The long awaited collection by Anita Quansah London for A/W 2011 is finally here.

After weeks of anticipation, we hope you understand our story and can relate to the collection.

 

The latest collection is based on two subjects the film Avatar and works by Valentim Quaresma, artist and designer, known for his use of industrial materials in his work.

 

I wanted to create a collection that has an earthy feel to it, but looks industrial at the same time.

Hence the use of semi precious stones and beads fused with hardware such as bolts, nuts, and safety

Pins and washers, things used every day by human but used in an unconventional way to create show

Stopping statement pieces.

 

Like the film Avatar focusing on the close relationship or interaction between culture and civilization, I touched on this but focusing primarily on the recycled components making them

edgier yet feminine at the same time, fusing them with bright hues.

 

www.facebook.com/pages/Anita-Quansah-London/131846120162870

 

Creative Team

Photographer : Ade Okelarin

Art Direction and Styling : Crystal Deroche

MUA : Nathalie Guest

Model ;Zainab

Designer : AQL

 

Legend relates that Pir Ghaib and his sister, the venerable Bibi Nani, arrived here to convert the local heathens in the early days of Islam. But the fire Worshippers sent an army after the pious pair. In the gorge of the Bolan the siblings split; Bibi Nani went down the gorge(her purported tomb is under a bridge about 15km/ 8 miles downstream) while her brother fled into this arid landscape with the army in hot pursiut. At the head of the gorge, seeing that he was blocked by the rock wall, the saint prayed to the Almighty to be rescued. As is the wont of the Lord of all saints, He cleaved the rock to receive the holy man. And so he was known as Pir Ghaib - The Invisible Saint.

 

Local Hindus worship Pir Ghaib as Mahadeve. But, long before the Bolan gorge had rung the vedic hymns or invocations of Pir Ghaib, travellers and traders from the Indus Valley would have stopped at this spring sacred to their own gods on the first leg of their long journey to esopotamian marts. As the Vedic god Shive derives from an earlier Indus Valley deity, and as the 5,000-year-old goddess Nania evolves into Bibi Nani or Durga, so too did Pir Ghaib develop from an early Indus Valley god. But until the Indis script is understood we will not know which from this pantheon was celebrated for waling into rock walls.

 

Source: Insigth Guides : Pakistan

Pictures Relating to the Gallipoli Operations: April-December, 1915.

 

The series of photographs on this and following pages will serve as an introduction to a special collection of absorbingly interesting pictures to be published in the "Mail" Anzac Number on April 25. The Anzac Number will not be a re-publication of illustrations familiar to the public - the pictures will be new, and will in thrilling manner fill up all gaps in the pictorial record of the magnificent but ill-fated Gallipoli expedition.

 

Many wonderful scenes were enacted in the beautiful harbour of Mudros, Lemnos Island, in connection with the Gallipoli campaign. It was from here that our gallant troops sailed to storm the heights and win imperishable renown. It was to this spot that thousands were brought back wounded and ill. It was here that many of our soldiers rested awhile from the trenches. And it was here that the troops again landed after the evacuation of the Peninsula and prior to returning to Egypt. No. 3 Australian General Hospital was stationed at Mudros, and the doctors and nurses, particularly in the early part of the campaign, did work no less magnificent than that of the soldiers at the front.

 

Caption for two photos at top of pictorial spread:

 

PANORAMIC VIEW OF MUDROS HARBOUR, LEMNOS.

The structure in the centre of this section of the picture is a huge condenser, which supplied pure water. The troops at first sank wells, but the water obtained in this way was not good; indeed, it was said to be responsible for a good deal of the sickness from which many of the men suffered so severely.

 

Photos by A.W. Savage. From The Sydney Mail, 5 April 1916.

by fuckjerry ift.tt/1V6KuvR

Bible Christian Methodists, Wesleyan Methodists and Primitive Methodists on the Adelaide Plains.

