomprehension, (I didn't really, but I bet some people do) I finished off my visit by finding Colette, and bumping into Rossini on the way. Then I headed back into central Paris.
You can read my account of my travels at pariswander.blogspot.co.uk.
So, here it is, the reason I drove across Norfolk: Trunch in all it's glory And it is glorious.
It has so many fascinating details, each one alone would be reason enough to visit, but together, in a fine village, next to the village pub, and with that font canopy, one of only four such in all of England, and one of two in the county.
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The oldest building in Trunch is St. Botolph's Church. It is mainly 14th. and 15th. Century but there are some fragments of stone in the walls which are believed to have been reused from an earlier Saxon church, which was recorded in the Domesday Book. There is much of interest in the church including a Rood Screen, a hammer beam roof and a rare Font Canopy.
trunchhistory.weebly.com/buildings.html
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The large village of Trunch is located about 5 miles from the north Norfolk coast. In the centre of the village, surrounded by a lovely collection of cottages and the more modern Crossroads Inn, is St Botolph's church. Much of what you see of the church is early 15th century, built upon earlier foundations.
Upon entering the church the first feature you will see is the font, which dates to the mid 14th century. Though the font is attractive, it is the carved and painted font canopy that really makes a visit to Trunch worthwhile.
This is a quite remarkable piece of woodwork, one of only four such canopies surviving in the entire country (the others are at St Peter Mancroft in Norwich, Durham Cathedral, and Luton). The canopy is supported on six beautifully carved legs. The carving detail is exquisite; with fanciful animal figures and foliage and a bit of political commentary, in the shape of a pig wearing a bishop's mitre.
In addition to the font canopy, Trunch features a superb 15th century hammer beam roof, a feature of many churches in Norfolk and Suffolk. Here the carvings of angels are beautifully performed. It is worth bringing along a pair of binoculars or a telescope in order to see the carvings properly.
Much easier to see are the medieval misericords (mercy seats) in the chancel. Each carving is unique; some represent angels, and others are more grotesque in nature. In addition there are some beautifully carved pew ends and a painted medieval rood screen that rivals many more famous churches in detail and colour.
There are 12 niches in the screen, each painted with a depiction of a single figure - 11 disciples plus St Paul. Much of the costume detail is well preserved, but the faces of the figures were destroyed during the upheavals of the Protestant Reformation in the 16th century.
www.britainexpress.com/counties/norfolk/churches/Trunch.htm
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William Earl Warren had the lordship of this town, (fn. 1) of which 3 freemen were deprived; one of them belonged to Herold, late King of England, another to Ralph Stalre, and the 3d to Ketel, who held 90 acres of land, and 14 borderers belonged to it, with 5 carucates among them; there was a church endowed with 10 acres, &c. 3 acres of meadow always valued at 30s. and there were also 5 freemen of Edric in King Edward's time, who had 34 acres of land, with 2 carucates, 2 acres and an half of meadow, always valued at 7s. 4d. (fn. 2)
This town also belonged to the Earl Warren's capital manor of Gimmingham, and paid suit and service to it. In the 34th of Henry III. Maud de Norwich granted by fine, to Richer, son of Nicholas, a messuage, 48 acres of land, a mill, and the sixth part of another in this town, Swathefeld and Bradfeld. In the 15th of Edward I. the Earl Warren claimed a weekly mercate, on Saturday, in this manor; and on the death of John Earl Warren, in the 21st of Edward III. the mercate was valued at 10s. per ann. the manor came after to the Earl of Lancaster, (as is before observed,) and so to John of Gaunt Duke of Lancaster, and King Henry IV. and is still in the Crown, as part of the dutchy of Lancaster.
The tenths were 4l. 10s. deducted 15s.
The Church is dedicated to St. Botolph, and is a regular pile, with a nave, 2 isles, and a chancel covered with lead, and has a tower with 4 bells.
In the chancel, on a little monument,
Lancelotus Thexton cappellanus Regis Edw. VI. sacre theologie baccalaureus, et rector de Trunch obt. 25. Febr. 1588, and this shield of arms, quarterly, in the first and fourth a cross between four lions heads erased, gules, in the 2d and 3d, ermine, fretty, azure.
In a window here, argent, a fess between two chevrons, sable.
