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So... Where are we going again? And what's with this hand basket?
I shamefully admit to using HDR. There. I said it. I've fallen back into the HDR hole but, since I usually bracket may landscape photos anyway and since I'm sitting here in a hotel room with no editing capabilities on my little netbook, I present you with yet another view of Frankfurt, this time from the wonderful park that rings the financial district... and all in stunning HDR splendor. =D
A Sagres regressa das comemorações da partida da Volvo Ocean Race de Lisboa para Lorient à vista da Torre de Belém e do Bugio, isto em dia de Portugal (10 de Junho de 2012).
As saidas ocorreram sempre entre as 12h e as 15h, do ponto de vista fotográfico era difícil escolher pior luz.
Quinta contagem regressiva - Avon
Oi gente!
Chegando ao final de mais um desafio concluído com sucesso. Fiquei muito em dúvida de qual esmalte usar nessa parte, muito difícil escolher um acabamento preferido, acho que eu poderia usar qualquer um deles menos o magnético, acabei escolhendo o duo, esse da Avon é bem fraquinho, mas achei muito bonito, usei uma camada do Black da Ellen Gold e duas do Avon, por coincidência acabei usando ele na quinta sem perceber a referência no nome.
Why, oh why, are we regressing in critical thinking?
"Members of Gen X and Millennials believe in growing numbers that the moon landings were faked, from 4% fifty years ago, as the landings were actually occurring, to as high as 25% in some recent surveys."
— adAstra Apollo 11 50th Anniversary Edition 2019
P.S. from a survey of American adults 15 years ago:
• 33% believe in communication with the dead
• 39% believe astrology is scientific
• 46% deny that human beings evolved
• 49% don’t know that it takes a year for the Earth to orbit the sun
• 67% don't know what a molecule is
— from Posner's Catastophe book that we used in a class I co-taught at Stanford Law School, 2004 blog. Consider: If “critical thinking” comes naturally from the scientific method, "magical thinking" flourishes in counterpoint.
For most of human history, there was little to no progress. Almost no progress in a human lifetime.
That was before the scientific method.
The pig (Sus domesticus), often called swine (pl.: swine), hog, or domestic pig when distinguishing from other members of the genus Sus, is an omnivorous, domesticated, even-toed, hoofed mammal. It is variously considered a subspecies of Sus scrofa (the wild boar or Eurasian boar) or a distinct species. Pigs were domesticated in the Neolithic, both in East Asia and in the Near East. When these arrived in Europe, they extensively interbred with wild boar but retained their domesticated features.
Pigs are farmed primarily for meat, called pork. The animal's skin or hide is used for leather. China is the world's largest pig producer, followed by the European Union and then the United States. Around 1.5 billion pigs are raised each year, producing some 120 million tonnes of meat.
Pigs have featured in human culture since Neolithic times, appearing in art and literature for children and adults.
Description
The pig has a large head, with a long snout strengthened by a special prenasal bone and a disk of cartilage at the tip. The snout is used to dig into the soil to find food and is an acute sense organ. The dental formula of adult pigs is
3.1.4.3
3.1.4.3
, giving a total of 44 teeth. The rear teeth are adapted for crushing. In the male, the canine teeth can form tusks, which grow continuously and are sharpened by constantly being ground against each other. There are four hoofed toes on each foot; the two larger central toes bear most of the weight, while the outer two are also used in soft ground. Most pigs have rather sparsely bristled hair on their skin, though there are some woolly-coated breeds such as the Mangalitsa.
Pigs possess both apocrine and eccrine sweat glands, although the latter are limited to the snout. Pigs, like other "hairless" mammals such as elephants, do not use thermal sweat glands in cooling. Pigs are less able than many other mammals to dissipate heat from wet mucous membranes in the mouth by panting. Their thermoneutral zone is 16–22 °C (61–72 °F). At higher temperatures, pigs lose heat by wallowing in mud or water via evaporative cooling, although it has been suggested that wallowing may serve other functions, such as protection from sunburn, ecto-parasite control, and scent-marking. Pigs are among four mammalian species with mutations in the nicotinic acetylcholine receptor that protect against snake venom. Mongooses, honey badgers, hedgehogs, and pigs all have different modifications to the receptor pocket which prevents α-neurotoxin from binding. Pigs have small lungs for their body size, and are thus more susceptible than other domesticated animals to fatal bronchitis and pneumonia. Pigs have a maximum life span of about 27 years. The genome of the pig has been sequenced; it contains about 22,342 protein-coding genes.
Taxonomy
The pig is most often considered to be a subspecies of the wild boar, which was given the name Sus scrofa by Carl Linnaeus in 1758; following from this, the formal name of the pig is Sus scrofa domesticus. However, in 1777, Johann Christian Polycarp Erxleben classified the pig as a separate species from the wild boar. He gave it the name Sus domesticus, still used by some taxonomists. The American Society of Mammalogists considers it a separate species.
Domestication in the Neolithic
Archaeological evidence shows that pigs were domesticated from wild boar in the Near East in or around the Tigris Basin, being managed in the wild in a way similar to the way they are managed by some modern New Guineans. There were pigs in Cyprus more than 11,400 years ago, introduced from the mainland, implying domestication in the adjacent mainland by then. Pigs were separately domesticated in China, starting some 8,000 years ago. In the Near East, pig husbandry spread for the next few millennia. It reduced gradually during the Bronze Age, as rural populations focused instead on commodity-producing livestock, but it was sustained in cities.
Domestication did not involve reproductive isolation with population bottlenecks. Western Asian pigs were introduced into Europe, where they crossed with wild boar. There appears to have been interbreeding with a now extinct ghost population of wild pigs during the Pleistocene. The genomes of domestic pigs show strong selection for genes affecting behavior and morphology. Human selection for domestic traits likely counteracted the homogenizing effect of gene flow from wild boars and created domestication islands in the genome. Pigs arrived in Europe from the Near East at least 8,500 years ago. Over the next 3,000 years they interbred with European wild boar until their genome showed less than 5% Near Eastern ancestry, yet retained their domesticated features.
DNA evidence from subfossil remains of teeth and jawbones of Neolithic pigs shows that the first domestic pigs in Europe were brought from the Near East. This stimulated the domestication of local European wild boar, resulting in a third domestication event with the Near Eastern genes dying out in European pig stock. More recently there have been complex exchanges, with European domesticated lines being exported, in turn, to the ancient Near East. Historical records indicate that Asian pigs were again introduced into Europe during the 18th and early 19th centuries.
History
Columbian Exchange
Among the animals that the Spanish introduced to the Chiloé Archipelago in the 16th century Columbian Exchange, pigs were the most successful in adapting to local conditions. The pigs benefited from abundant shellfish and algae exposed by the large tides of the archipelago. Pigs were brought to southeastern North America from Europe by de Soto and other early Spanish explorers. Escaped pigs became feral, disrupting the lives of Native Americans.
With a population of around 1 billion individuals, the domesticated pig is one of the most numerous large mammals on the planet.
Feral pigs
Pigs have escaped from farms and gone feral in many parts of the world. Feral pigs in the southeastern United States have migrated north to the Midwest, where many state agencies have programs to remove them. Feral pigs in New Zealand and northern Queensland have caused substantial environmental damage. Feral hybrids of the European wild boar with the domestic pig are disruptive to both environment and agriculture, especially in southeastern South America.
Reproduction
Female pigs reach sexual maturity at 3–12 months of age and come into estrus every 18–24 days if they are not successfully bred. The variation in ovulation rate can be attributed to intrinsic factors such as age and genotype, as well as extrinsic factors like nutrition, environment, and the supplementation of exogenous hormones. The gestation period averages 112–120 days.
Estrus lasts two to three days, and the female's displayed receptiveness to mate is known as standing heat. Standing heat is a reflexive response that is stimulated when the female is in contact with the saliva of a sexually mature boar. Androstenol is one of the pheromones produced in the submaxillary salivary glands of boars that trigger the female's response. The female cervix contains a series of five interdigitating pads, or folds, that hold the boar's corkscrew-shaped penis during copulation. Females have bicornuate uteruses and two conceptuses must be present in both uterine horns for pregnancy to be established. Maternal recognition of pregnancy in pigs occurs on days 11 to 12 of pregnancy and is marked by progesterone production from a functioning corpus luteum. To avoid luteolysis by PGF2α, rescuing of the corpus luteum must occur via embryonic signaling of estradiol 17β and PGE2. This signaling acts on both the endometrium and luteal tissue to prevent the regression of the corpus luteum by activation of genes that are responsible for corpus luteum maintenance. During mid to late pregnancy, the corpus luteum relies primarily on Luteinizing hormone for maintenance until birth.
Archeological evidence indicates that medieval European pigs farrowed, or bore a litter of piglets, once per year. By the nineteenth century, European piglets routinely double-farrowed, or bore two litters of piglets per year. It is unclear when this shift occurred.
Behaviour
Pig behaviour is intermediate between that of other artiodactyls and of carnivores. Pigs seek out the company of other pigs, and often huddle to maintain physical contact, but do not naturally form large herds. They live in groups of about 8–10 adult sows, some young individuals, and some single males.
Because of their relative lack of sweat glands, pigs often control their body temperature using behavioural thermoregulation. Wallowing, coating the body with mud, is a common behaviour. They do not submerge completely under the mud, but vary the depth and duration of wallowing depending on environmental conditions. Adult pigs start wallowing once the ambient temperature is around 17–21 °C (63–70 °F). They cover themselves in mud from head to tail. They may use mud as a sunscreen, or to keep parasites away. Most bristled pigs "blow their coat", meaning that they shed most of the longer, coarser stiff hair once a year, usually in spring or early summer, to prepare for the warmer months ahead.
If conditions permit, pigs feed continuously for many hours and then sleep for many hours, in contrast to ruminants, which tend to feed for a short time and then sleep for a short time. Pigs are omnivorous and versatile in their feeding behaviour. They primarily eat leaves, stems, roots, fruits, and flowers. They are noticeably intelligent, on a par with dogs.
Rooting
Rooting is an instinctual comforting behaviour in pigs characterized by nudging the snout into something. It first happens when piglets are born to obtain their mother's milk, and can become a habitual, obsessive behaviour, most prominent in animals weaned too early. Pigs root and dig into the ground to forage for food. Rooting is also a means of communication.
Nest-building
A characteristic of pigs which they share with carnivores is nest-building. Sows root in the ground to create depressions the size of their body, and then build nest mounds, using twigs and leaves, softer in the middle, in which to give birth. When the mound reaches the desired height, she places large branches, up to 2 metres in length, on the surface. She enters the mound and roots around to create a depression within the gathered material. She then gives birth in a lying position, unlike other artiodactyls which usually stand while birthing.
Nest-building occurs during the last 24 hours before the onset of farrowing, and becomes most intense 12 to 6 hours before farrowing. The sow separates from the group and seeks a suitable nest site with well-drained soil and shelter from rain and wind. This provides the offspring with shelter, comfort, and thermoregulation. The nest provides protection against weather and predators, while keeping the piglets close to the sow and away from the rest of the herd. This ensures they do not get trampled on, and prevents other piglets from stealing milk from the sow. The onset of nest-building is triggered by a rise in prolactin level, caused by a decrease in progesterone and an increase in prostaglandin; the gathering of nest material seems to be regulated more by external stimuli such as temperature.
Nursing and suckling
Pigs have complex nursing and suckling behaviour. Nursing occurs every 50–60 minutes, and the sow requires stimulation from piglets before milk let-down. Sensory inputs (vocalisation, odours from mammary and birth fluids, and hair patterns of the sow) are particularly important immediately post-birth to facilitate teat location by the piglets. Initially, the piglets compete for position at the udder; then the piglets massage around their respective teats with their snouts, during which time the sow grunts at slow, regular intervals. Each series of grunts varies in frequency, tone and magnitude, indicating the stages of nursing to the piglets.
The phase of competition for teats and of nosing the udder lasts for about a minute, ending when milk begins to flow. The piglets then hold the teats in their mouths and suck with slow mouth movements (one per second), and the rate of the sow's grunting increases for approximately 20 seconds. The grunt peak in the third phase of suckling does not coincide with milk ejection, but rather the release of oxytocin from the pituitary into the bloodstream. Phase four coincides with the period of main milk flow (10–20 seconds) when the piglets suddenly withdraw slightly from the udder and start sucking with rapid mouth movements of about three per second. The sow grunts rapidly, lower in tone and often in quick runs of three or four, during this phase. Finally, the flow stops and so does the grunting of the sow. The piglets may dart from teat to teat and recommence suckling with slow movements, or nosing the udder. Piglets massage and suckle the sow's teats after milk flow ceases as a way of letting the sow know their nutritional status. This helps her to regulate the amount of milk released from that teat in future sucklings. The more intense the post-feed massaging of a teat, the more milk that teat later releases.
Teat order
In pigs, dominance hierarchies are formed at an early age. Piglets are precocious, and attempt to suckle soon after being born. The piglets are born with sharp teeth and fight for the anterior teats, as these produce more milk. Once established, this teat order remains stable; each piglet tends to feed on a particular teat or group of teats. Stimulation of the anterior teats appears to be important in causing milk letdown, so it might be advantageous to the entire litter to have these teats occupied by healthy piglets. Piglets locate teats by sight and then by olfaction.
Senses
Pigs have panoramic vision of approximately 310° and binocular vision of 35° to 50°. It is thought they have no eye accommodation. Other animals that have no accommodation, e.g. sheep, lift their heads to see distant objects. The extent to which pigs have colour vision is still a source of some debate; however, the presence of cone cells in the retina with two distinct wavelength sensitivities (blue and green) suggests that at least some colour vision is present.
Pigs have a well-developed sense of smell; use is made of this in Europe where trained pigs find underground truffles. Olfactory rather than visual stimuli are used in the identification of other pigs. Hearing is well developed; sounds are localised by moving the head. Pigs use auditory stimuli extensively for communication in all social activities. Alarm or aversive stimuli are transmitted to other pigs not only by auditory cues but also by pheromones. Similarly, recognition between the sow and her piglets is by olfactory and vocal cues.
Pests and diseases
Pigs are subject to many pests and diseases which can seriously affect productivity and cause death. These include parasites such as Ascaris roundworms, virus diseases such as the tick-borne African Swine Fever, bacterial infections such as Clostridium, arthritis caused by Mycoplasma, and stillbirths caused by Parvovirus.
Some parasites of pigs are a public health risk as they can be transmitted to humans in undercooked pork. These are the pork tapeworm Taenia solium; a protozoan, Toxoplasma gondii; and a nematode, Trichinella spiralis. Transmission can be prevented by thorough sanitation on the farm; by meat inspection and careful commercial processing; and by thorough cooking, or alternatively by sufficient freezing and curing.
In agriculture
Pigs have been raised outdoors, and sometimes allowed to forage in woods or pastures. In industrialized nations, pig production has largely switched to large-scale intensive pig farming. This has lowered production costs but has caused concern about possible cruelty. As consumers have become concerned with the humane treatment of livestock, demand for pasture-raised pork in these nations has increased. Most pigs in the US receive ractopamine, a beta-agonist drug, which promotes muscle instead of fat and quicker weight gain, requiring less feed to reach finishing weight, and producing less manure. China has requested that pork exports be ractopamine-free.
Like all animals, pigs are susceptible to adverse impacts from climate change, such as heat stress from increased annual temperatures and more intense heatwaves. Heat stress has increased rapidly between 1981 and 2017 on pig farms in Europe. Installing a ground-coupled heat exchanger is an effective intervention.
Breeds
Many breeds of pig have been created by farmers around the world, differing in coloration, shape, and size. According to The Livestock Conservancy, as of 2016, three breeds of pig are critically rare (having a global population of fewer than 2000). They are the Choctaw hog, the Mulefoot, and the Ossabaw Island hog. The smallest known pig breed in the world is the Göttingen minipig, typically weighing about 26 kilograms (57 lb) as a healthy, full-grown adult.
Economy
Global pig stock
in 2019
Number in millions
1. China (Mainland)310.4 (36.5%)
2. European Union143.1 (16.83%)
3. United States78.7 (9.26%)
4. Brazil40.6 (4.77%)
5. Russia23.7 (2.79%)
6. Myanmar21.6 (2.54%)
7. Vietnam19.6 (2.31%)
8. Mexico18.4 (2.16%)
9. Canada14.1 (1.66%)
10. Philippines12.7 (1.49%)
World total850.3
Source: UN Food and Agriculture Organization
Approximately 1.5 billion pigs are slaughtered each year for meat.
The pork belly futures contract became an icon of commodities trading. It appears in depictions of the arena in popular entertainment, such as the 1983 film Trading Places. Trade in pork bellies declined, and they were delisted from the Chicago Mercantile Exchange in 2011.
In 2023, China produced more pork than any other country, 55 million tonnes, followed by the European Union with 22.8 million tonnes and the United States with 12.5 million tonnes. Global production in 2023 was 120 million tonnes. India, despite its large population, consumed under 0.3 million tonnes of pork in 2023. International trade in pork (meat not consumed in the producing country) reached 13 million tonnes in 2020.