So much of the story of the Adelaide Plains relates to the activities of these Methodist zealots and pioneers. Their fervour and enthusiasm has left a permanent record across the Plains of churches, school rooms and cemeteries. Where did they come from and why were they so active between the Light and Para Rivers in the 1850s and 1860s? But firstly, who were they? Both Bible Christians and Primitive Methodists were breakaways from the Wesleyan Methodist church established by John Wesley in 1739. Wesley had been an Anglican minister. His new church, devoid of bishops and the pomp and ceremony of the Anglican Church included outdoor preaching and a great emphasis on prayer, scripture, singing and the acceptance of lay preachers. Less than 100 years after the foundation of Methodism by John Wesley in 1739 the Wesleyan Methodists in Cornwall and elsewhere broke away to form new Methodist churches with less hierarchy and formalism than that in the Wesleyan Methodist Church! They were the Bible Christian Methodists founded in 1815 in North Cornwall: and the Primitive Methodists founded in 1810 in the Midlands and known for their “all day camp prayer meetings.” Both the Bible Christians and the Primitive Methodists flourished as denominations in Cornwall and Devon. Both these areas provided many early settlers to SA. George Fife Angas toured Devon and Cornwall urging small farmers to migrate to the new colony in the 1840s; and once copper was discovered at Kapunda (1842) and Burra (1845) thousands of Cornish and south England families migrated to SA to work in the mines. These two forces interacted to produce religious revivals in SA in the 1850s and the establishment of many churches. The Bible Christian church accepted female lay preachers from its earliest years in England. In SA female lay preachers were rare before the 1870s but they did some preaching and then in 1900 the three Methodist denominations amalgamated and female lay preachers disappeared again until the 1960s!

 

The Bible Christian and Primitive Methodist mission societies in England funded and sent out the first ministers for both denominations in SA. They were the reverends James Blatchford to Burra in 1849 (Bible Christian) and James Rowe and James Way to Burra in 1850, followed by Samuel Keen to Gawler in 1853. Reverends Joseph Long and John Wilson (Primitive Methodist) arrived in SA in 1844 and began work in the city and Hills districts. In 1854 Reverend J Wright was sent to Burra to begin Primitive Methodism there. Meantime a Primitive Methodist congregation had been formed in Salisbury in 1849 with services on the banks of the Para. In 1851 they opened their Primitive Methodist Church called Hephzibah. They then established churches at Burton, Sturton, Carclew etc.

 

In 1853 Reverend Samuel Keen arrived in Gawler on Bible Christian mission work and within a few years he had opened a dozen Bible Christian churches across the plains. We will visit some, see others, and see the sites where some once stood. But why were there so many churches? The governance structure of the Primitive Methodist and the Bible Christian churches encouraged this. Local families could decide they wanted a church, usually with the urging of Rev. Keen, or someone else. Then they donated land and money to erect the church which was usually built by the men in the community. No church hierarchy permission or bishop approval was needed. People just got on and did it. This is a useful system in an early colonial society. Then because both denominations used lay preachers the community did not need to raise enough weekly revenue to pay for an onsite minister. They used free local lay preachers and the paid Circuit minister who preached across many churches. This ordained minister might only visit each church once a month for preaching, baptisms and marriages. Furthermore land settlement encouraged this too. In the late 1840s settlers on the Plains acquired 40 acres or at the most 80 acre sections. Population densities were high. By the 1860s farmers were acquiring 320 acres and population densities were lower and churches were further apart. This explains why the Bible Christian churches north of Mallala to Balaklava are much further apart. North of Mallala the Bible Christians had churches at Dublin, Grace Plains, Dalkey, Pinery, South Balaklava, Balaklava, Port Wakefield etc. Sturton Primitive Methodist Church.

Although we do not pass this church today it still stands within the old Weapons Research Establishment now D.S.T.O.- the Defence Science and Technology Organisation. This church was established by the local Jeffries family mainly for their own use. It opened in 1856 and closed in 1892. The building was restored in 1943 by W.R.E. and was closed for general access with government security clearance. These days you can once again drive in to visit this tiny church. It has a small cemetery adjoining the church for members of the Jeffries family.

    

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

At head:

Psyche es[t?] Anima

Machia [...] Pugna

Mache es[t?] pugna

 

At head outer corner:

Hi[n]c Psycho

machia [est?]

Pugna seu

Lucta In[?]

a[n]i[m]a, Qu[a]e

no[n] alia est

[...] virtutis[?]

cont[ra] vitiu[m]

 

Above title:

Pugna animae.

 

[Early Latin notes on the etymology and meaning of the word "psychomachia," annotated in the title as "pugna animae" (i.e. battle of the soul).]

 

At foot:

Infantia Fides contra Idolatriam

Pueritia. Pudicicia con[tra] libidine[m]

Adolescentia. Pacientia con[tra] Iram

Iuuentus. Humilitas con[tra] su[per]bia[m]

Virilis aetas. Sobrietas con[tra] luxuria[m]

Senium. Largitas con[tra] auaricia[m]

Decrepita aetas. Concordia con[tra] discordia[m]

 

[Early Latin notes in two hands, one delineating a standard set of virtues and their opposed vices, the other relating these pairs to the seven ages of man.]