On a gravestone
Hic jacet Magr. Robt. Cantell, quo'd. rector isti. ecclie, qui. obt. 1 Sept. Ao. Dni. 1480.
Gravestones
In memory of Thomas Worts, gent. who died November 13, 1693, aged 45, with his arms, three lions rampant, - - - — William Worts. gent. who married Elizabeth, daughter of Riches Brown of Fulmodeston, Esq. died August 25, 1694, aged 60, with the arms of Worts impaling Brown; two bars, between three spears heads, - - -
¶The patronage of the church was granted to the priory of Castleacre, by William Earl Warren, the first on his founding that priory. In the reign of Edward I. the rector had a manse, and 13 acres of land valued at 16 marks, Peter-pence 13d. and the prior of Castleacre had a pension or portion of tithe valued at 40s. the present valor is 10l. 13s. 4d. and pays first fruits, &c. the Norwich registers say that William, the second Earl Warren, granted the patronage, and Eborard Bishop of Norwich, confirmed it; and that Simon the Bishop confirmed the pension in 1268.
www.british-history.ac.uk/topographical-hist-norfolk/vol8...
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Trunch is the largest of the villages between North Walsham and the sea; but as all the industrialisation and tawdry caravan sites are hard against the coast, and Trunch is several miles inland, it has avoided these excesses and retains a great rural charm. It has a magnificent church with lots of fascinating treasures, as well as a shop, a green, a pub run by an ex-professional footballer, and generally all the typical features you expect to find in a large village in deepest rural Norfolk.
The church is perhaps the most interesting of all round about; and, while the large village lends it an urban quality that lacks the charm of, say, the churches of neighbouring Edingthorpe and Crostwight, it has by no means the Victorianised sterility of those at Bacton or Happisburgh.
St Botolph is a big church, and its tight graveyard makes it rather hard to photograph. The whole piece seems to have been rebuilt in the early 15th century, although the chancel may be a little later, and there is a hint of Decorated about the nave. The tower is quite simple, even slight. It builds boldly enough, but at the top of the second stage fades into a simple bell stage, understated, elegant and probably intended. This is not a building that shouts at you. A curiosity is the massive priest porch surrounding the door in the chancel. These are very unusual, although there is another, smaller one at neighbouring Knapton.
The great treasure, of course, is the marvellous font canopy. It is particularly fascinating because of its date, coming in the early 16th century right on the eve of the English protestant reformation. Like all church furnishings at this time - the tombs at Oxborough, for instance - it gives us a hint of what the English renaissance might have been like if it had been allowed to flower. Here, the massive structure tumbles with intricacy; fruit and flowers, leopards and lions peep around the silvery oak of the six octagonal columns which are fluted with interlocking chains of detail. The glory is the massive crown of canopied niches, with the haunting ghosts of crucifixion groups still apparent on three of the faces. The whole thing is at once in perfect harmony with the west end of the church, but exists because it was believed to be beautiful rather than known to be useful.There is only one other font canopy in Norfolk, at St Peter Mancroft in Norwich; Outside of the county there is another at Durham Cathedral, and a fourth at the parish church in Luton - but that is it.
Above the canopy is a rich 15th century hammerbeam roof, by no means as dramatic as that at nearby Knapton, but more beautiful, I think. In the space beneath the tower there is what appears to be a gallery like the plough guild gallery at Cawston. This is not as elaborate, but its oak has silvered and it is painted beautifully with trailing rose foliage.
The benching, unfortunately, is pretty much all 19th century, but along with the font canopy and roof the medieval screen survives. Like the canopy, this is richly ornamented in relief, including a bold dedicatory inscription in diagonal ribbons across the top part of the dado. The twelve figures (11 disciples and St Paul) are boldly placed and coloured, but their faces have been completely vandalised by the 16th century reformers. Low down on the north side of the doorway is a rare surviving carved consecration cross, suggesting that this screen was already installed in the newly built church of the 15th century. The screen had detached buttressing running vertically at intervals in front of it, as at Ludham. They have been almost entirely destroyed, but you can still see the fixings between the panels. It must have been magnificent.