Uses
Pigs are farmed primarily for meat, called pork. Pork is eaten in the form of pork chops, loin or rib roasts, shoulder joints, steaks, and loin (also called fillet). The many meat products made from pork include ham, bacon, and sausages. Pork is further made into charcuterie products such as terrines, galantines, pâtés and confits. Some sausages such as salami are fermented and air-dried, to be eaten raw. There are many types, the original Italian varieties including Genovese, Milanese, and Cacciatorino, with spicier kinds from the South of Italy including Calabrese, Napoletano, and Peperone.
The hide is made into pigskin leather, which is soft and durable; it can be brushed to form suede leather. These are used for products such as gloves, wallets, suede shoes, and leather jackets.
In medicine
Pigs, both as live animals and as a source of post-mortem tissues, are valuable animal models because of their biological, physiological, and anatomical similarities to human beings. For instance, human skin is very similar to the pigskin, therefore pigskin has been used in many preclinical studies.
Pigs are good non-human candidates for organ donation to humans, and in 2021 became the first animal to successfully donate an organ to a human body. The procedure used a donor pig genetically engineered not to have a specific carbohydrate that the human body considers a threat–Galactose-alpha-1,3-galactose. Pigs are good for human donation as the risk of cross-species disease transmission is reduced by the considerable phylogenetic distance from humans. They are readily available, and the danger of creating new human diseases is low as domesticated pigs have been in close contact with humans for thousands of years.
In culture
Pigs, widespread in societies around the world since Neolithic times, have been used for many purposes in art, literature, and other expressions of human culture. In classical times, the Romans considered pork the finest of meats, enjoying sausages, and depicting them in their art. Across Europe, pigs have been celebrated in carnivals since the Middle Ages, becoming specially important in Medieval Germany in cities such as Nuremberg, and in Early Modern Italy in cities such as Bologna. Pigs, especially miniature breeds, are occasionally kept as pets.
In literature, both for children and adults, pig characters appear in allegories, comic stories, and serious novels. In art, pigs have been represented in a wide range of media and styles from the earliest times in many cultures. Pig names are used in idioms and animal epithets, often derogatory, since pigs have long been linked with dirtiness and greed, while places such as Swindon are named for their association with swine. The eating of pork is forbidden in Islam and Judaism, but pigs are sacred in some other religions.
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REALITIES OF THE TWENTIES*
Photo impressions of the 1920s
Photo: Play dead. - Germany, ca. 1925.
Original photo @ Sterneck*Archive
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POWER AND REGRESSION * - Photo Set
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*
REALITIES OF THE TWENTIES
Photo impressions of the 1920s
1 - LOVE AND SELF-DETERMINATION *
www.flickr.com/photos/sterneck/albums/72157708783994913
2 - DESIRE AND STYLE *
www.flickr.com/photos/sterneck/albums/72157708820397436
3 - WORK AND SOLIDARITY *
www.flickr.com/photos/sterneck/albums/72157708809725287
4 - COMMUNITY AND EXPERIENCE *
www.flickr.com/photos/sterneck/albums/72157708819004931
5 - WEALTH AND CONFORMITY *
www.flickr.com/photos/sterneck/albums/72157708819730276
6 - PLEASURE AND LIMITATIONS *
www.flickr.com/photos/sterneck/albums/72157708820129916
7 - YOUTH AND DEVELOPMENT *
www.flickr.com/photos/sterneck/albums/72157708818506502
8 - POWER AND REGRESSION *
www.flickr.com/photos/sterneck/albums/72157708819367133
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29.11.2019: A different Kiss* @ KitKat-Club, Berlin.
Performance & Sounds on Berlin/Weimar-1920s.
*
Wolfgang Sterneck:
IN THE CRACKS OF THE WORLD
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Articles and Visions: www.sterneck.net
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Local: Pontes, Setúbal, Linha do Sul
Data: 1 de Julho 2012
Tipologia do comboio: Comboio especial dos Ingleses (PTG), Sines - Entroncamento
Locomotiva : Bombardier 1960 (1962)
Observações :
Foi construído entre 1909 e 1911 pelo empreiteiro Emigdio Joze Lo Ferreira para ser a sua residência após o seu regresso do Brasil.
Em 1955, o palacete foi adquirido pela Câmara Municipal de Matosinhos ao seu proprietário de então, Eurico Felgueiras que nos anos 50 era o sócio principal do Banco Sousa Cruz., acolhendo nas suas instalações a Escola Industrial e Comercial de Matosinhos desde outubro desse ano (entre outros, foram diretores da EICM o falecido Dr. Luís Maria da Silva Fontela, autor dos livros de Cálculo Comercial e de Contabilidade, e o falecido Eng.º João Machado Gouveia), depois uma Secção do Liceu D. Manuel II e, mais tarde, a Escola Preparatória António Nobre.
Nos últimos anos, o edifício funcionou como sede da Polícia Municipal e como Biblioteca Municipal, de dezembro de 1987 a 2005, estando atualmente desativado.
Emigdio Joze Lo Ferreira (assim se escrevia o seu nome quando nasceu) / Emidio José Ló Ferreira (assim se escrevia o seu nome quando casou):
neto paterno de Antonio Pereira Crasto e Jozefa Maria que viveram depois de casados na freguesia de Santa Marinha de Trevoens do concelho de S. João da Pesqueira do Distrito de Viseu e da Diocese de Lamego;
neto materno de Antonio Lo e Maria Tereza Torga que viveram depois de casados na mesma freguesia;
filho do jornaleiro Antonio Pereira Crasto e de Maria Rita que nasceram e viveram nessa freguesia, nasceu pelas 19:00 de 16/09/1863 na dita freguesia e foi batizado na Igreja paroquial de Santa Marinha de Trevoens pelo Reitor Antonio de Souza Lobatos a 09/11/1863 tendo sido seus padrinhos o proprietário Joze Maria Lo Ferreira e a doméstica Clemencia Augusta Rita Pinto que sabiam escrever nessa altura;
ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Joaquim Maria Lo Ferreira, mais novo 3 anos e filho dos seus padrinhos, atraído pelas obras de construção do porto de Leixões (Joaquim Maria Lo Ferreira era neto paterno de Miguel Joze Lo e Maria Tereza Ferreira que nasceram e viveram na dita freguesia, era neto materno Narcizo Pinto e Agueda Maria que viveram depois de casados na mesma freguesia, era filho do proprietário Joze Maria Lo Ferreira e da doméstica Clemencia Augusta Rita Pinto que nasceram e viveram nessa freguesia, nasceu a 10/05/1867 pelas 20:00 na dita freguesia, foi batizado na Igreja paroquial de Santa Marinha de Trevoens a 28/06/81867 pelo mesmo Reitor e, ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Emigdio Joze Lo Ferreira, mais velho 3 anos e afilhado dos seus pais);
quando casaram na Igreja paroquial de São Salvador de Mathozinhos em julho de 1886, o Emidio era jornaleiro e o Joaquim era empregado nas obras de construção do porto de abrigo artificial de Leixões morando ambos na então R. do Juncal de Baixo (a partir de 18/12/1890, R. Roberto Ivens terminando nessa altura a sul junto da R. do Godinho onde começava para sul o Areal do Prado);
Joaquim Maria Lo Ferreira (2.º primo do Emidio, se o avô materno deste, Antonio Lo, era irmão do avô paterno daquele, Miguel Joze Lo) casou a 19/07/1886 na Igreja paroquial de São Salvador de Mathozinhos com Clotilde Gloria Fernandes (de 20 anos, natural da freguesia de Santa Valha do concelho de Vallepassos do distrito de Bragança, moradora na mesma R. do Juncal de Baixo e filha ilegítima de João de Deus Fernandes, natural do concelho de Vinhais, e de Anna de Jesus, natural de Leiria);
Emidio José Ló Ferreira casou 3 dias depois, a 22/07/1886 na mesma igreja, com Cacilda Leonor Marques (de 16 anos, tinha nascido pelas 03:00 de 06/03/1869 na R. do Juncal de Baixo, tinha sido batizada a 11/03/1869 na então Igreja paroquial do Salvador de Bouças de Matozinhos pelo padre Francisco Angelo Paes Pacheco, Coadjuctor da freguesia, tendo sido seus padrinhos o pescador Antonio Luis e a sua filha solteira Anna Francisca que viviam na mesma rua, não sabia escrever quando casou, era filha do pescador Manoel Marques e da sua 2.ª mulher Josefa Martins Leonor que nasceram em Matosinhos e foram casados a 16/07/1859 na Igreja paroquial do Salvador de Bouças de Matozinhos pelo Reitor da freguesia Manoel Pinto de Carvalho vivendo ambos na mesma R. do Juncal de Baixo desde antes de 1859, era neta paterna de João Marques e Rozaria Maria da Silva, e era neta materna de Antonio Martins, natural da freguesia de Santa Marinha de Villar do concelho de Terras do Bouro, e de Maria Leonor, natural de Matosinhos, casados na Igreja paroquial do Salvador de Bouças de Matozinhos a 15/08/1834 pelo Reitor Luiz Manoel Moutinho);
Emidio e Cacilda tiveram pelo menos 2 filhos (Maria José Ló Ferreira que veio a casar com Luiz Antunes de Mesquita não tendo tido filhos, Ernesto José Ló Ferreira, 'O Trovões', que foi preso pela PIDE entre 18/05/1938 e 24/09/1940 e tinha casado com Olinda Costa Correia da qual teve a 07/08/1920 a sua filha Palmira que, por sua vez, veio a casar com António Teixeira Rodrigues nascido em Vila Real a 01/05/1911 e comerciante nesta cidade com a sua loja 'Garota das Meias');
a 05/06/1894, foi tornado Fidalgo Cavaleiro pelo rei D. Carlos I;
partiu depois de Matosinhos para o Brasil em busca de fortuna, onde já se encontrava desde 1883 no Rio de Janeiro Alfredo do Nascimento Ló Ferreira, irmão de Joaquim Maria Ló Ferreira (pois a 24/03/1883, foi emitido um passaporte em nome de Alfredo do Nascimento Ló Ferreira, então com 17 anos e residente no lugar de Ferrões do concelho de S. João da Pesqueira, ajudante de farmácia que pretendia ir para o Rio de Janeiro);
em S. Paulo, e com a ajuda do então governador do Estado brasileiro de Manaus entre 23/07/1904 e 23/07/1908, o Coronel Antonio Constantino Nery (Manaus, 08/12/1859 - Belém, Pará, 19/091926) que o incumbiu da construção de vários edifícios, ganhou muito dinheiro no sector da construção civil como empreiteiro e também no sector da borracha;
regressando a Portugal, e em homenagem ao seu 'protetor' em terras brasileiras, construiu o Cineteatro Constantino Nery que foi inaugurado a 10/06/1906 em Matosinhos na Av. Serpa Pinto ao lado do n.º 226;
um Alvará do rei D. Manoel II, de 12/08/1909, concedeu-lhe o título de 1.º Visconde de Trevões e outro, de 22/08/1909, concedeu-lhe autorização para usar o respetivo Brasão de Armas devido às suas obras beneméritas em prol do concelho de Matosinhos;
Aainda em Matosinhos, construiu entre 1909 e 1911 a sua nova residência que veio depois a ser conhecida como o Palacete do Visconde de Trevões;
impulsionou, juntamente com outros, a construção do Bairro dos Pescadores;
ordenou o calcetamento de todo o adro da Igreja do Bom Jesus de Matosinhos, obra esta inteiramente suportada pela sua fortuna ?????;
homem simples, mas inteligente, foi benemérito ilustre até ao momento em que iniciou carreira no sector das pescas, para a qual não estava preparado e que lhe consumiu pouco a pouco muitos dos seus bens;
foi condecorado com o grau de Comendador da Ordem de Cristo;
foi Irmão da Santa Casa da Misericórdia de Vila Real desde 1922, morando então no seu palacete em Matosinhos;
a sua esposa Cacilda, a Viscondessa de Trevões, faleceu a 20/06/1927, com apenas 38 anos;
em 1930, foi réu num processo de ação primária movido por Alberto Marques Abrantes e Maria de Jesus Amaral Marques na 1.ª Secção do Tribunal Judicial da Comarca de Vila Real;
foi sócio da Associação Comercial e Industrial de Matosinhos, desde antes de 1938;
faleceu em 1942 na sua Quinta de Almodena em Vila Real, havendo ainda hoje o Bairro da Quinta de Almodena nesta cidade.
Foi construído entre 1909 e 1911 pelo empreiteiro Emigdio Joze Lo Ferreira para ser a sua residência após o seu regresso do Brasil.
Em 1955, o palacete foi adquirido pela Câmara Municipal de Matosinhos ao seu proprietário de então, Eurico Felgueiras que nos anos 50 era o sócio principal do Banco Sousa Cruz., acolhendo nas suas instalações a Escola Industrial e Comercial de Matosinhos desde outubro desse ano (entre outros, foram diretores da EICM o falecido Dr. Luís Maria da Silva Fontela, autor dos livros de Cálculo Comercial e de Contabilidade, e o falecido Eng.º João Machado Gouveia), depois uma Secção do Liceu D. Manuel II e, mais tarde, a Escola Preparatória António Nobre.
Nos últimos anos, o edifício funcionou como sede da Polícia Municipal e como Biblioteca Municipal, de dezembro de 1987 a 2005, estando atualmente desativado.
Emigdio Joze Lo Ferreira (assim se escrevia o seu nome quando nasceu) / Emidio José Ló Ferreira (assim se escrevia o seu nome quando casou):
neto paterno de Antonio Pereira Crasto e Jozefa Maria que viveram depois de casados na freguesia de Santa Marinha de Trevoens do concelho de S. João da Pesqueira do Distrito de Viseu e da Diocese de Lamego;
neto materno de Antonio Lo e Maria Tereza Torga que viveram depois de casados na mesma freguesia;
filho do jornaleiro Antonio Pereira Crasto e de Maria Rita que nasceram e viveram nessa freguesia, nasceu pelas 19:00 de 16/09/1863 na dita freguesia e foi batizado na Igreja paroquial de Santa Marinha de Trevoens pelo Reitor Antonio de Souza Lobatos a 09/11/1863 tendo sido seus padrinhos o proprietário Joze Maria Lo Ferreira e a doméstica Clemencia Augusta Rita Pinto que sabiam escrever nessa altura;
ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Joaquim Maria Lo Ferreira, mais novo 3 anos e filho dos seus padrinhos, atraído pelas obras de construção do porto de Leixões (Joaquim Maria Lo Ferreira era neto paterno de Miguel Joze Lo e Maria Tereza Ferreira que nasceram e viveram na dita freguesia, era neto materno Narcizo Pinto e Agueda Maria que viveram depois de casados na mesma freguesia, era filho do proprietário Joze Maria Lo Ferreira e da doméstica Clemencia Augusta Rita Pinto que nasceram e viveram nessa freguesia, nasceu a 10/05/1867 pelas 20:00 na dita freguesia, foi batizado na Igreja paroquial de Santa Marinha de Trevoens a 28/06/81867 pelo mesmo Reitor e, ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Emigdio Joze Lo Ferreira, mais velho 3 anos e afilhado dos seus pais);
quando casaram na Igreja paroquial de São Salvador de Mathozinhos em julho de 1886, o Emidio era jornaleiro e o Joaquim era empregado nas obras de construção do porto de abrigo artificial de Leixões morando ambos na então R. do Juncal de Baixo (a partir de 18/12/1890, R. Roberto Ivens terminando nessa altura a sul junto da R. do Godinho onde começava para sul o Areal do Prado);
Joaquim Maria Lo Ferreira (2.º primo do Emidio, se o avô materno deste, Antonio Lo, era irmão do avô paterno daquele, Miguel Joze Lo) casou a 19/07/1886 na Igreja paroquial de São Salvador de Mathozinhos com Clotilde Gloria Fernandes (de 20 anos, natural da freguesia de Santa Valha do concelho de Vallepassos do distrito de Bragança, moradora na mesma R. do Juncal de Baixo e filha ilegítima de João de Deus Fernandes, natural do concelho de Vinhais, e de Anna de Jesus, natural de Leiria);
Emidio José Ló Ferreira casou 3 dias depois, a 22/07/1886 na mesma igreja, com Cacilda Leonor Marques (de 16 anos, tinha nascido pelas 03:00 de 06/03/1869 na R. do Juncal de Baixo, tinha sido batizada a 11/03/1869 na então Igreja paroquial do Salvador de Bouças de Matozinhos pelo padre Francisco Angelo Paes Pacheco, Coadjuctor da freguesia, tendo sido seus padrinhos o pescador Antonio Luis e a sua filha solteira Anna Francisca que viviam na mesma rua, não sabia escrever quando casou, era filha do pescador Manoel Marques e da sua 2.ª mulher Josefa Martins Leonor que nasceram em Matosinhos e foram casados a 16/07/1859 na Igreja paroquial do Salvador de Bouças de Matozinhos pelo Reitor da freguesia Manoel Pinto de Carvalho vivendo ambos na mesma R. do Juncal de Baixo desde antes de 1859, era neta paterna de João Marques e Rozaria Maria da Silva, e era neta materna de Antonio Martins, natural da freguesia de Santa Marinha de Villar do concelho de Terras do Bouro, e de Maria Leonor, natural de Matosinhos, casados na Igreja paroquial do Salvador de Bouças de Matozinhos a 15/08/1834 pelo Reitor Luiz Manoel Moutinho);
Emidio e Cacilda tiveram pelo menos 2 filhos (Maria José Ló Ferreira que veio a casar com Luiz Antunes de Mesquita não tendo tido filhos, Ernesto José Ló Ferreira, 'O Trovões', que foi preso pela PIDE entre 18/05/1938 e 24/09/1940 e tinha casado com Olinda Costa Correia da qual teve a 07/08/1920 a sua filha Palmira que, por sua vez, veio a casar com António Teixeira Rodrigues nascido em Vila Real a 01/05/1911 e comerciante nesta cidade com a sua loja 'Garota das Meias');
a 05/06/1894, foi tornado Fidalgo Cavaleiro pelo rei D. Carlos I;
partiu depois de Matosinhos para o Brasil em busca de fortuna, onde já se encontrava desde 1883 no Rio de Janeiro Alfredo do Nascimento Ló Ferreira, irmão de Joaquim Maria Ló Ferreira (pois a 24/03/1883, foi emitido um passaporte em nome de Alfredo do Nascimento Ló Ferreira, então com 17 anos e residente no lugar de Ferrões do concelho de S. João da Pesqueira, ajudante de farmácia que pretendia ir para o Rio de Janeiro);
em S. Paulo, e com a ajuda do então governador do Estado brasileiro de Manaus entre 23/07/1904 e 23/07/1908, o Coronel Antonio Constantino Nery (Manaus, 08/12/1859 - Belém, Pará, 19/091926) que o incumbiu da construção de vários edifícios, ganhou muito dinheiro no sector da construção civil como empreiteiro e também no sector da borracha;
regressando a Portugal, e em homenagem ao seu 'protetor' em terras brasileiras, construiu o Cineteatro Constantino Nery que foi inaugurado a 10/06/1906 em Matosinhos na Av. Serpa Pinto ao lado do n.º 226;
um Alvará do rei D. Manoel II, de 12/08/1909, concedeu-lhe o título de 1.º Visconde de Trevões e outro, de 22/08/1909, concedeu-lhe autorização para usar o respetivo Brasão de Armas devido às suas obras beneméritas em prol do concelho de Matosinhos;
Aainda em Matosinhos, construiu entre 1909 e 1911 a sua nova residência que veio depois a ser conhecida como o Palacete do Visconde de Trevões;
impulsionou, juntamente com outros, a construção do Bairro dos Pescadores;
ordenou o calcetamento de todo o adro da Igreja do Bom Jesus de Matosinhos, obra esta inteiramente suportada pela sua fortuna ?????;
homem simples, mas inteligente, foi benemérito ilustre até ao momento em que iniciou carreira no sector das pescas, para a qual não estava preparado e que lhe consumiu pouco a pouco muitos dos seus bens;
foi condecorado com o grau de Comendador da Ordem de Cristo;
foi Irmão da Santa Casa da Misericórdia de Vila Real desde 1922, morando então no seu palacete em Matosinhos;
a sua esposa Cacilda, a Viscondessa de Trevões, faleceu a 20/06/1927, com apenas 38 anos;
em 1930, foi réu num processo de ação primária movido por Alberto Marques Abrantes e Maria de Jesus Amaral Marques na 1.ª Secção do Tribunal Judicial da Comarca de Vila Real;
foi sócio da Associação Comercial e Industrial de Matosinhos, desde antes de 1938;
faleceu em 1942 na sua Quinta de Almodena em Vila Real, havendo ainda hoje o Bairro da Quinta de Almodena nesta cidade.