The return stalls in the chancel are pretty much all Victorian, but they retain medieval misericords, and also you can see quatrefoil holes set into a sounding chamber to amplify the singing. There is a very curious memorial above the priest door, featuring the instruments of the passion. I have no idea how old it is.
All of these features would be enough, but part of the attraction of St Botolph is the sense of harmony, the way everything works together. You can add to these the sedilia, the magnificent organ, and the modern design of the glass in the east window. It is a peaceful, inspiring space.
Cottages and houses hem in the graveyard, and in the corner is the modern pub. Incidentally, I don't really know if the bloke who runs it is an ex-professional footballer. But, like many rural Norfolk landlords, he seems to be a cheerful 40-something cockney who serves a decent pint and cheap food - a recommended stop for churchcrawlers.
Simon Knott, April 2005
www.norfolkchurches.co.uk/trunch/trunch.htm
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And the pub is still good.
Chinese peacekeepers serving with the United Nations in Juba have had many reasons to celebrate over the last two days.
Yesterday was the National Day of the People’s Republic of China. Today they had another reason to celebrate with a Medal Parade Ceremony for the third Chinese Peacekeeping Battalion to serve with the UN Mission in South Sudan (UNMISS).
Despite the scorching hot sun, the 698 men and women stood proudly in their immaculately polished boots, white gloves and the classic blue berets with the UN insignia, as they waited to be pinned with the UN Medal by the Deputy Special Representative of the Secretary-General, Moustapha Soumaré.
Speaking at the ceremony which brought together personnel from different military contingents, UN Police, civilians and dignitaries, the Deputy SRSG said the UN mission recognized the “dedication, commitment and professionalism” of the troops.
He noted that thirteen members of the contingent were women, highlighting the impact of female officers in peacekeeping.
“The role and contribution of female officers is especially crucial in a place like South Sudan by making uniformed personnel more accessible to the most vulnerable civilians,” said Moustapha Soumaré.
The Deputy SRSG encouraged troop contributing countries to further strengthen the participation of women in uniform.
Since the deployment of the battalion in December 2016, the Chinese contingent has taken strong action to build and maintain a safe and secure environment for the people of South Sudan, including patrolling at the Protection of Civilians (POC) site near the UN base and taking part in search operations to keep criminals and weapons out of the site.
They have also carried out patrols within the capital Juba as well as long distance along dangerous and damaged roads to reach vulnerable people in the remotest areas of the country.
The Commanding Officer, Ding Hai Long, expressed his gratitude to the UNMISS family for their continued support in helping the Chinese Battalion, also known as CHINBATT, fulfill their mandate. He commended the UN mission for its consolidated efforts towards building durable peace in South Sudan.
“It would not have been possible without the cordial working relationship established with all the family members of the army,” he said. “All this work would not have been achieved without the guidance and the great support of UNMISS leadership at the different levels.”
In his address delivered in Mandarin, one of the six official languages of the UN, Chinese Ambassador to South Sudan, He Xiang Dong said he is hopeful that the assistance to the people of South Sudan by CHINBATT will contribute towards a positive image of both UN peacekeepers and the Chinese army.
For almost three decades, China has contributed more than 30,000 UN peacekeepers to 24 different Missions and it is the second largest financial contributor to peacekeeping.
Photo: UNMISS/Eric Kanalstein
To conclude the ceremony, the audience was treated to perfectly synchronized martial art performances, displaying the impressive strength and skill of the troops.
A minute’s silence was observed in honour of peacekeepers who have lost their lives in service, within South Sudan as well as in other peacekeeping missions around the world.
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
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If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
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I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
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That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Another reason why I am an optimist rather than a pessimist !!!!!
These two lasses were out fundraising / canvassing for Unicef, though sunny when Teniola called it had been " hisssing down ( raining a lot ) !!! ", plus hail etc, ( her pal was further along ) , still smiles, still chatting. Magic!
Great Customer Service as well despite rubbish weather and loads of coats !
So Very Big Thanks to Teniola ( left ) and her pal Kandy :)))) hope got her name spelt right?
So Glass is defin. over 9/10ths full after meeting them:)
Teccy bits.... two pics taken, one had a slight blink starting, and contre joure 1/110th of a sec magic! FD was almost grinning:))
If either want prints get in touch M x
ps Had the phone call from Shakira ( UNICEF? ), confirmed to her how good you were :))
and 725 views later :))) Magic!
For whatever reason, IMRL 212 had triple-clasp brakes, so the model required a fair amount of kitbashing to combine Proto 2000 brake rigging and sideframes onto Kato trucks.
EDIT: rrpa is working today.
Copyright © 2014 Ruggero Poggianella
All rights reserved. Please, do not use my photos/videos without my written permission. Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados.
© Copyright: All rights reserved.
© Copyright: No usar sin mi consentimiento.
© Copyright: Você não pode usar!
© Copyright: Sie dürfen es nicht kopieren!
Morgan 4/4 was the Morgan Motor Company's first car with four wheels. It appeared in 1936.
Its model designation "4-4" (later "4/4") stood for four wheels and four cylinders. Earlier Morgans had been three-wheelers, only, typically with V-twin engines. Apart from a break during World War II (and the period March 1951 to September 1955) the 4/4 has been in continuous production from its debut right up to the present day. Engine capacity has increased from the 1,122 cc Coventry Climax engine in 1936 to a 1.8-litre Ford engine in 2004, although it is currently back down to 1,595 cc.
The original open two-seater 4-4 was introduced in 1936 and ended up being the most popular of the three body options available. 663 were built by 1939 and 249 more from 1946 to 1950, representing 53% of the overall production.
For the first years the car had a 1,122 cc Coventry Climax engine with 34 bhp (25 kW; 34 PS), superseded from 1939 by a Standard Special 1,267 cc overhead valve engine with 38.8 bhp (29 kW; 39 PS). A four-speed Meadows gearbox was used until 1938, then a Moss gearbox.
The Drophead Coupé was introduced in 1938 with 58 built by 1939 and another 106 from 1946 to 1950. This has a better folding roof and permanent window frames, along with certain other creature comforts.
The Series II, now the 4/4 rather than the 4-4, was introduced in 1955 with 386 built by October 1960. Although very similar in appearance to the old 4-4 it was virtually a new car with a chassis based on the one used in the Morgan Plus 4. The traditional independent front suspension using sliding pillars and coil springs was fitted with a rigid axle and semi-elliptic leaf springs at the rear. Disc wheels were fitted as standard items.
A side-valve 1,172 cc Ford 100E engine was used with a Ford three-speed gearbox. The engine produced 36 bhp. Hydraulic brakes with 9 in (229 mm) drums were fitted. It was also available in 40 bhp (30 kW; 41 PS) 'Competition' form with Aquaplane head conversion, twin S.U. carburettors, and an improved gearshift linkage.
Inside there was a bench seat back and individual squabs covered in PVC, with leather as an option, and rubber floor covering. A heater was available as an option as was a rev counter and more surprisingly, direction indicators.
In 1956 The Motor magazine tested a Series II and recorded a top speed of 75.3 mph (121.2 km/h), acceleration from 0-60 mph (97 km/h) in 26.9 seconds and a fuel consumption of 35.1 miles per imperial gallon (8.0 L/100 km; 29.2 mpg-US). The test car cost £713 including taxes.
The short-lived Series III was introduced in October 1960 and 58 were built by November 1961 when the Series IV arrived. The chassis was essentially the same as that used on the Series II but the track was increased by 2 inches (50 mm). Hydraulic shock absorbers replaced the old Hartford friction type.
A 39 bhp (29 kW; 40 PS) overhead valve 997 cc Ford Anglia 105E engine and Ford four-speed gearbox were used.
The Series IV introduced October 1961 with 114 built by March 1963 had a 62 bhp, 1340 cc, Ford Classic 109E engine and Ford four-speed gearbox. Front 11 in (279 mm) disc brakes were now fitted.
The Motor magazine tested a Series IV in 1962 and found it had a top speed of 80.3 mph (129.2 km/h), acceleration from 0-60 mph (97 km/h) in 18.6 seconds and a touring fuel consumption of 32.0 miles per imperial gallon (8.8 L/100 km; 26.6 mpg-US). The test car cost £729 including taxes on the home market.
The Series V was introduced in February 1963 with 639 built by March 1968.
A 65 bhp, 1498 cc, Ford Cortina 116E engine and Ford four-speed gearbox were used.