✒️ Regresso do PTG a Portugal (2022)
✒️ Locomotiva Alsthom "Nez-Cassé" 2609 + três carruagens Schindler + English Electric 1436 + 1461, na marcha 13830 [Porto-Campanhã -> Aveiro]
📍 Passagem por Salreu, 06 de novembro de 2022
40 is a much more magical number. Venus needs 40 years to form a pentagram in the night sky before it returns to its original point with a 40 days regression. 40 years is the time for a new generation to arise. It rained for 40 days during the Flood. Moses spent three times 40 days on Mount Sinai. 40 days is the time between resurrection and ascension of Jesus. According to an Arabic proverb you have to live among a people for 40 days to understand them. 40 days are between Marbon and Samhain…South, who calls out in the streets, and to the multitudes.” And the two new illuminations accompanied for him with: “Turn to me with all your heart. Do not refuse me because I am dark and shadowed. The fire of the sun has altered me. The seas have encompassed me. The earth has been corrupted because of my work. Night fell over the earth when I sank into the miry deep, and my substance was hidden.” And for her: “From the depths of the water I cried out to you, and from the depth of the earth I will call to those who pass by me. Watch for me. See me. And if you find another who is like me, I will give him the morning star.” combined with green traffic light which depict the stages of the alchemical art of transformation. The green light at the end of Daisy’s dock is a significant symbol within the book. To Gatsby, the green light represents his dream, which is Daisy. To attain her would be completing Gatsby’s American Dream. The first time the green light is seen in the novel is also the first time Nick sees Gatsby. Fitzgerald writes, “…he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward – and distinguished nothing except a single green light, minute and far away…” The green light is described as ‘minute and far away’ which makes it appear impossible to reach. This will prove to be true for Gatsby. The green light also represents society’s desire and the seeming impossibility of achieving the materialistic American Dream.
The Aurora Consurgens or Rising Dawn, Part I (hereafter the Aurora), is traditionally attributed to St. Thomas Aquinas (1225 -1274) and was written sometime from the thirteenth to the fifteenth centuries. It largely comprises excerpts that are mostly from the Bible, but also from Arabic alchemical texts and Greek philosophy. The Aurora claims to identify what divine Wisdom is, and in parables indicates how Wisdom guides the reunion of God and a man. In modern times the Aurora was edited by Marie-Louise von Franz (1915-1998), who added a Commentary from the perspective of analytical psychology. There, von Franz assumes that Wisdom is the perception ofa psychological factor, and the objectives of the present thesis are to validate that assumption, and (2) use the concept of Wisdom as a psychological factor to identify the process ofredemption given in the Aurora. Hence, this thesis identifies a way by which people may establish a relationship with God. Redemption in the Aurora means a process of removal of sin and reunion of a man with God subsequent to the Fall in the creation story of Genesis 1-3.1 There, God formed man in his own image; and from man he separated the woman Eve, the mother of all people. That is, the woman was previously an aspect of man, so man was initially comprised of male and female which means that man was androgynous, God cautioned the man that if they came to know good and evil they would die; but Eve acquired moral knowledge from the wise serpent which she shared with the man Adam. Consequently, they knew good and evil like gods, so they were no longer subject to the wisdom of God and were expelled from paradise. Just as Eve had been separated from the man, so also man was separated from God; but Eve and Adam as well as God and man A broad hint of how a reunion may occur is given in Genesis 2:24 which says that when a man has a wife they "shall be two in one flesh," so when a man and woman marry they return to their former androgynous state. Hence, there are two related analogous relationships, Godand a man, and a man and a women, and the process of their interactions is referred to here as the spiritual marriageIn the Aurora God and a man are represented by various pairs of opposites, such as father and son, but predominantly as a female and her male lover. The relationship of this gendered pair is regarded not only as the union of a woman and a man, but also as an allegory of the reunion of the man with God. So, the female represents not only a woman, but also a feminine hypostatization of God called Wisdom. Hence, God appears to men as a female personification who promises to reunite her lover with the knowledge or wisdom complete process is not explicitly described but, following five introductory chapters regarding the nature of Wisdom, various perspectives of redemption are given in seven parables, The Aurora comprises revelatory excerpts, mostly from Bible but also intuitively adapted and linked by comments from the author, and the meaning is not always obvious. It is shown that the theology ofSt Thomas Aquinas is consistent with that of the Aurora, so that the rational, methodical writings of Aquinas may be used to analyse the Aurora to reveal its meaning. This explication identifies that Wisdom is a personification of the essence of God who emanates to manifest in the human mind both as the knowledge or wisdom of God and as a feminine guide. Hence, the man in the Aurora is reunited with God by being guided by Wisdom to understand the wisdom of God. However, the Aurora does not identify how the union of a woman and a man is related to the reunion of God and a man. consider this last issue, the process ofredemption identified from the Aurora is then related to analytical psychology which was developed by the swiss psychiatrist (1875-1961). According to Jung, the psyche comprises ego-consciousness and the unconscious, and the contents ofthe unconscious are inherited patterns of behaviour ealled archetypes. It is shown from the writings ofAquinas and Jung that in a man, the feminine anima is an archetypal factor which brings about the personification of Wisdom in the Aurora. The masculine characteristics ofego-consciousness in a man, which is what the man in the Aurora refers to asT, are determined by the opposite principle to the feminine anima. To identify that an external object is a woman, a man compares her with the sis pdf?sequence 2 unconscious form of woman which is the anima, and the resulting conflation in consciousness appears to him as a numinous image which in the Aurora is Wisdom personified. This means that the spiritual feminine anima figure ofthe unconscious is activated in the masculine ego-consciousness of the man, so there is both male and female in the one matrix; they are "two in one flesh" so to s Consequently, feminine wisdom of the Aurora which according to Aquinas is an emanation of the essence of God, and according to Jung is a projection of the anima unites with the 'I' of the man, and wisdom as a personification of God is thereby reunited with the man in a spiritual marriage This thesis substantiates and elaborates the above vignette in two sequential parts, so that both of the thesis objectives are achieved over both of the parts. First, the Aurora is explicated in the Appendix and the attributes of wisdom and redemption are identified in chapter 3. The Appendix separately identifies the meaning of the Aurora in its own context without interpretation from analytical psychology and thereby provides the basic connection with the Aurora. Chapter 3 summarizes and analyses the information from the Appendix regarding wisdom and redemption so that those topics may be compared with analytical psychology in the following chapter. Specifically, it is identified that wisdom is a personification of the essence or wisdom of God which emanates to the human mind, and redemption is identified as a four-stage process. Second, in chapter 4 the attributes of Wisdom are compared with the anima archetype and it is shown that the anima is the psychological factor that brings about the personification of wisdom. Once th relationship of wisdom and the anima is established, itis shown that the four-stage process of redemption is comparable to the analytical process of individuation. The similarities of the Aurora and the writings of Jung enable redemption to be described from analytical psychology as a spiritual marriage between Wisdom and a man, and a man and a woman on Franz considered the Aurora from the perspective ofanalytical psychology in her Commentary. She was a student and colleague of Jung and she wrote that Jung was the first to discover the importance of the text and that Jung requested she prepare a new edition." The result is an Introduction, followed by the Latin text with a facing translation, and notes that identify the sources. This is followed by a 250-page running commentary that considers the text fiom the perspective of Jung's analytical psychology, and finall chapter on authorship. The text was translated out of the Latin by A. S. B. Glover and published with the Commentary by von Franz in 1957 in German; and, with a translation by R. F. and corrections by Glover, the English edition was published almost ten years later in 1966." The Aurora was intended to be the third volume to Jung's Mysterium Coniunctionis, volumes one and two of which were published in German in 1955 and 1956, and in English in one volume in 1963. Consequently, von Franz reasonably assumed in her Commentary to the Aurora that which is in the previous two volumes of the Mysterium. Additionally, because the Mysterium was Jung's last major work it assumed much of the psychology from his previous publications, so that the Aurora Commentary assumes much of Jung's analytical psychology. In addition to her Commentary, von Franz also published a series ofthree introductory lectures on the Aurora that she gave in 1959. Von Franz was known and respected as an intuitive sort of person, o and there is a significant intuitive content to both her Commentary and her subsequent lectures on the Aurora. Additionally, the lectures assume not only Jung's psychology but also much of what was in her Commentary as hypothesis. For example, she wrote in her Commentary that her primary concern was with the alchemy and psychology and left development of a hypothesis that Aquinas was the author until the last chapter of the Aurora whereas she assumed that Aquinas was the author from the beginning of her lectures. Hence, there is a greater degree of certainty expressed in the lectures than in the Commentary, and there is more certainty in the Commentary than in the Mysterium fundamental assumption of von Franz's commentary is that the Aurora is an expression of the author's psychic processes. The Aurora is an intuitive compilation of loosely linked excerpts from various sources that consist of narratives and pronouncements rather than logical theories. According to von Franz, "the author did not express himself in clearly understandable concepts for the simple reason that he did not possess them, and that he was giving a stammering description of an unconscious content which had irrupted into his unconscious "13 hether this is correct or not, we will see that the Aurora is coherent and meaningful without considering the author.
researcharchive.vuw.ac.nz/xmlui/bitstream/handle/10063/15...
And then I granted me the time and space to create it. No doubting myself allowed. No waiting for somebody else’s permission. A pure adventure into the quest of why am I here. I took medieval alchemists on a ride through Gatsby’s 20s and had Jasper Johns tapping along. OK, it makes more sense when I say that I recreated the illustrations of the Aurora Consurgens – an alchemical manuscript from the 15th century. I kept what I think of as the alchemical syntax – the elements and colors that code the alchemists’ secrets. Yet, I changed the style to Art Deco. And I added numbers to the composition. As work of alchemy the Aurora is about finding the gold in the initial chaos, about improving whatever it is you’ve been given in any beginning – think: the Dodo’s Caucus Race – to the best thing possible. It’s your beginning, it’s your race. Alchemists knew that it was a long, very slow process, one of trial and error in which they were alone, though they did exchange their ideas and finds with their network through mysterious texts and paintings. The illustrations in the Aurora speak of hard work, of learning, struggle, open hostility, ripping yourself open, bleeding, even dying, but also resurrection, love and light. Learning and transformation are a painful and sometimes dark process with obstacles and detours, but they were deemed worth the lifelong work of even the smartest. Lifelong, as the process of learning never really ends. Learning means to accept that one never will have all the answers and that the answers one finds might not be universally right. Learning means to stay always open to the new, the unexpected, and not to accept randomly set borders. The more you learn the more you understand that all you do is phrasing better questions in a wider space as somehow like time everything is interwoven and entangled and forms new patterns with the same old as soon as you dare to blink While in the 15th century of the Aurora the people still aimed to understand nature, in the 1920s humankind celebrated the triumph of its technology and science over nature, also in their art. They discovered the We of nations, and even more important the I of psychology, which they wrote with a capital letter just to underline its new importance. They partied as if there wasn’t a tomorrow. The party was like a masquerade on the open grave of a dying man – without limits, without rules, without reason and ultimately lonely. There wasn’t a reason to improve anymore as everyone at least pretended to be king of the universe and its center with everything else circling around. Today every second counts. We are supposed to be perfect instantly if we want to evade being measured and weighted and found lacking. That would open the door to malice and mock. Pain that leads to learning, but no improvement, just more masks and armor. The numbers are the count down.
The original Aurora Consurgens had 38 illustrations. Deborah Harkness described two more in A Discovery of Witches.
photo (50)It was between Marbon and Samhain that I recreated the Aurora Consurgens, to be finished at the day when the veil between the living and the dead, the past and the present is thinnest and I was born. Happy Halloween! It’s done now. Scratch the Aurora Consugens from my bucket list, just as sleeping next to Joss Whedon and sitting next to Tom Hiddleston. What’s next? Shawarma? Well, maybe sleep. But then Shawarma after. Oh and, can I have a retweet please? It’s my birthday after all....to make people happy, to make people think. My Doodles on Tumblr. Where are you heading? Where I’ve been recently. The Aurora starts “Everything good comes to me along with her. She is known as the wisdom of the Diary of an Obsession – A modern Minnesong by a perfectly imperfect brain. Welcome to my World (Erika Manuscript. A Grayish Illumination Full Of All Souls. Aviva Brueckner
Art Projects(which Deborah Harkness added)
Foi construído entre 1909 e 1911 pelo empreiteiro Emigdio Joze Lo Ferreira para ser a sua residência após o seu regresso do Brasil.
Em 1955, o palacete foi adquirido pela Câmara Municipal de Matosinhos ao seu proprietário de então, Eurico Felgueiras que nos anos 50 era o sócio principal do Banco Sousa Cruz., acolhendo nas suas instalações a Escola Industrial e Comercial de Matosinhos desde outubro desse ano (entre outros, foram diretores da EICM o falecido Dr. Luís Maria da Silva Fontela, autor dos livros de Cálculo Comercial e de Contabilidade, e o falecido Eng.º João Machado Gouveia), depois uma Secção do Liceu D. Manuel II e, mais tarde, a Escola Preparatória António Nobre.
Nos últimos anos, o edifício funcionou como sede da Polícia Municipal e como Biblioteca Municipal, de dezembro de 1987 a 2005, estando atualmente desativado.
Emigdio Joze Lo Ferreira (assim se escrevia o seu nome quando nasceu) / Emidio José Ló Ferreira (assim se escrevia o seu nome quando casou):
neto paterno de Antonio Pereira Crasto e Jozefa Maria que viveram depois de casados na freguesia de Santa Marinha de Trevoens do concelho de S. João da Pesqueira do Distrito de Viseu e da Diocese de Lamego;
neto materno de Antonio Lo e Maria Tereza Torga que viveram depois de casados na mesma freguesia;
filho do jornaleiro Antonio Pereira Crasto e de Maria Rita que nasceram e viveram nessa freguesia, nasceu pelas 19:00 de 16/09/1863 na dita freguesia e foi batizado na Igreja paroquial de Santa Marinha de Trevoens pelo Reitor Antonio de Souza Lobatos a 09/11/1863 tendo sido seus padrinhos o proprietário Joze Maria Lo Ferreira e a doméstica Clemencia Augusta Rita Pinto que sabiam escrever nessa altura;
ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Joaquim Maria Lo Ferreira, mais novo 3 anos e filho dos seus padrinhos, atraído pelas obras de construção do porto de Leixões (Joaquim Maria Lo Ferreira era neto paterno de Miguel Joze Lo e Maria Tereza Ferreira que nasceram e viveram na dita freguesia, era neto materno Narcizo Pinto e Agueda Maria que viveram depois de casados na mesma freguesia, era filho do proprietário Joze Maria Lo Ferreira e da doméstica Clemencia Augusta Rita Pinto que nasceram e viveram nessa freguesia, nasceu a 10/05/1867 pelas 20:00 na dita freguesia, foi batizado na Igreja paroquial de Santa Marinha de Trevoens a 28/06/81867 pelo mesmo Reitor e, ainda jovem, veio entre 1884 e 1885 trabalhar para Matosinhos com o seu parente Emigdio Joze Lo Ferreira, mais velho 3 anos e afilhado dos seus pais);
quando casaram na Igreja paroquial de São Salvador de Mathozinhos em julho de 1886, o Emidio era jornaleiro e o Joaquim era empregado nas obras de construção do porto de abrigo artificial de Leixões morando ambos na então R. do Juncal de Baixo (a partir de 18/12/1890, R. Roberto Ivens terminando nessa altura a sul junto da R. do Godinho onde começava para sul o Areal do Prado);
Joaquim Maria Lo Ferreira (2.º primo do Emidio, se o avô materno deste, Antonio Lo, era irmão do avô paterno daquele, Miguel Joze Lo) casou a 19/07/1886 na Igreja paroquial de São Salvador de Mathozinhos com Clotilde Gloria Fernandes (de 20 anos, natural da freguesia de Santa Valha do concelho de Vallepassos do distrito de Bragança, moradora na mesma R. do Juncal de Baixo e filha ilegítima de João de Deus Fernandes, natural do concelho de Vinhais, e de Anna de Jesus, natural de Leiria);
Emidio José Ló Ferreira casou 3 dias depois, a 22/07/1886 na mesma igreja, com Cacilda Leonor Marques (de 16 anos, tinha nascido pelas 03:00 de 06/03/1869 na R. do Juncal de Baixo, tinha sido batizada a 11/03/1869 na então Igreja paroquial do Salvador de Bouças de Matozinhos pelo padre Francisco Angelo Paes Pacheco, Coadjuctor da freguesia, tendo sido seus padrinhos o pescador Antonio Luis e a sua filha solteira Anna Francisca que viviam na mesma rua, não sabia escrever quando casou, era filha do pescador Manoel Marques e da sua 2.ª mulher Josefa Martins Leonor que nasceram em Matosinhos e foram casados a 16/07/1859 na Igreja paroquial do Salvador de Bouças de Matozinhos pelo Reitor da freguesia Manoel Pinto de Carvalho vivendo ambos na mesma R. do Juncal de Baixo desde antes de 1859, era neta paterna de João Marques e Rozaria Maria da Silva, e era neta materna de Antonio Martins, natural da freguesia de Santa Marinha de Villar do concelho de Terras do Bouro, e de Maria Leonor, natural de Matosinhos, casados na Igreja paroquial do Salvador de Bouças de Matozinhos a 15/08/1834 pelo Reitor Luiz Manoel Moutinho);
Emidio e Cacilda tiveram pelo menos 2 filhos (Maria José Ló Ferreira que veio a casar com Luiz Antunes de Mesquita não tendo tido filhos, Ernesto José Ló Ferreira, 'O Trovões', que foi preso pela PIDE entre 18/05/1938 e 24/09/1940 e tinha casado com Olinda Costa Correia da qual teve a 07/08/1920 a sua filha Palmira que, por sua vez, veio a casar com António Teixeira Rodrigues nascido em Vila Real a 01/05/1911 e comerciante nesta cidade com a sua loja 'Garota das Meias');
a 05/06/1894, foi tornado Fidalgo Cavaleiro pelo rei D. Carlos I;
partiu depois de Matosinhos para o Brasil em busca de fortuna, onde já se encontrava desde 1883 no Rio de Janeiro Alfredo do Nascimento Ló Ferreira, irmão de Joaquim Maria Ló Ferreira (pois a 24/03/1883, foi emitido um passaporte em nome de Alfredo do Nascimento Ló Ferreira, então com 17 anos e residente no lugar de Ferrões do concelho de S. João da Pesqueira, ajudante de farmácia que pretendia ir para o Rio de Janeiro);
em S. Paulo, e com a ajuda do então governador do Estado brasileiro de Manaus entre 23/07/1904 e 23/07/1908, o Coronel Antonio Constantino Nery (Manaus, 08/12/1859 - Belém, Pará, 19/091926) que o incumbiu da construção de vários edifícios, ganhou muito dinheiro no sector da construção civil como empreiteiro e também no sector da borracha;
regressando a Portugal, e em homenagem ao seu 'protetor' em terras brasileiras, construiu o Cineteatro Constantino Nery que foi inaugurado a 10/06/1906 em Matosinhos na Av. Serpa Pinto ao lado do n.º 226;
um Alvará do rei D. Manoel II, de 12/08/1909, concedeu-lhe o título de 1.º Visconde de Trevões e outro, de 22/08/1909, concedeu-lhe autorização para usar o respetivo Brasão de Armas devido às suas obras beneméritas em prol do concelho de Matosinhos;
Aainda em Matosinhos, construiu entre 1909 e 1911 a sua nova residência que veio depois a ser conhecida como o Palacete do Visconde de Trevões;
impulsionou, juntamente com outros, a construção do Bairro dos Pescadores;
ordenou o calcetamento de todo o adro da Igreja do Bom Jesus de Matosinhos, obra esta inteiramente suportada pela sua fortuna ?????;
homem simples, mas inteligente, foi benemérito ilustre até ao momento em que iniciou carreira no sector das pescas, para a qual não estava preparado e que lhe consumiu pouco a pouco muitos dos seus bens;
foi condecorado com o grau de Comendador da Ordem de Cristo;
foi Irmão da Santa Casa da Misericórdia de Vila Real desde 1922, morando então no seu palacete em Matosinhos;
a sua esposa Cacilda, a Viscondessa de Trevões, faleceu a 20/06/1927, com apenas 38 anos;
em 1930, foi réu num processo de ação primária movido por Alberto Marques Abrantes e Maria de Jesus Amaral Marques na 1.ª Secção do Tribunal Judicial da Comarca de Vila Real;
foi sócio da Associação Comercial e Industrial de Matosinhos, desde antes de 1938;
faleceu em 1942 na sua Quinta de Almodena em Vila Real, havendo ainda hoje o Bairro da Quinta de Almodena nesta cidade.
Uma vez mais com um projeto bastante ambicioso, Luís Oliveira regressa à Honda, marca com a qual já se sagrou Campeão Brasileiro de Enduro. Considerado como um dos pilotos mais rápidos que passou por “terras de Vera Cruz”, o português promete voltar, e com as cores da Honda Brasil, lutar...
A ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’ foi criada e estabelecida na R. de S. Pedro de Miragaia, no Porto, como uma sociedade em comandita na qual José Coelho Dias era o sócio comanditário (entrou com o capital) e Joaquim Antonio Lopes era o sócio comanditado e gerente:
José Coelho Dias, natural de Espinho, tinha antes emigrado para o Império do Brasil de onde tinha entretanto regressado rico e resolveu investir nesta empresa conserveira;
as suas conservas começaram a alcançar uma crescente preferência em todos os mercados onde se apresentavam, começando a ser cada vez mais forte a pressão de clientes e amigos para a necessidade da sua expansão e para se dedicarem ao fabrico da conserva de sardinha;
depois de uma longa e aturada viagem pelo estrangeiro onde puderam verificar os últimos progressos da indústria conserveira, e de terem estudado vários locais onde poderiam instalar em Portugal a nova fábrica, optaram por escolher a praia de Matosinhos (Areal do Prado) que oferecia na altura as melhores garantias, tanto no que dizia respeito ao aprovisionamento da matéria-prima como no das vias para a exportação dos produtos fabricados através do porto de abrigo artificial de Leixões inaugurado em 1892, uma vez que o sector da indústria conserveira em Portugal constituiu fundamentalmente um sector exportador desde os seus primórdios.
A antiga ‘Real Fábrica a Vapor de Conservas Alimentícias’, da empresa ‘Lopes, Coelho Dias & Cª’, foi a 1.ª fábrica de conservas que se estabeleceu em 1899 na futura ou já R. Guerra Junqueiro, no prolongamento da atual R. Brito Capelo desde 18/12/1890 (antes, R. Juncal de Cima), delimitada a sul pela futura ou já R. Sousa Aroso (no Areal do Prado, em Matosinhos Sul):
foi construída de raiz com instalações modelares, numa área de 14 000 m2 e sendo considerada uma das maiores deste ramo da indústria alimentar na Península Ibérica, pela sociedade em nome coletivo ‘Lopes, Coelho Dias & Cª’ cujos sócios eram os da ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’, tendo antes de 1929 passado a ser uma sociedade por quotas, a ‘Conservas Lopes, Coelho Dias, Lda’;
em abril de 1903, pescadores de Matosinhos queixaram-se ao 'Jornal de Notícias' contra as redes à Valenciana por causa destas capturarem toda a sardinha qualquer que fosse o tamanho, e o jornal 'A Federação' apoiou, escrevendo que 'são as armações ... de capitalistas gananciosos';
em agosto de 1903, houve uma greve de soldadores da fábrica 'Lopes, Coelho Dias & Cª', em Matosinhos, e de ferroviários na linha ferroviária Porto-Famalicão;
as instalações da fábrica foram alvo de melhoramentos em 1904, ano em que foi também aumentado o seu capital social;
chegou a ser denominada ‘Real Fábrica de Conservas de Matosinhos’ e chegou a ter 400 operários que, em certas ocasiões de grande movimento chegaram a ser 1000;
foi um dos exemplos da interação em Matosinhos entre a indústria e as vias de comunicação, pois o elétrico da Linha Marginal passava à porta na R. Brito Capelo e a linha ferroviária do Ramal de Leixões passava junto às suas instalações desde 1895 a caminho dos Apeadeiro do Prado e do Sura-Prado facilitando o transporte das suas exportações;
os produtos da ‘Lopes, Coelho Dias & Cª’, que naquela época constituíam uma novidade e cujo consumo atraía principalmente as camadas médias da sociedade portuguesa, apresentavam 2 características essenciais (grande qualidade rivalizando com os que a ‘Fábrica Brandão, Gomes & Cª' também colocava no mercado, e enorme diversidade);
a produção destas 2 fábricas constituía um verdadeiro festival gastronómico, pois ambas colocavam no mercado, para além das conservas de sardinha que já então constituíam a sua principal produção e que eram preparadas nas mais diversas e extravagantes variedades como as conservas de sardinha fumada, produtos em conserva que hoje em dia dificilmente se consegue imaginar tais como, uma imensa variedade de conservas de peixe (atum, salmão, congro, cherne, linguado, pescada, ...), de marisco (ameijoas, camarão, lagosta, mexilhão e ostras), de carnes (vitela, carneiro, vaca e porco), de aves (frango, pato, peru e borracho), de caça (codorniz, coelho, lebre, pato, perdiz, pombo e rola), de legumes (espargos, grelos, nabos, repolho, cenoura, couve) e ainda embalagens enlatadas de queijo da serra, frutas em calda, geleia ou polpa para sorvetes (a extrema variedade de conservas que, nesta época, caracterizava a produção destas fábricas, incluía ainda diversos tipos de molhos como o afamado ‘Molho de Espinho’ feito à base de azeite, vinagre, mostarda e pickles pela ‘Brandão, Gomes & Cª’ e que granjeou um enorme sucesso comercial);
uma das fotos é publicidade às conservas e pickles 'Lopes, Coelho Dias & C.ª', da autoria de Francisco Valença (in: Ilustração Portuguesa, n.º 73, de 27/03/1905);
a participação de Portugal na I Guerra Mundial constituiu o ensejo para ambas as fábricas terem apresentado ainda um novo produto, as refeições de campanha em latas de 1 Kg adaptadas ao paladar nacional (bacalhau guisado com batas ou grão, dobrada e vitela à jardineira);
aspeto não negligenciável da atividade destas fábricas, e constituindo um suporte fundamental para a sua afirmação e conquista de mercados que, no caso português, ainda se encontravam pouco familiarizados com este tipo de produtos, consistia nos materiais publicitários que ambas editavam (desde os luxuosos catálogos de produtos às estampas, postais, cartazes, calendários, todos eles evidenciavam uma grande originalidade e qualidade artísticas para cuja execução recorriam por vezes a oficinas gráficas estrangeiras) pretendendo associar uma imagem de prestígio à qualidade dos seus produtos, o que efetivamente, conseguiram alcançar com pleno êxito;
enquanto estas 2 fábricas foram praticamente as únicas no mercado nacional com tamanha diversidade de produtos oferecidos no mercado, pois os centros conserveiros de Setúbal-Sesimbra e do Algarve, apesar de nesta época serem mais importantes, não apresentavam este tipo de produção tão diversificada, os negócios decorreram com normalidade, não obstante a crise do sector conserveiro verificada no pós-guerra e à qual se seguiram os efeitos da Grande Depressão de 1929, ainda que limitados, mas que tiveram algum impacto num dos poucos sectores cujos produtos Portugal conseguia exportar;
a 28/05/1929, o operário Francisco Pinheiro, da 'Lopes, Coelho Dias, Lda.', foi condecorado com a Ordem do Mérito Agrícola e Industrial.
estas fábricas pioneiras acabaram por perder então a característica da diversidade de produção, principalmente após o início da expansão do sector conserveiro no centro produtor do Norte a partir da década de 20 do séc. XX, passando então a produzirem apenas conservas de peixe com especial destaque para as de sardinha;
os problemas surgiram um pouco mais tarde, decorrentes da natural expansão do sector conserveiro no centro produtor do Norte de Portugal, embora globalmente este desenvolvimento tivesse provocado efeitos positivos na economia da região, catapultando, a partir da década de 30 do séc. XX, o núcleo conserveiro de Matosinhos para o 1.º lugar no 'ranking' do sector conserveiro nacional;
a expansão registada nas décadas de 20 e de 30, a que se seguiu o excecional período de procura de conservas portuguesas durante a II Guerra Mundial, com base na especialização das fábricas conserveiras de Matosinhos numa única variedade de produtos, as conservas de peixe, impossibilitou a sobrevivência de fábricas como a ‘Conservas Lopes, Coelho Dias, Lda.’ que registava elevados custos de exploração em virtude da extrema variedade de produtos que continuava a fabricar (embora, nos últimos anos da sua vida como unidade conserveira, tivesse reduzido essa multiplicidade de produtos privilegiando a produção de conservas de sardinha tendo chegado a produzir 6 milhões anuais de latas e a empregar 300 operários, era impossível continuar a manter uma estrutura produtiva como a que se mantinha desde a sua fundação);
em 1941, a ‘Conservas Lopes, Coelho Dias, Lda.’ acabou por encerrar e vendeu as suas instalações ao industrial Adão Pacheco Polónia que manteve a fábrica em funcionamento até cerca de 1965;
em junho de 1942, a ‘Adão Polónia & C.ª, Lda. situada na R. Brito Capelo 1104-1200, Matozinhos, apareceu referenciada numa lista ‘negra’ do Banco da Reserva Federal de Nova Iorque;
em 1953, Adão Polónia deslocou-se ao Rio de Janeiro a fim de concretizar a venda de 2 barcos de pesca seus;
em meados de 1999, as suas instalações abandonadas há mais de 30 anos começaram a ser demolidas para dar lugar a uma urbanização no âmbito do plano de recuperação urbana da zona sul de Matosinhos.
Histórico bacalhoeiro Argus regressa a mãos portuguesas depois de 30 anos nas Caraíbas
(Fonte: Jornal o PUBLICO)
Aquele que foi um dos mais emblemáticos navios bacalhoeiros portugueses, o Argus, deverá, em breve, regressar a Portugal, depois de ter estado cerca de 30 anos nas Caraíbas a cumprir cruzeiros turísticos. O veleiro que ficou imortalizado no documentário A Campanha do Argus, da autoria de Alan Villiers, acaba de ser comprado pela empresa Pascoal e Filhos, que já tem em mãos o projecto de recuperação de um outro veleiro histórico nacional, o Santa Maria Manuela. Apesar de a administração da empresa Pascoal e Filhos SA "não confirmar nem desmentir" a aquisição do Argus, o PÚBLICO sabe que o navio, que ultimamente recebia o nome de Polynesia II, foi adquirido pela firma de Ílhavo em Aruba, estimando-se que regresse a Portugal nos próximos meses. Resta, agora, saber que projectos terá o armador de Aveiro para aquele que foi um dos lugres mais imponentes da que ficou conhecida como The Portuguese White Fleet (Frota Branca) e que acabou por vir a ser projectado internacionalmente por força da reportagem realizada por Alan Villiers - que acompanhou, em 1950, uma viagem do Argus aos bancos da Terra Nova.
Este veleiro histórico é também reconhecido por ser "irmão" dos lugres Creoula e Santa Maria Manuela, tendo sido construído na Holanda, em 1939. Muito embora o seu desenho seja em tudo idêntico ao dos seus irmãos, o projecto do Argus já compreendeu algumas alterações e melhoramentos. Andou na pesca do bacalhau até 1970, acabando por ser vendido para o estrangeiro em 1974, tal como aconteceu, em 1971, com o Gazela Primeiro, outro dos veleiros emblemáticos da frota portuguesa - este último encontra-se em Filadélfia, nos Estados Unidos da América.
Com esta aquisição do Argus por uma firma nacional, a memória da epopeia dos portugueses na pesca do bacalhau - em especial, a da faina maior, feita nos pequenos dóris por um só homem - poderá, a médio prazo, ganhar um novo testemunho vivo. Além do Creoula, que está entregue à Marinha portuguesa, e do Argus, brevemente o país passará a contar com o Santa Maria Manuela, que está já a ser recuperado pela Pascoal e Filhos SA, depois de ter sido adquirido à fundação que detinha o casco do navio e que nunca chegou a conseguir arranjar verbas para a sua requalificação.
As últimas estimativas apontam para que o navio fique totalmente reconstruído em Outubro deste ano, sendo que a aposta passa por transformá-lo num navio de treino de mar, promotor da cultura científica, e promotor da história e vocação marítima dos portugueses. A esta altura, a recuperação do Santa Maria Manuela avança já a passos largos num estaleiro da Galiza, depois de ter sido alvo dos primeiros trabalhos em Aveiro, desconhecendo-se ainda os números que estão envolvidos nesta operação.
I'm regressing into film.... Kodak came out with Ektar 100 last year in both 35 mm and 120 sizes. I finally have gotten around to trying a couple rolls. It's like the junkie who swore off the juice being lured back in. Scanned on my somewhat OK Epson scanner. It adds more grain in sharpening than exists in this film. 4800dpi reduced to 2400 pixels or so in maximum size... some 120 will have to be tried next.
A progress check on Sunday led to the realization that there were radically different colors on my work than what were portrayed in the kit picture. When I looked closely, I discovered that the kit had two entirely wrong colors included. I have never before had such a big mistake in a Dimensions kit and I am disappointed to say the least. I have now traded out the wrong colors for their DMC equivalent and work is back underway. Next Friday will go back to the usual progress shot rather than a regression.
A ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’ foi criada e estabelecida na R. de S. Pedro de Miragaia, no Porto, como uma sociedade em comandita na qual o Sr. José Coelho Dias era o sócio comanditário (entrou com o capital) e o Sr. Joaquim Antonio Lopes era o sócio comanditado e gerente:
José Coelho Dias, natural de Espinho, tinha antes emigrado para o Império do Brasil de onde tinha entretanto regressou rico e resolveu investir nesta empresa conserveira;
as suas conservas começaram a alcançar uma crescente preferência em todos os mercados onde se apresentavam, começando a ser cada vez mais forte a pressão de clientes e amigos para a necessidade da sua expansão e para se dedicarem ao fabrico da conserva de sardinha;
depois de uma longa e aturada viagem pelo estrangeiro onde puderam verificar os últimos progressos da indústria conserveira, e de terem estudado vários locais onde poderiam instalar em Portugal a nova fábrica, optaram por escolher a praia de Matosinhos (Areal do Prado) que oferecia na altura as melhores garantias, tanto no que dizia respeito ao aprovisionamento da matéria-prima como no das vias para a exportação dos produtos fabricados através do porto de abrigo artificial de Leixões inaugurado em 1892, uma vez que o sector da indústria conserveira em Portugal constituiu fundamentalmente um sector exportador desde os seus primórdios.
A antiga ‘Real Fábrica a Vapor de Conservas Alimentícias’, da empresa ‘Lopes, Coelho Dias & Cª’, foi a 1.ª fábrica de conservas que se estabeleceu em 1899 na ainda R. Juncal de Cima, atual R. Brito Capelo desde dezembro de 1890, delimitada a sul pela futura R. Sousa Aroso (no Areal do Prado, em Matosinhos Sul):
foi construída de raiz com instalações modelares, numa área de 14 000 m2 e sendo considerada uma das maiores deste ramo da indústria alimentar na Península Ibérica, pela sociedade em nome coletivo ‘Lopes, Coelho Dias & Cª’ cujos sócios eram os da ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’, tendo antes de 1929 passado a ser uma sociedade por quotas, a ‘Conservas Lopes, Coelho Dias, Lda’;
em abril de 1903, pescadores de Matosinhos queixaram-se ao 'Jornal de Notícias' contra as redes à Valenciana por causa destas capturarem toda a sardinha qualquer que fosse o tamanho, e o jornal 'A Federação' apoiou, escrevendo que 'são as armações ... de capitalistas gananciosos';
em agosto de 1903, houve uma greve de soldadores da fábrica 'Lopes, Coelho Dias & Cª', em Matosinhos, e de ferroviários na linha ferroviária Porto-Famalicão;
as instalações da fábrica foram alvo de melhoramentos em 1904, ano em que foi também aumentado o seu capital social;
chegou a ser denominada ‘Real Fábrica de Conservas de Matosinhos’ e chegou a ter 400 operários que, em certas ocasiões de grande movimento chegaram a ser 1000;
foi um dos exemplos da interação em Matosinhos entre a indústria e as vias de comunicação, pois o elétrico da Linha Marginal passava à porta na R. Brito Capelo e a linha ferroviária do Ramal de Leixões passava junto às suas instalações desde 1895 a caminho dos Apeadeiro do Prado e do Sua-Prado facilitando o transporte das suas exportações;
os produtos da ‘Lopes, Coelho Dias & Cª’, que naquela época constituíam uma novidade e cujo consumo atraía principalmente as camadas médias da sociedade portuguesa, apresentavam 2 características essenciais (grande qualidade rivalizando com os que a ‘Fábrica Brandão, Gomes & Cª' também colocava no mercado, e enorme diversidade);
a produção destas 2 fábricas constituía um verdadeiro festival gastronómico, pois ambas colocavam no mercado, para além das conservas de sardinha que já então constituíam a sua principal produção e que eram preparadas nas mais diversas e extravagantes variedades como as conservas de sardinha fumada, produtos em conserva que hoje em dia dificilmente se consegue imaginar tais como, uma imensa variedade de conservas de peixe (atum, salmão, congro, cherne, linguado, pescada, ...), de marisco (ameijoas, camarão, lagosta, mexilhão e ostras), de carnes (vitela, carneiro, vaca e porco), de aves (frango, pato, peru e borracho), de caça (codorniz, coelho, lebre, pato, perdiz, pombo e rola), de legumes (espargos, grelos, nabos, repolho, cenoura, couve) e ainda embalagens enlatadas de queijo da serra, frutas em calda, geleia ou polpa para sorvetes (a extrema variedade de conservas que, nesta época, caracterizava a produção destas fábricas, incluía ainda diversos tipos de molhos como o afamado ‘Molho de Espinho’ feito à base de azeite, vinagre, mostarda e pickles pela ‘Brandão, Gomes & Cª’ e que granjeou um enorme sucesso comercial);
uma das fotos é publicidade às conservas e pickles 'Lopes, Coelho Dias & C.ª', da autoria de Francisco Valença (in: Ilustração Portuguesa, n.º 73, de 27/03/1905);
a participação de Portugal na I Guerra Mundial constituiu o ensejo para ambas as fábricas terem apresentado ainda um novo produto, as refeições de campanha em latas de 1 Kg adaptadas ao paladar nacional (bacalhau guisado com batas ou grão, dobrada e vitela à jardineira);
aspeto não negligenciável da atividade destas fábricas, e constituindo um suporte fundamental para a sua afirmação e conquista de mercados que, no caso português, ainda se encontravam pouco familiarizados com este tipo de produtos, consistia nos materiais publicitários que ambas editavam (desde os luxuosos catálogos de produtos às estampas, postais, cartazes, calendários, todos eles evidenciavam uma grande originalidade e qualidade artísticas para cuja execução recorriam por vezes a oficinas gráficas estrangeiras) pretendendo associar uma imagem de prestígio à qualidade dos seus produtos, o que efetivamente, conseguiram alcançar com pleno êxito;
enquanto estas 2 fábricas foram praticamente as únicas no mercado nacional com tamanha diversidade de produtos oferecidos no mercado, pois os centros conserveiros de Setúbal-Sesimbra e do Algarve, apesar de nesta época serem mais importantes, não apresentavam este tipo de produção tão diversificada, os negócios decorreram com normalidade, não obstante a crise do sector conserveiro verificada no pós-guerra e à qual se seguiram os efeitos da Grande Depressão de 1929, ainda que limitados, mas que tiveram algum impacto num dos poucos sectores cujos produtos Portugal conseguia exportar;
a 28/05/1929, o operário Francisco Pinheiro, da 'Lopes, Coelho Dias, Lda.', foi condecorado com a Ordem do Mérito Agrícola e Industrial.
estas fábricas pioneiras acabaram por perder então a característica da diversidade de produção, principalmente após o início da expansão do sector conserveiro no centro produtor do Norte a partir da década de 20 do séc. XX, passando então a produzirem apenas conservas de peixe com especial destaque para as de sardinha;
os problemas surgiram um pouco mais tarde, decorrentes da natural expansão do sector conserveiro no centro produtor do Norte de Portugal, embora globalmente este desenvolvimento tivesse provocado efeitos positivos na economia da região, catapultando, a partir da década de 30 do séc. XX, o núcleo conserveiro de Matosinhos para o 1.º lugar no "ranking" do sector conserveiro nacional;
a expansão registada nas décadas de 20 e de 30, a que se seguiu o excecional período de procura de conservas portuguesas durante a II Guerra Mundial, com base na especialização das fábricas conserveiras de Matosinhos numa única variedade de produtos, as conservas de peixe, impossibilitou a sobrevivência de fábricas como a ‘Conservas Lopes, Coelho Dias, Lda.’ que registava elevados custos de exploração em virtude da extrema variedade de produtos que continuava a fabricar (embora, nos últimos anos da sua vida como unidade conserveira, tivesse reduzido essa multiplicidade de produtos privilegiando a produção de conservas de sardinha tendo chegado a produzir 6 milhões anuais de latas e a empregar 300 operários, era impossível continuar a manter uma estrutura produtiva como a que se mantinha desde a sua fundação);
em 1941, a ‘Conservas Lopes, Coelho Dias, Lda.’ acabou por encerrar e vendeu as suas instalações ao industrial Adão Pacheco Polónia que manteve a fábrica em funcionamento até cerca de 1965;
em junho de 1942, a ‘Adão Polónia & C.ª, Lda. situada na R. Brito Capelo 1104-1200, Matozinhos, apareceu referenciada numa lista ‘negra’ do Banco da Reserva Federal de Nova Iorque;
em 1953, Adão Polónia deslocou-se ao Rio de Janeiro a fim de concretizar a venda de 2 barcos de pesca seus;
em meados de 1999, as suas instalações abandonadas há mais de 30 anos começaram a ser demolidas para dar lugar a uma urbanização no âmbito do plano de recuperação urbana da zona sul de Matosinhos.
The picnic triggered an explosion of images from Eleanor's childhood.
for Flickriver - Sophie Shapiro
.
Kyle sighed as he dutifully mopped up yet another juice spill over in the toddler room. Little more then a giant playpen, the area was roped off by a colorful mesh net. The boy didn’t mind the menial duties, but he did wish his charges could keep the floor (and their pants) dry for at least five minutes. Five minutes. That’s all he was asking.
“Ky-ky,” one of the little girls whined, tugging on his pant legs. “Boo-boo,” she said, patting at her pants.
“Oh, Alicia,” Kyle groaned, lifting the little rabbit off the ground, keeping her at arm’s length. “I just changed you!”
Seeing the child begin to tear up, the teenage raccoon quickly donned a smile and reassured her that it was alright. Alicia was one of the super-sonic screamers…if she started up, she’d wake the whole nursery.
After finishing up the odious ordeal, Alicia was in a clean diaper and Kyle was seated on one of the plastic tables, exhausted. He knew the kids liked him, but he had to admit to himself that he was only doing it for the money. School was out and jobs were scarce, and the fact that Sunny Hills Daycare was so close to his house and hiring made this his number one choice for employment. It didn’t hurt that a few of the other ‘sitters’, as they were called, were his age and very hot. Still, this job took a lot out of him, and he was considering quitting. He had let his exhaustion get the better of him at times and had snapped at a few of the kids on occasion. No one minded, (it was within a sitter’s right to be loud) but Kyle knew that it wasn’t the kids fault.
Sigh.
Suddenly, a cold, chilling sensation raced down Kyle’s back, and the boy shuddered as it startled him. As he did, there was a falling sensation, a popping sound, and disoriented, Kyle allowed himself to slide to the floor in a heap, wondering what the heck had just happened. He was just pulling himself to his feet when he heard a very familiar voice call to him in sing-song.
“Ooopsy! Here, kiddo, let me help you there,” it said, and Kyle was astonished to find the voice coming from someone who could have been his mirror image. Same dark, reddish hair, same clear, moss-green eyes. The only difference between them that Kyle could see was that his doppelganger was about five times his size. “Can’t have you laying on the ground…you don’t know what kind of yuckies are living down there!”
As Kyle felt himself lifted into the air, he tried to find his tongue to shout for help, but for some strange reason, his voice kept catching, like his mouth was filled with peanut butter. Perhaps sensing his distress, the giant winked at him. “Oh, don’t you worry about that, Ky-ky. Kids your age can’t talk yet! All you have to worry about is playing, getting fed, and keeping your pants dry.” He chuckled. “If you were wearing pants, that is!”
The giant set Kyle back on the floor, and despite everything else, his first inclination was to verify the statement. Lifting his shirt, (which was still emblazoned with the Sunny Hills’ logo) a wave of chagrin washed over him as he realized that he wasn’t just pantless, his boxers had somehow morphed into an exact replica of the kind of diaper he had just put on Alicia. Dropping his shirt, Kyle’s eyes darted all over himself, and from the protruding belly, the round, pudgy fingers and the feet that were about the size of his head, he realized that ‘Kyle’ wasn’t a giant…he had gotten younger!
“Enjoy it, kiddo. I am you…well, a part of you at least. Believe me when I say you needed this. Think of it as a little vacation…just have fun with it!” ‘Kyle’ winked again. “I promise.”
“Wuh…wuh…weal?” Kyle managed to sputter out, around the peanut butter that wasn’t there.
“Real? Maybe. Maybe it’s just a dream. But you deserve to see your service in a different light. You’re good for these kids, they like you. Now you’re about to find out why.” The teenager grinned wide and slowly reached for the tot. “They say I know all the good tickle spots…”
This is a departure form my normal portrait style (whatever that is) I was having a go with a wide angle (10-20mm) LittleMissPhotocillin and I were killing time in Camberley yesterday. We won Custard the Cat in one of these grabber machines. The shopping trollies were abandoned in the middle of the pedestrian precinct.
LMP hasn't been in a shopping trolley for years......hence the title
No it's not a HDR but I used the "punch" preset in Lightroom and increased the clarity over LMP
Começando contagem regressiva, apenas 8 dias *_*
É nóis qui voa bruxão IARIRIRIARI
"Certas pessoas ainda acham que Harry Potter vai acabar. Mas para os fãs, a saga nunca vai acabar. Ela está e sempre estará guardada em cada um de nós, fãs. E sempre que eu quizer relembrar das aventuras daquele pequeno menino de 11 anos, eu não preciso ler o livro e nem assistir o filme novamente, é só eu olhar para dentro de mim. Este não é o fim, é apenas o começo. s2"
Chorei agora, awn *_* /eu que inventei viu? kk
Esqueci dos créditos, mas tudo bem, o que vale é o que eu sinto por eles e não uma edição simples e qualquer.
Ps: estou sem fotos dos malvadões (kk euri), então eu pus essa mesmo :P
Ps 2: esqueci de pôr aspas na parte que diz: the boy who lives come to die.
enjoy (;
I was burnt for the sin of recognition
bruised for the transgression of regression
I was blamed for being by those who've forgotten
I remembered it all the way back to the beginning
my hair isn't thinning, but I've shaved it to the scalp
it helps me to ignore the reflection of fear
and I look older this year than any before
I'm more timely, more telling
but my wrinkles aren't forming
my skin is still tight, nothing beneath it but bone
and I'm alone in this body of a sagging somebody
the stabbing in my back keeps me from standing straight
I'm an unstrung marionette, of late
sitting at the gate to the left of the stage
midway through my twenties, and I finally look my rage
you can see it in my expressions
all furrowed at the brow
my mouth swung shut
hinged on a rusty jaw
I don't speak as much as I once would allow
I know now that no one was listening
my eyes are glistening, but it's just from the tears
and I look older this year than any before
a civil war in the mirror, wondering at worth
with one side of my face darkened since birth
I don't know if symmetry is what I expected
but when I say I'm crooked
now you'll know that I meant it
compensating for the strange unbalance
of being a being and being an artist
at the calm chaotic center, seeking solace
© Steve Skafte
My books on BLURB:
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on FACEBOOK
A ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’ foi criada e estabelecida na R. de S. Pedro de Miragaia, no Porto, como uma sociedade em comandita na qual José Coelho Dias era o sócio comanditário (entrou com o capital) e Joaquim Antonio Lopes era o sócio comanditado e gerente:
José Coelho Dias, natural de Espinho, tinha antes emigrado para o Império do Brasil de onde tinha entretanto regressado rico e resolveu investir nesta empresa conserveira;
as suas conservas começaram a alcançar uma crescente preferência em todos os mercados onde se apresentavam, começando a ser cada vez mais forte a pressão de clientes e amigos para a necessidade da sua expansão e para se dedicarem ao fabrico da conserva de sardinha;
depois de uma longa e aturada viagem pelo estrangeiro onde puderam verificar os últimos progressos da indústria conserveira, e de terem estudado vários locais onde poderiam instalar em Portugal a nova fábrica, optaram por escolher a praia de Matosinhos (Areal do Prado) que oferecia na altura as melhores garantias, tanto no que dizia respeito ao aprovisionamento da matéria-prima como no das vias para a exportação dos produtos fabricados através do porto de abrigo artificial de Leixões inaugurado em 1892, uma vez que o sector da indústria conserveira em Portugal constituiu fundamentalmente um sector exportador desde os seus primórdios.
A antiga ‘Real Fábrica a Vapor de Conservas Alimentícias’, da empresa ‘Lopes, Coelho Dias & Cª’, foi a 1.ª fábrica de conservas que se estabeleceu em 1899 na futura ou já R. Guerra Junqueiro, no prolongamento da atual R. Brito Capelo desde 18/12/1890 (antes, R. Juncal de Cima), delimitada a sul pela futura ou já R. Sousa Aroso (no Areal do Prado, em Matosinhos Sul):
foi construída de raiz com instalações modelares, numa área de 14 000 m2 e sendo considerada uma das maiores deste ramo da indústria alimentar na Península Ibérica, pela sociedade em nome coletivo ‘Lopes, Coelho Dias & Cª’ cujos sócios eram os da ‘Especial Fábrica a Vapor de Conservas Alimentícias Lusitana’, tendo antes de 1929 passado a ser uma sociedade por quotas, a ‘Conservas Lopes, Coelho Dias, Lda’;
em abril de 1903, pescadores de Matosinhos queixaram-se ao 'Jornal de Notícias' contra as redes à Valenciana por causa destas capturarem toda a sardinha qualquer que fosse o tamanho, e o jornal 'A Federação' apoiou, escrevendo que 'são as armações ... de capitalistas gananciosos';
em agosto de 1903, houve uma greve de soldadores da fábrica 'Lopes, Coelho Dias & Cª', em Matosinhos, e de ferroviários na linha ferroviária Porto-Famalicão;
as instalações da fábrica foram alvo de melhoramentos em 1904, ano em que foi também aumentado o seu capital social;
chegou a ser denominada ‘Real Fábrica de Conservas de Matosinhos’ e chegou a ter 400 operários que, em certas ocasiões de grande movimento chegaram a ser 1000;
foi um dos exemplos da interação em Matosinhos entre a indústria e as vias de comunicação, pois o elétrico da Linha Marginal passava à porta na R. Brito Capelo e a linha ferroviária do Ramal de Leixões passava junto às suas instalações desde 1895 a caminho dos Apeadeiro do Prado e do Sura-Prado facilitando o transporte das suas exportações;
os produtos da ‘Lopes, Coelho Dias & Cª’, que naquela época constituíam uma novidade e cujo consumo atraía principalmente as camadas médias da sociedade portuguesa, apresentavam 2 características essenciais (grande qualidade rivalizando com os que a ‘Fábrica Brandão, Gomes & Cª' também colocava no mercado, e enorme diversidade);
a produção destas 2 fábricas constituía um verdadeiro festival gastronómico, pois ambas colocavam no mercado, para além das conservas de sardinha que já então constituíam a sua principal produção e que eram preparadas nas mais diversas e extravagantes variedades como as conservas de sardinha fumada, produtos em conserva que hoje em dia dificilmente se consegue imaginar tais como, uma imensa variedade de conservas de peixe (atum, salmão, congro, cherne, linguado, pescada, ...), de marisco (ameijoas, camarão, lagosta, mexilhão e ostras), de carnes (vitela, carneiro, vaca e porco), de aves (frango, pato, peru e borracho), de caça (codorniz, coelho, lebre, pato, perdiz, pombo e rola), de legumes (espargos, grelos, nabos, repolho, cenoura, couve) e ainda embalagens enlatadas de queijo da serra, frutas em calda, geleia ou polpa para sorvetes (a extrema variedade de conservas que, nesta época, caracterizava a produção destas fábricas, incluía ainda diversos tipos de molhos como o afamado ‘Molho de Espinho’ feito à base de azeite, vinagre, mostarda e pickles pela ‘Brandão, Gomes & Cª’ e que granjeou um enorme sucesso comercial);
uma das fotos é publicidade às conservas e pickles 'Lopes, Coelho Dias & C.ª', da autoria de Francisco Valença (in: Ilustração Portuguesa, n.º 73, de 27/03/1905);
a participação de Portugal na I Guerra Mundial constituiu o ensejo para ambas as fábricas terem apresentado ainda um novo produto, as refeições de campanha em latas de 1 Kg adaptadas ao paladar nacional (bacalhau guisado com batas ou grão, dobrada e vitela à jardineira);
aspeto não negligenciável da atividade destas fábricas, e constituindo um suporte fundamental para a sua afirmação e conquista de mercados que, no caso português, ainda se encontravam pouco familiarizados com este tipo de produtos, consistia nos materiais publicitários que ambas editavam (desde os luxuosos catálogos de produtos às estampas, postais, cartazes, calendários, todos eles evidenciavam uma grande originalidade e qualidade artísticas para cuja execução recorriam por vezes a oficinas gráficas estrangeiras) pretendendo associar uma imagem de prestígio à qualidade dos seus produtos, o que efetivamente, conseguiram alcançar com pleno êxito;
enquanto estas 2 fábricas foram praticamente as únicas no mercado nacional com tamanha diversidade de produtos oferecidos no mercado, pois os centros conserveiros de Setúbal-Sesimbra e do Algarve, apesar de nesta época serem mais importantes, não apresentavam este tipo de produção tão diversificada, os negócios decorreram com normalidade, não obstante a crise do sector conserveiro verificada no pós-guerra e à qual se seguiram os efeitos da Grande Depressão de 1929, ainda que limitados, mas que tiveram algum impacto num dos poucos sectores cujos produtos Portugal conseguia exportar;
a 28/05/1929, o operário Francisco Pinheiro, da 'Lopes, Coelho Dias, Lda.', foi condecorado com a Ordem do Mérito Agrícola e Industrial.
estas fábricas pioneiras acabaram por perder então a característica da diversidade de produção, principalmente após o início da expansão do sector conserveiro no centro produtor do Norte a partir da década de 20 do séc. XX, passando então a produzirem apenas conservas de peixe com especial destaque para as de sardinha;
os problemas surgiram um pouco mais tarde, decorrentes da natural expansão do sector conserveiro no centro produtor do Norte de Portugal, embora globalmente este desenvolvimento tivesse provocado efeitos positivos na economia da região, catapultando, a partir da década de 30 do séc. XX, o núcleo conserveiro de Matosinhos para o 1.º lugar no 'ranking' do sector conserveiro nacional;
a expansão registada nas décadas de 20 e de 30, a que se seguiu o excecional período de procura de conservas portuguesas durante a II Guerra Mundial, com base na especialização das fábricas conserveiras de Matosinhos numa única variedade de produtos, as conservas de peixe, impossibilitou a sobrevivência de fábricas como a ‘Conservas Lopes, Coelho Dias, Lda.’ que registava elevados custos de exploração em virtude da extrema variedade de produtos que continuava a fabricar (embora, nos últimos anos da sua vida como unidade conserveira, tivesse reduzido essa multiplicidade de produtos privilegiando a produção de conservas de sardinha tendo chegado a produzir 6 milhões anuais de latas e a empregar 300 operários, era impossível continuar a manter uma estrutura produtiva como a que se mantinha desde a sua fundação);
em 1941, a ‘Conservas Lopes, Coelho Dias, Lda.’ acabou por encerrar e vendeu as suas instalações ao industrial Adão Pacheco Polónia que manteve a fábrica em funcionamento até cerca de 1965;
em junho de 1942, a ‘Adão Polónia & C.ª, Lda. situada na R. Brito Capelo 1104-1200, Matozinhos, apareceu referenciada numa lista ‘negra’ do Banco da Reserva Federal de Nova Iorque;
em 1953, Adão Polónia deslocou-se ao Rio de Janeiro a fim de concretizar a venda de 2 barcos de pesca seus;
em meados de 1999, as suas instalações abandonadas há mais de 30 anos começaram a ser demolidas para dar lugar a uma urbanização no âmbito do plano de recuperação urbana da zona sul de Matosinhos.
The Major Lunar Standstill - a real, visual representation
by Alister Ling and Luca Vanzella
UPDATE: This image was published as a NASA Astronomy Picture of the Day!
Celebrating the northeastern and southeastern extremes of sunrise points (solstices) are familiar experiences to all casual skywatchers but the moonrise extremes (lunistices) mostly go unnoticed except to attentive observers. As the Moon’s orbit slowly regresses in an 18.6 year cycle, the span of moonrise points varies between two extremes: the minor and major lunar standstills. In a major lunar standstill, the extreme moonrise points are several degrees farther north and south than the sunrise ones. Inspired by an earlier project of creating a time slice of sunrises, we wanted to capture these events photographically in a manner both educationally and visually compelling.
Technically the Major Lunar Standstill is a point in time on the dates of the extreme north and south lunar declinations, both occurring in March 2025, but similar to solstices, it is best appreciated in the context of a period of observation. Any consistent phase would reveal the pattern, but a full Moon is the most eye-catching and stands out best in very wide images.
The period from the June 2024 solstice to the June 2025 solstice nicely surrounds the standstill, so we planned to shoot thirteen full moonrises and thirteen sunrises during that interval. Inspired by an earlier project that created a vertical time slice of sunrises, we realized we could assemble a similar composite to show how the greatest northern and southern positions of the Moon extend beyond those of the Sun during a Major Lunar Standstill.
Planning the Project
The concept was simple: just capture evening moonrises and morning sunrises on the full Moon dates from the June 2024 solstice to the June 2025 solstice. However, years of shooting sunrises and moonrises in the Edmonton area had taught us two things:
One, it is possible to shoot thirteen consecutive sunrises spaced about a month apart within a few days of desired dates. Alberta is a sunny province and clear skies at sunrise are common. Plus, the sunrise azimuth changes only slightly from day to day, even at the equinoxes, and in these panoramic images it’s hardly noticeable.
Two, it is not possible to shoot thirteen consecutive full moonrises because the probability of a clear sky precisely a few minutes after moonrise on the exact date of a full Moon is perhaps 50%. Since the moonrise azimuth changes significantly from day to day, even shooting one day on either side of the target date puts the Moon out of place (especially at the extremes).
To maintain a high degree of authenticity, we came up with a plan to capture moonrises beforehand that could serve as proxies for the target moonrises that would be obscured by cloudy skies. Each substitute moonrise needed these attributes:
- Very similar moonrise azimuth (plus or minus 2°).
- Very similar moonrise time with respect to sunset (proxy for sky brightness).
- Very similar moonrise month (proxy for ground conditions).
- Very similar moon phase (full or plus or minus one day).
We examined the circumstances of every full or near full moonrise from January 2022 to May 2024 and selected those events that met the above attributes. This two and half year period is approximately the size of the lunistice period in which the extreme moonrise azimuths remain essentially the same (similar to solstice sunrise azimuths). We shot as many of these proxy moonrises as possible given our personal schedules and clear skies permitting.
Capturing the Images
At first we considered using a fisheye lens for the project, but at that image scale, the Moon’s size was only a few pixels across, resulting in a featureless blob when enlarged to a decent display dimension. A 10mm focal length lens could still resolve the key maria, presenting us with its recognizable face should we produce a poster-sized print. Consequently the field of view was too small to cover the full range in azimuth, forcing us to shoot two image panels which we would later stitch into panoramas.
For sunrises, each panel consisted of a 3x1EV bracket, for example 1/125, 1/250, 1/500 of a second. For moonrises, each panel consisted of a 6x2EV bracket (2, 1/2, 1/8, 1/30, 1/125, 1/500 second) to cover the enormous range of brightness from grass through sky to the sunlit Moon. For very dark moonrises, we could simplify by taking pre-rise images bracketed for sky and foreground lighting plus a second bracket exposed for the Moon and wispy clouds.
Since the sunrise azimuth over the course of a year is essentially the same year after year, we decided to capture the sunrises from January to December 2022, with two in June 2022, as close as possible to the dates of the target moonrises, and as expected, we were successful in capturing all 13 sunrises in consecutive months.
We shot 24 proxy moonrises from January 2022 to May 2024 and then all 13 target moonrises from June 2024 to June 2025.
Fun fact - we captured a total of 50 events: 24 proxy moonrises, 13 target moonrises, (5 had clear skies, 8 had cloudy skies), and 13 sunrises.
Processing the Images
The panorama brackets were stitched, fused and blended in Hugin. For the dark moonrises, the pre-rise brackets were stitched, fused and blended in Hugin while keeping the Moon panels separate but receiving the identical remapping to the equirectangular projection; then the final panorama was composited in GIMP.
Cosmetic edits were applied to erase hot and dead pixels and in some of the dark moonrise images, we erased construction floodlights in the foreground since these were distracting or might be confused with the Moon itself.
The goal was to have twenty six panoramas with virtually identical image frames. This would be important for the final composite image and for the movie animating the image.
For each session, no matter how careful we were, tiny shifts in camera placement and aim resulted in subtly different panorama frames, enough to be disturbing when lined up in our composite, especially at the seam. Every frame varied slightly in width, tilt, horizon skew and projection distortion. Even if we had avoided the need for panoramas by using a fisheye lens, we couldn’t prevent the mismatches at the center due to the sensitivity of the inherent distortion on position and aim. People really find it jarring when horizontal and edge features don’t line up.
One sunrise panorama was selected as the fixed, base image. All other panoramas were adjusted to match the base image with a four step process in GIMP: scale, align, rotate, and a cage transform to rectify nonlinear distortions. In the end we could overlay them to a precision of a handful of pixels.
Assembling the Final Composite
The principal result of this project is a vertical time slice of thirteen moonrise and thirteen sunrise images from June 2024 to June 2025, to visually depict the change in moonrise/sunrise position over a year and to illustrate that the greatest northern and southern positions of the Moon extend beyond those of the Sun during a Major Lunar Standstill.
Since we captured both sunrises and moonrises, we also produced two other images:
A vertical time slice of full moonrise positions over a year: Major Lunar Standstill - Moonrises
A vertical time slice of sunrise positions over a year: Major Lunar Standstill - Sunrises
The final assembly took place in GIMP by importing all moonrise and sunrise images into separate layers. These were aligned to the fixed, base sunrise image then cropped two different ways: narrow strips centered on the horizon for the final composite images, and larger rectangles that excluded edge artifacts for the movie.
Animating the Final Image
We also made a movie that animates the Major Lunar Standstill by showing the sequence of moonrise and sunrise images and how they were cropped and stacked to make the vertical time slices.
Conclusion
Had it been clear, you would have seen the Major Lunar Standstill similar to this. It might be argued that the final result is not “real” due to our use of proxies. True, but using cloudy panels hurt the educational value and acquiring a full set with clear skies, although theoretically possible, is practically speaking quite unlikely for sites in the mid-latitudes. Our image is one that observers can instantly relate to.
Image Acquisition
Camera: T3i / Canon 60D
Lens: Canon EF-S 10-18mm @ 10mm
Settings: ISO 200, Daylight WB, f/4.5
Sunrises: 3x1EV bracket, e.g.: 1/125, 1/250, 1/500 sec
Moonrises: 6x2EV bracket, e.g.: 2, 1/2, 1/8, 1/30, 1/125, 1/500 sec
Event Data
Here's the essential data from the 26 events. Each sunrise was planned to capture the Sun about 0.5° above the horizon, while each moonrise was planned to capture the Moon about 2.5° above the horizon.
Target Moonrise Moon D | Sunrise Sun D Date Actual Az Az | Actual Az Az
2024 06 21 2024 06 21 151.2 0.0 | 2022 06 19 46.6 -0.1
2024 07 21 2024 07 21 134.5 0.0 | 2022 07 21 52.7 0.2
2024 08 19 2022 08 12 118.5 1.1 | 2022 08 19 67.2 0.2
2024 09 17 2022 09 10 101.8 2.6 | 2022 09 17 85.3 0.4
2024 10 17 2024 10 17 69.5 0.0 | 2022 10 17 104.8 0.3
2024 11 15 2023 11 26 54.8 0.1 | 2022 11 14 120.6 0.8
2024 12 15 2023 11 28 44.9 1.4 | 2022 12 13 130.0 0.3
2025 01 13 2025 01 13 49.1 0.0 | 2022 01 16 125.4 1.0
2025 02 12 2025 02 17 71.1 0.0 | 2022 02 11 112.6 -0.7
2025 03 14 2023 04 05 101.6 3.8 | 2022 03 16 91.6 1.2
2025 04 12 2025 04 12 115.7 1.0 | 2022 04 11 74.6 -0.8
2025 05 12 2022 07 13 142.7 3.0 | 2022 05 12 57.0 -0.1
2025 06 11 2024 05 25 151.0 0.0 | 2022 06 12 47.1 0.1
Moon Az = Moonrise Azimuth
D Az = Delta from Target Moon Az (degrees)
Upper Trigram:
K'un / Earth
Image: Earth.
Qualities: Weak, Yielding, Dark, Nurturing, Responsive, Receptive, Adaptable, Submissive, Charitable, Protective, Even-tempered, Frugal, Fertile.
Direction: Southwest.
Family Member: Mother.
Body Part: Belly.
Season: Early Autumn.
Time of Day: Night.
Animal: Cow.
Color: Black.
Element: Soil.
Miscellaneaous: Cloth, Kettle, Pregnancy, Level, Balanced, Impartial, Large Wagon, Form, Ornament, Multitude, Shaft, Tree Trunk.
Lower Trigram:
Chên / Thunder
Image: Thunder.
Qualities: Arousing, Activity, Excitement, Growth, Expanding, Impulsive, Provocative, Adventurous, Experimental, Vehement, Influential, Persuasive, Seductive, Decisive.
Direction: East.
Family Member: Eldest Son.
Body Part: Foot.
Season: Spring.
Time of Day: Early Morning.
Animal: Dragon.
Color: Amber.
Element: Grass.
Miscellaneous: Spreading Out, Blossoming, Great Road, Green Bamboo, Reed, Rush, Pod-bearing Plants.
2005-2007
80" x 96"
Colored pencil, graphite, acrylic on wood panel
Collection:
Crocker Art Museum
(Robert Cremean: Metaphor and Process, the video, may be seen at www.youtube.com/watch?v=mgrxW8xSvrA)
Hereafter are the transcriptions of the handwritten text on the above two panels. The first for the panel on the left and the second for the panel on the right:
Left Panel
"He has created Me as I have created Him. As He lives, I live. If He diminishes, I diminish. If He dies, I die. My laws are His laws. I define Him as He defines Me. We are inseparable, cut from the whole cloth of self-deception. He serves my purpose. By giving face to that which is not, I have created Him in My image. By My will He has created the universe. By His word I control Mine. In the beginning there was the word and the word was Mine. Fear. Out of fear I created Him, and through fear I control Mine. Through belief We exist and by consensus We prevail. Belief is the second word in the alphabet of survival. We impose order for the good of the congregation. Through fear We enforce belief. As We maintain the mirrored sphere of relativity and relationships, we demand only that the congregation believe in Our mutual self-creation. I am He and He is Me, a simple equation for mutual preservation. Enforcement is the third word in the alphabet of survival. Mine is the most primitive word in the alphabet. To have, to take, to keep, to kill. This Mineness has preserved Our Isness from the beginning of domination. The seventh word is Infinity, a belief in beyondness, the seductive lure of extension, expansion, dominion. Life beyond death. Mine. My invention of time has given dimension to My enterprise. My survival instincts have elevated reproduction into metaphor and myth, repetition into history. My Isness has defined My species from the beginning of that which is. It is I who Am. We have survived, He and I, millennium upon millennium in symbiotic union. In congregation, We have enforced Our fealty, We have forced recognition of Our essentiality. Through force and threat of force We have reified definition. Through punishment and threat of punishment We have established infinity, dominion, repetition, and dogma. We have created Ourself, complete and inseparable, immortalized by obeisance. What We destroy creates Us. Those We exile confirm Us. What We reflect repeats us. Generation after generation, Father after Father, We maintain fear and stasis. This is so and has always been so. We are the beginning and the end. Sated and bloated with our repetition, We have created one too many prophets, one too many means for mutual suicide. We implode. Out of fear We wrap the fogs of illusion tighter to oblate the light. But nothing will stay Our diminishment. Our congregations will destroy Us in Our name. What irony! Our suicide was foretold and only We, the victim, could not foresee its inevitability. We created Us and within Our creation was the prophecy of Our destruction As We believed Ourselves to be, We have become. Illusion defined Us. Illusion defeats Us. Illusion destroys Us. In the beginning was the word and the word was fear. In the Now there is the word and the word is fear. In the beginning and in the now is repetition, and through fear and repetition nature engulfs us all. All its species including Us who survive by illusion. We who insist on our separateness, Our divinity, Our dominion, Our illusion. Nature fears Us and ignores Our illusions. It shits on Our statues and rusts Our artifacts. What We believe and what We make are of no consequence. What Our prophecies portend and what Our fate will be is of no consequence. We are what Our species is and exist accordingly, hermetically and divine. Our hunger is magnificent. We devour the earth. We pollute the waters and the air with the wastes of Our sovereignty—and We pollute Our offspring with illusion. We are bloated with aggrandizement and waste. We falter in Our certitude. We have over-reached the horizon of illusion We are insupportable. Cast into confusion, We thrash about in the quicksand of conflicting dogmas. We attack Our reflection and eat Our young. Through fear, We have created Our conclusion and the conclusion of Our dominion. We have existed too long. We control now through platitude and cliché, addiction and repetition, enforcement and threat. Fear. We are gaseous with rot and self-corruption. We who have ever been the means for survival are now survival’s end. Our prophecies are now concrete...We have reached completion. The creator no longer masks the destroyer. We are one. Bloated and defeated by Our victory, We have secured Our destination, the end of history, and still We refrain. Our belief demands actualization, proof of Our oneness...and still We refrain. We are afraid. Doubt bloats Us. Fear bloats Us. We are bloated by oneness. Consumed by completion, without proof of completion, We are suspended within a bubble of silence. Waiting. Our death is assured. We are bloated with it. We reek of it. All, save Us, know that this is so. We are senseless with confusion. We wait. We cling and We wait, terrorized by silence. Our dominion is silent. It has witnessed Our creation, our Oneness, and Our suicide. It sees what We do not see. It hears what we do not hear. It knows what we do not know. It is afraid. What has always been is no more and it is silent. It is afraid. Our death began with a light so bright that the future was cast into silhouettes and stains of shadow. We took no heed. Our suicide was accidental. We lacked connection with death as We lacked connection with life. It was expediential, a means to an end. It was, however, an end that was not foreseen. Our death was in the light and We embraced it. Without connection, we embraced it. Our dominion has no alternative to Our Isness. We have ruled by fear and threat. Our illusion, Our protectorate concedes no alternative. As we die Our dominion dies. It is blinded by Our blindness. It is blinded by Our light as We are blinded by the light, and it is by the light that Our dominion, Our Isness, will end. There is no alternative. We have embraced the light. Stunned by Our accomplishment, We became I within the mirror of mutual creation, the power of Our reflection fused into oneness by the light. His right hand is My right hand, My left hand is His left hand, Our mirrored reflections no longer cleaved in the silvered glass of fear’s duplicity. 8/6/45. I die. That which I gave to him to give to me will die with me. I have over-stepped the horizon and the flatness of my earth will swallow me in the flames of prophecy. As surely as I created him and all my attendencies, I have created my conclusion. There will remain no audience. My death is of a finality without evidence. Would I leave my greatest invention, history, to supersede me? I am afraid! This will not be recorded. No, my death, my fear, my doubt. All that is and ever was will not be. I leave this globe without witness. I will turn this globe to glass. God’s final reflection will be the sun. I and my dominion will be turned to ashes and glass. All, all that I gave him to give to me will be turned to ashes and glass. All life, all living things will be turned to ashes and dust scattered across the reflection of the sun. Swirled across the face of the sun. Will the wind survive? I should have expected disquiet and disbelief when the earth sphered round, when the earth spun ‘round and my grasp loosened, but I gripped tighter and my conclusion was assured. I have maintained my duality through duplicity and expediency. It is easier to believe than to not believe. To repeat rather than to create. To ingest the poisonous seeds of dogma rather than to question the credulity of tradition. To defend myself against truth, I have turned fear inward upon itself and through rote and repetition have retained the enemy at the gate. Without a mass of true believers, I am doomed. My illusion is fragile. To make there that which is not there, to enforce belief in the unbelievable, requires threat and repetition. Habit. Addiction. Doubt and fear. Ritual. Tradition. All, all words and actions that adhere the individual to the group, that prohibit defection, that contour my essence and necessity. My believability. My true believers enforce my injunctions. I am Man! All things known and unknown are my dominion. I recognize no other viability. Reality is mine. It is my invention. My only coda is survival. Kill or be killed is my coda. From before the beginning of time this has been my coda. If my conclusion means my final act of survival, then I, and my dominion, will leave this globe without evidence, without failure, without abdication, without change. I will make no admission of weakness,, or blindness, or error. Reality is mine. There will be neither transfer nor transcendence. Survival is mine. Blinded by light, I have created the light, and the light will confirm me. I am in conclusion. I can no longer carry the illusion of my reality. I have reached my resolution. All that was metaphor, all that was real is now actual. I am committed to repetition. My finality will be, will appear to be, accidental. No matter, there will be no witness. I cannot contemplate nothingness, to grasp that I and my God and my dominion will be as though We had never been is unimaginable. And though it is I who have invented the scenario, the finale, though known, is unknown. Nothingness was non-existent in My creation. It is beyond the horizon of possibility. And yet I doubt. Fear remains the creator of the creation. I worship it still. But it will not save me. It will not save me as I am. It will simply assure my completion. I am afraid. If I pause, if I could pause, to consider my resolution, my completion...to confront who and what I am and have been and will never be, what is my reflection? As I trudge unwittingly, unremittingly into entropy, can I not catch a glimpse of what I was, what I will be no more? Now that it is done, can I not see, finally, who I am and what I am and continue to be until I am no more? Let me face the mirror before the light blinds me and scatters my ashes across the face of the sun. I am Man, the identity of my species. How I am defined is how we are defined. All, all are subordinate to my whatness. What I do is what we are. What we are is what I am, what I was and will be no more. I have shrouded the earth with gods and superstition and created metaphor to cover the nakedness of my aggression. Metaphor is my Isness, redeemer of destruction. Nature is my nemesis and through metaphor and mimicry I have stolen her elegant equations and turned them to artifice. My obsession with death has created history, and science, and war. I have invented time to measure my achievement, my progress, my domination, religion and art to salve the fear of dying. I am magnificent, the apex of all that is...and will be no more. Consider me. Let me list the virtues of all that you know of yourselves, all that you are and have ever been. Let me list our virtues: I have given you gods to explain the unexplainable. All that was required of you for this my most generous gift was obeisance and for this I invented rituals of artifice to adorn your gratitude, and rote and repetition to expedite and facilitate the indelibility of belief, the laminate of dominion. I have created and destroyed enemies to preserve and defend the mirror of our reflection, to describe and incise the contours of contradiction, to wipe clear the cataracts of indecision and to embrace without doubt or questioning the image in the mirror as absolute. I am shepherd to my flock. From the beginning I have led them. From the beginning they have followed. They know no other. It I who set the course. There is no other. The gods I have invented to create me are their gods. They have no other gods before them. That which I have placed before them is their god. It is I they worship. It is I they follow. I am shepherd to my flock. From the beginning I have led them. From the beginning they have followed. They know no other. It I who set the course. There is no other. The gods I have invented to create me are their gods. They have no other gods before them. That which I have placed before them is their god. It is I they worship. It is I they follow. I am the shepherd of my flock. I am shepherd to my flock. From this simple act of accumulation I have created congregations and congregations within congregations to form nations and nations within nations, boundaries within boundaries, and worlds within worlds. Past, present and future lie within my purview. My reality is omnificent and omnipresent. I am and have been all until all is no more. My Isness will have covered the earth and embraced the sun. I have altered this planet by sheer force of will, by sheer force of willfulness. My hunger has leveled mountains and laid waste the life of the sea. I have covered the living earth with sterilizing asphalt and suffocating cement. My structures steal the night. My greed fills vast pits with poisonous enterprise. To advance myself I have betrayed myself and through rote and repetition seek absolution. If my dominion trembles before the inevitability of my conclusion they sense, they know, I have crossed the line of repeat. Their finality is assured. As they survey our accomplishments, our continuity of artifacts and history, they cannot believe—although they sense and know—they cannot believe it was all illusion. Only by repetition was it made real. Only by repetition will it conclude. Belief precludes retreat. The prophecies are assured. If one surveys my linearity from cave altar to altarpiece the distance is without merit. My Isness is cohesive. I am now what I have always been. My metaphor is authentic. From pre-history to post history, from cave to mosque, through fear and superstition I have enforced my linearity. I have used the stasis of fear to support the illusion of movement through time. Inventions within inventions to form the complex of civilization, and through the complex of civilization, I have covered the globe. And now I am witness to my suicide and the grotesqueries of crucifixion. Through rote and repetition I must witness my self-destruction and immolation. I and my dominion are one. We are the crucified and the suicide and the witness to the immolation. We are suspended in the suicide’s hesitation and inevitable conclusion. Our ablation is assured. When the final repetition occurs, we who are present will be the final witness. We will be as one, a Cyclops of indeterminate size and definition, multi-visaged and single-visioned. We will be as one consumed within the final entropic repeat. Consider our structures. Consider our edifices, our stone prayers to Yahweh, Christ, and Allah prizing up from the neutrality of the horizon, casting shadows of conflict and confusion, creating allies and enemies in the linear progression of repeat. Through verticality, we have smothered the fertile soil under the prayers of the congregation. Ra and Zens litter the desert hilltops with their failed redundancies. Our compulsion to verticalize and impose our geometric shadows across the globe has imprinted and personalized the suffocating opacity of our expansion. We shit where we eat. The earth shrinks from our fecundity. We have created concepts and rationales to redeem our temporality. Timeless concepts to subvert and contain my invention of time. Beauty. Art. Immortality...and history to record our rationales for failure. We are a species without reflection living within an illusion of verisimilitude and approximation. It could not have been otherwise. It has never been otherwise. It will never be otherwise. As I and the congregation drift forward and back in this airless vacuum of addiction, the final repeat tempts us toward completion. And we know, I and the congregation know, that this pressure, this momentum of inestimable time will end. The inevitability of conclusion has cast our Isness into the solidity of product, an artifact of self-destruction which concretizes our mimicry and objectifies belief. In this interim between supposition and annihilation I see myself distinctly, without the blurring smudges of palimpsest. I am what I was and have always been until the final repetition, the end of choice, the end of chaos, the end of time; a counterfeit, a creature of such hermetic evolution that my own planet can no longer sustain my ignorance of host...a parasite of no symbiotic worth. With all my illusions, I am nothing. With all my illusions of gods and omnipotence and domination, I am a cancerous aberration worthy of obliteration. Nature cares nothing for my cathedrals and frescos, my fugues and fantasies, my arts and letters and museums and libraries of human achievement. All, all of my ambition and evidence is merely an inconvenience, a momentary rough patch on the revolving orb. But for one accomplishment, nature’s cycles of possibility would engulf me. I have stolen the secret of the sun and within the darkening theatre of repetition I will release its light. In one final act of mimicry my identity will be accomplished. I will unleash the sun. For one shining moment I will strip the world of shadow. We will not evolve. I will continue my progression. I will embrace the sun. I will continue until the final repetition. I will achieve my completion. There is no alternative. There is no return. There is only repeat. I am now and ever will be the entelechy of my species. I cannot, will not, be replaced. As we hang suspended within the impossible moment all things are equal. To assign significance seems absurd; appetites are momentary. Time is astigmatic. History’s ink is smeared with haste. As I progress, we regress. As the dominion is sucked outward in the diminishing circles of entropy, our metaphors of pubescence have assumed dominance. Puerilism in art and religion is actualized into commercial despair and we, I and the congregation, drift further, ever further into the oblivion of self-deception. It is over. We know it is over and yet I proceed. There is no where-else to go There is no alternative. I must be expurgated, but there is no power to expurgate. There is no will. There is no vision. Only I can bring the light, and only through my completion will the light be brought...a divine tautology. It is over. We know it is over and yet we proceed. There is talk of feminine insurrection, an intersession of feminine entelechy to alter the cadence of repetition, to stanch the diminishing cycles of entropy, to avoid completion, to deny the light. What pathos! It is too late for such clumsy theatricality. Even homosexuals have pranced onto the stage to strut and preen and plea for recognition. Even they demand the light to stop the light...My Isness will not be rendered."
Right Panel
"I have existed since the beginning of human Isness. I am contradiction, the avatar of Chaos. They who fear complexity fear me. They who embrace me move unhampered through the chambers of the mind, free of dogma and reprise. I occupy the middle ground between that which is and that which could be, a constant alternative to stasis and repetition. I await recognition. Within man’s strictures of repeat, I am the enemy. Predatory and seductive, I am perceived with fear and revulsion...the enemy at the gate. But I lie within. I am endemic, recognized by instinct and provocation. Those who fear me fear themselves. I am puer aeternus, eternal youth, contradiction, persona of chaos. I tolerate no reliance. No dogma, no laws, no lies restrict me. No congregation contains me. No tradition enfolds me. I am the unexpected, the impolite, and the impolitic. Expediency is my enemy. I have been given the face of madness but I have no face, only the reflection of a dying congregation intent on suicide and annihilation. When they gaze upon me, they see themselves or what they would become without the ultimate compromise, the sacrifice of self. They avert their eyes. They coalesce in the shallows. The sacrifice is too great. They coalesce. I shape myself in the middle ground, a finished but never finished entity, a contradiction without fear of contradiction, irresponsible even to my own creation. I do not coalesce. Others threaten me as I threaten them. They are the enemies of my childhood. They want me to see my face reflected in theirs, but I do not. I see only the abject poverty of sacrifice. I see them as they do not see me. I sacrifice nothing. I give everything but I sacrifice nothing. Nor do I compromise. I am the beginning and the end of myself. I accept no intrusion. My growth, or non-growth, is of no consequence. I am responsible to neither. Nor do I accept master or peer. I learn nothing. I know nothing. What I need to know, I have known from the beginning. My becoming is determined. I become, quite simply become, what I am and have always been. I have no reflection. I stand opposed. My very being is an opposition. I stand opposed to congregation. I am a solitary, an eternal question, a contradiction. I have no answers. I am not an answer. Answers are my enemy. None other can be like me. I am not a simile. I am metaphor, supplanter of metaphor. My whatness is all encompassing; my succession and cession inevitable. I am what I am. My existence is authentic. I countenance myself. All similes conform to my Isness. History postures its linearity on my evolvement. My face is the reflection of the seeker. His desire is my tangibility. I am the child born of a new urgency. As the old metaphor, my father, dies in the fulfillment of his own prophecies, I shimmer with the radiance of youth. I am hope, that most potent enabler of belief. The congregation is stunned by its abandonment. Its obeisance to a dead metaphor which had evolved through threat and violence into rote and dogma was unquestioned, its removal into stasis and suicide unnoted and unproclaimed. But it is done. The congregation has turned upon itself like a cheated whore. All that was offered in payment for service is lead coin. Death. Eternal death. I, who had existed before him, live on. Puer Aeternus. Eternal youth, omnipresent choice. Antithesis of metaphor. No dogma surrounds me. No rote enslaves me. No prophecy enthrones me. No congregation distorts me. I sacrifice nothing, I give everything without barter or bargain. No simile illustrates me. I am chaos. Those who recognize me proclaim me. I am choice, infinite choice. Only metaphor has the power to subdue me into Isness...and that is momentary. Momentary and experiential. It is through metaphor that humanity creates illusion and defends the congregation from chaos which is also a metaphor. Metaphor upon metaphor, illusion upon illusion, choice upon choice. The very Isness of humankind is contradiction, a comedy of confusion and malediction. Through metaphor, humanity maintains its privileged identity within the strictures and structures of survival. Through metaphor, specie humana has dominated the earth. Its ability to create something out of nothing and through the instinct of belief congeal the congregation into a shared reality is the core of its entelechy. But as the distance between competing similes shortens within the overall metaphor of dominion, mankind’s metaphors of cohesion now threaten total annihilation. I, Puer Aeternus, do not exist within the aging metaphors of man. I exist and have always existed as a separate instinct, a potential reality. I live in the senses. I have no metaphor or similes to support my existence, no congregation to praise my virtue or confirm my dominion. Nor am I belief. My purpose is not to bind but to release. I am chaos, indefinable orgasm of infinite choice, insupportable to congregation, enemy of dominion and aged metaphors. I am youth eternal. I exist because I am, always and forever the pause before definition. My Isness is non-linear and spherical, a suspension of possibilities that ignores the artificial divisions of time and the existence of time itself. I am a constant presence but exist only when embraced. These trysts are brief and fleeting with an intensity that can forever alter the desire of those who experience me. I am the beloved. Forever virginal, I inseminate those who embrace me with enduring solitude, the joy of self-creation without the stultifying metaphors of the congregation, to throw off the anchoring similes and hackneyed suppositions of linear authority and to cavort weightlessly within the timeless orb...infinite questions, infinite choice swirling round and about and outside under, mirroring and dissolving answers into questions in a bacchanal of liberation. For those who embrace me, all that was is no more. I am peripheral, a glimpse, as unexpected as a sudden snake or a falling star. I move freely and reside where I am found, rarely in the same place twice, never in the same place for all who discover me. I exist in the nautilus of Art, beautiful, seductive, chambered convolutions of sensual geometry. He who perceives me creates me. I exist only in the Now, and for that moment, that one timeless moment of orgasmic perception, we are one. I create him as he creates me. We are one. Locked protectively in the senses made solid, I await transparency. Transposed into sight and sound, I am Desire opacified, made palpable and tactile by those who enfold me in the obtect pupa of creation. I care nothing for these parents. They are failures. By their own admission through repetition and constant searching, they are failures...and in their failures I am posited. Their lives of ecstatic failure and self-deception are of no consequence, significant only in that they have made possible my future creation. My creator is my liberator, he who makes transparent my opacity. He who cleaves the obtected pupa and sets free the raptor of his own Desire. He who sees and is embraced by that which my parent vainly searched for, groped for, cast off and moved only to fail again and again and again. It is this moment that the congregation fears most, this crack in the obtect pupa which exposes the perceiver to a separate and conflicting reality. This the congregation fears most, the blinding exposition of chaos, infinite questions, infinite possibility, infinite questions, infinite possibility, infinite choice. This, the congregation fears most. Loss of power, loss of hierarchy, loss of privilege, loss of identity, the death of metaphor. The absence of Isness. To create a new metaphor in the face of a threatened Isness is the most exhilarating challenge for those who confront the void. It is chaos that energizes possibility. It is chaos that contradicts the void. It is through me Puer Aeternus, through Art, Puer Aeternus, through chaos, Puer Aeternus, humanity evolves. Through fear of the void, humanity evolves. And through the life and death and birth of metaphors, humanity evolves. And always, through the evolution of humanity the artifacts of artists posit contradiction to cultural rote and stasis. The lifespan of metaphor is as brief or enduring as human need. If a metaphor, through fear and stagnation, threatens human viability it must be destroyed. The ancient metaphor and attendant similes have reached their conclusion. If humanity is to live, they must die. And always there is the Puer. Always there is choice. Always there is chaos and alternative to the void. The artist, my parent, he who births me in the image of Desire, is my reflection in the mirror of possibility. My parent has always been, as I have always been, since the beginning of Isness. As he fulfills his birthright in a spermatic exaltation of artifacts, producing pupa after pupa, failure after failure, in a search for release, he creates me—or the possibility for my creation within the obtect pupa of Desire. As he disappears himself in self-committed futility, ecstatic self-deception, I am born to be created by the embrace of the embracer. Until then, I slumber. Awakened, I illuminate the sphere making three-dimensional a palimpsest of possibilities. I am the light, intangible as epiphany, I hover centered between the flat curve of history and that which is yet to be. Whether human life survives or does not survive is of no interest to me. Born of human life, I will not survive human life. I will become dust as humanity becomes dust. I am the epitome of human existence. I am all that I am. Nothing exceeds me. I am in and of the species. I subdivide the void. I create all that is created. What I view is what I see. What I perceive is what exists. Reality is what I believe. Humanity is because I am. I exist because of necessity. I will die because of neglect. All, all will fall into discontinuance. I am not a fragile thing. I am as sturdy and unique as the human mind and fashion my Isness accordingly. My death will be the death of Desire and all mindful furtherance. The universe will continue unabated. It will be as though I had never been, and, indeed, perhaps I never was. Though my death will appear foreordained and confessional, I will be murdered by my own hand, forced into suicide by rote, repetition, and dogma. The triumvirate of fear. Time will cease. Art will cease. History will end. Absence, like dust, will layer the orb and I, Puer Aeternus, will remain unborn. In a sense, I will have escaped the layering absence. Let me speak, then, as witness still-born in the womb of conclusion. Let me speak as the last metaphor. Unborn, incipient, purified by indulgent hope, unsullied by practicable application, I speak without similes. I speak as I have always spoken. I speak without regret. I speak without resentment. I speak in silence. I am revealed in light. I am illuminated in the light of my creator. It is through his Desire I speak. It is through his embrace I am heard. That which he seeks, I am. I am in and out of the light. What is nothingness? I, who live in absence, embedded in the obtect pupa of Desire, know nothing of nothingness. When absence envelopes the earth will I not then enter my true dominion? When humanity embraces the epiphany of inevitability and I am slain by my own hand, the light will embrace us all. My disinterest will be complete; my opacity, reified. My artifacts of incipiency grow porous; artists seem indifferent to my existence or intent. Recent artifacts cannot contain me. They serve no purpose other than to metronomically cadence the passage of time. A desperation obscures my insemination. I cannot Be where I am not put and though my creation is by my creator, his creation will be neither epiphanic nor orgasmic. Anemia pervades this suspension, an enervation of desire. Life has entered death’s mirror with a sigh of acceptance. Boundaries are blurred words dyslexic. My incipiency is viewed with pain. The inner light of epiphany is being sucked from the obtect pupa of Art and by the onslaught of the mimetic sun. Entropy is evolving at an alarming rate. There is no place for me. I live now in the infertile ego, sterilized by fear into empty acts of gratification. With the ossification of time into a limbo of inevitability, the layering obtect of my incipiency is a protection against the insurgency of hope. My parent, my maker, has no linkage with creation, he is deafened by the acclamation of artifacts, answers without questions. My creator is abandoned to embrace my silence elsewhere. There is talk now of abandonment, abandonment of the earth. Humanity, that which makes me and creates me and re-creates itself through its embrace of me will abandon me, will abandon its will to evolve. Rather than to abandon the Isness of the father with its metaphors of infinity and adulation of death, out of fear of loss of power and identity, humanity will destroy itself and its sphere of containment. Unable to release me and abandon their Isness, they will deny me and abandon their orb. The blind ignorance of the father will destroy us all. But I am in them and of them and no matter how few escape this globe, I attend their departure. My incipiency is my survival. How simple the equation! How elegant the resolve! I am and always have been and always will be the alternative. To whatever Isness there is, I am the alternative. I am the alternative to the Isness of the father, he who will bring the sun to turn glass this orb would spew forth himself to inseminate unknown worlds beyond. How ludicrous! His blind determination to retain power and remain unchanged at the expense of all things save his own reality to enforce his own reality is beyond laughter. It is inanity. To have arrived in such deficit after so long a journey is breathtaking. Though I, too, will be spewed forth in incipiency, he would spew forth disease upon the universe. In abandonment, I will expire without witness. Wrapped in finality within the obtect pupa of Art, Desire will lie silenced upon the earth. No songs will be heard, no eyes will split open my opacity in orgasmic release. Concepts of beauty and transparency will evaporate among the dry ashes of neglect. In abandonment, I will expire without witness. In pupa I will never leave the earth. I am in and of the earth. Embedded in earth, I will not be supplanted. I will be abandoned as the dominion will be abandoned, to be gutted among the ashes of the sun. But if the human species leaves this globe in seminal excursion, I will be carried forth as the constant presence of alternate choice. As long as humanity survives, in incipiency, I will survive, but will I achieve encasement? Will Art remain in ashes on the orb, abandoned pupae in man’s chrysalis stage of evolution? Are we preparing for this inevitability in this suspension of time and space? Perhaps in death, in the face of death, of suicide, of self-annihilation, mankind and I, Puer Aeternus, will meld into the seamless purity of timeless flight without the anchoring weights of history, and religion, and art. Perhaps mankind will abandon his metaphors, will be freed of his metaphors as I will be stripped of mine. God is in and out of the earth. In abandonment of his dominion, he must remain as proctor of the ashes of prophecy. His transport must be denied. Man/god must be denied furtherance and remain fossilized beneath the ashes of the sun. All thoughts and things that deny us fusion must be left among the ashes of the sun. His suicide must be complete. Humanity must acknowledge what it is killing, what it is leaving behind in order to survive. Abandonment must be evolution. Abandonment must be resolution. The sacrifice is too great. To have come to this end there must be a new beginning. So now I must surmise. I, Puer Aeternus, must surmise what it would be like to exist without the obtect pupa of Art. To live beyond incipiency. To be whole rather than halved by epiphany. To be one, I must project an existence in which the survival of the species demands my presence as complement rather than obverse. Can humanity exist without metaphor? If the creation and re-creation of metaphor is the defining essence of human identity and if I, Puer Aeternus, can no longer carry this incipiency within the obtect pupa of Art due to the triage of survival, what then of humanity? If we no longer have the identity of place and of placement and of relativity, we no longer have consequence. We become a virus in search of a host. As a species, we have no proof of identity. No intrinsic proof of who and what we are and have been and hope to become. As a species, we will have achieved what the mystics seek. Nothingness. And this is the one thing to which the human ego will not succumb. It will not give up itself. Unless, unless.... As I strive to comprehend that which cannot be comprehended, my artifacts of possibility dwindle. There is no re-enforcement. Possibility has become apathy. The dominion is preparing for extinction. Works of furtherance become objects of rebuke. As finite time quickens the waves of entropy and art hastens its transcription into instant history, the chrysalis of my reality is problematic. Though I am in and of humanity, in chrysalis, I am in and of the earth. My pupae will lie scattered among the ashes of the sun. In pupa, I will not leave this orb. In exodus, stripped of my artifacts of transparency, if I have not assumed dominance, my incipiency will be cancerous. Only through release and the birth of a new incipiency, a new possibility, a new metaphor unknown, will humanity escape obliteration, its self obliteration, its obliteration of the self. In contemplating survival, I must relegate all that I am and have ever been to a transparency of pure hope, that state of self-deception made vulgar by the blinding truth of Art, its artifacts of seduction and orgasmic revelation. Is this possible? When I contemplate the abandonment of place and proof and an existence void of metaphor, I cannot conceive of an existence without chrysalis, without paintings, and sculpture and architecture to house the essence of my purpose. To be free of these, to be trapped in nothingness, is a sacrifice beyond comprehension. As I am shorn of chrysalis, he who has destroyed the earth will face infinity without the hermeneutics of metaphor. Those few who escape this orb in insemination will conjoin my expediency. Condensed and rarified by pure hope, there will be nothing left, a spore in space incapable of infestation."
After getting pissed and moping and feeling blind fury after losing a job comes regression.
I used to love hiding under my bed as a child. It was my genius emergency hiding place in case masked gunmen burst into the house and started torturing my family. It was also the place that without fail all of my cats would go when they first came to live with us as kittens. They would then peer out meewing from the furthest corner covered in dust and snotty tissues and old pairs of forgotten knickers.
I thought I would try it once more to see if it still held that comfort factor.......Urm, no. I felt rather like an old lady crawling in and soon after that claustrophobic and in desperate need of a G&T. It was much easier with a flat chest and no bum and before vanity dawned on me making me care about getting bruised knees and elbows. I got a hell of a lot of dust out on my jeans though so it won't need the hoover for a year or two.
Diploria - in-situ fossil brain coral colony on the Devil's Point Hardground in the reef facies of the Cockburn Town Member, upper Grotto Beach Formation at the Cockburn Town Fossil Reef, western margin of San Salvador Island.
The Cockburn Town Fossil Reef is a well-preserved, well-exposed Pleistocene fossil reef. It consists of non-bedded to poorly-bedded, poorly-sorted, very coarse-grained, aragonitic fossiliferous limestones (grainstones and rubblestones), representing shallow marine deposition in reef and peri-reef facies. Cockburn Town Member reef facies rocks date to the MIS 5e sea level highstand event (early Late Pleistocene).
Notice that the fossil brain coral shown above is encrusting an irregular surface. This surface is an unconformity and is traceable throughout the outcrop. It represents a limestone hardground surface that formed during a short-lived, mid-5e regression called the Devil's Point Event, dated to somewhere between 120 and 123 ka. After the event, high sea level returned. This coral was one of the earliest inhabitants of this locality’s shallow seafloor after the mid-5e regression. The Devil's Point Unconformity is present on most Bahamian islands and is traceable to Florida and Mexico. The more deeply flooded carbonate platforms in the Bahamas, such as Mayaguana Island, were not significantly affected by the mid-5e regression.
The rocks and fossils below the unconformity are referred to as "Reef 1". The rocks and fossils above are called "Reef 2". Isotopic dating has been done on 122 coral samples from the Cockburn Town Fossil Reef. The oldest is 127 ka and the youngest is 114.3 ka. Including dates from San Salvador Island to Great Inagua Island, Reef 1 has an average age of 123.5 ka, and Reef 2 has an average age of 119.5 ka.
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The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
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Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
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Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
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Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
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San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
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Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature list below), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
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The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
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Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
two hundred and twenty five
I often wonder what lies between the planes within an infinite regress. Are they all possibilities, or merely virtual lies?
When I was a kid, I always held certain fascination towards the phenomenon. It boggled my mind that it was possible to see an infinite number of selves through a neverending doorway. I remember once spending an extended period of time moving about; waving, jumping, and even touching the glass. All because I was sure I was going to catch one of them out of sync.
Well, you can never be sure, can you?
Canon AE-1, Ferrania Solaris, ISO 800
Oh no! I've bought some crayons! It's gonna be the coloured pencil thing all over again! :)
~Larger~