   

Penn Libraries call number: LatC P9514 506p

 

All images from this book

The subject matter of images relating to the military come in many forms, and here the photographer recorded the packaging and bottles for 'Normal Human Plasma' in the USN Hospital at Creevagh.

 

The use of Blood Plasma during WW2 was a relatively new innovation. Blood plasma was an essential component of treating wounded soldiers. When a soldier is critically wounded, blood loss is extremely dangerous. Rather than the loss of oxygen carrying red blood cells, the greatest concern is the loss of fluids which results in low blood pressure. By transfusing casualties with plasma, blood volume is maintained and blood pressure remains at a normal level, preventing shock. Because the red blood cells are removed from plasma, the need to match the blood type of the donor to the recipient is unnecessary. Dried (desiccated) plasma was developed which could be stored for long periods of time without refrigeration or transportation difficulties. A package was designed for bottles of either the 250 or 500 ml equivalent of dried plasma to be reconstituted with companion bottles of distilled water. Both were supplied in boxes containing all that was necessary to infuse in the field.

 

In January 1941, U.S. military authorities asked the American Red Cross to organize a Blood Donor Service to meet the anticipated needs of the American armed forces should the United States enter the war and by the time of the attack on Pearl Harbor, the Red Cross operated ten blood donor centers in the Eastern United States. Eventually, that number grew to 35 centers located across the country, supplemented by an additional 63 mobile units. At its peak, the program involved a paid staff of 2,285 doctors, nurses, and technicians, plus an estimated 25,000 volunteers. The Red Cross expended nearly $16 million in the Service which ended on 15 September 1945 after collecting 13.4 million pints of blood from 6.6 million donors. Near the end of the war, when the necessary collection, refrigeration, and air transport links had been established, whole blood was shipped to the battlefront and found to be superior.

 

The image shows the standard Army & Navy package containing one bottle of plasma and one bottle of distilled water, and the respective bottles.

  

Sources:

 

www.nationalww2museum.org/sites/default/files/2017-07/blo...

 

www.redcross.org/content/dam/redcross/National/history-ww...

 

onlinelibrary.wiley.com/doi/pdf/10.1111/j.1537-2995.2012....

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Can cause connected with Bangs with Skin area Soon after Suntanning

 

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20 Likes on Instagram

  

Always a helper somewhere. I'm trying to photograph this bouquet and mini arms are reaching in the shot.

Gov. Inslee signs Substitute House Bill No. 1064. relating to law enforcement. This bill changes Washington's laws for the use of deadly force by police and requires officers to take additional de-escalation trainings.

 

Read Medium story: “It was time for something to transpire and change” — Two divided sides come together for historic change to state’s deadly force law

 

Photos by Office of the Governor

Gobierno de Chile

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

 

Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.

 

Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,

Tokyo, Japan, 2016

 

Only the street shots - thestreetzine.blogspot.com/

Sarah Dallon, aged about 65 Taken at Blackpool GB124.DPA/645/4 No Date, circa 1925

 

See also www.flickr.com/photos/manchesterarchiveplus/7214624268/in...

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), date unknown.

 

The slide is a red/purple tinted image of lunar landscape depicting two mountains and a valley. In the distance, a yellow depiction of saturn and its rings is placed against a dark sky full of stars.

 

Inscription Details: Handwritten in black ink at top of plate, 'Saturn from satellite -ideal. Handwritten in black ink in lower left corner of plate, 'Aux:U'. VERSO, handwritten in black ink at top of plate, 'Tinted CLW Karangahaki 17/11/14'.

 

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

 

Rights: No known copyright restrictions.

 

Reference: 236016|PH-1984-1-LS78-4-9

 

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033200

at first glance, boleh relate ke oren dengan caption gambar? muehehehe ( ok, tonight nk ckp serious issue sebenarnye)

 

since I have been part of the da'wah and tarbiyah for almost few months, I've been come across some individuals yang (boleh tahan) taasub dengan certain jemaah yang mereka yakini..

 

it doesn't matter which jemaah you are from, yang penting, tarbiyah yang kita inginkan bersifat ketuhanan, which brings us back to Him, membawa mad'u yang kita kasihkan kerana Allah kembali kepada Dia, bukan kepada jemaah kita, bukan kpd diri kita, but solely to Him only, *nangeslajulaju*

 

"tidak mungkin bagi seseorang yang telah diberi kitab oleh Allah, serta hikmah dan kenabian, kemudian dia berkata kepada manusia, 'Jadilah kamu penyembahku, bukan penyembah Allah,' tetapi dia berkata, 'Jadilah kamu pengabdi-pengabdi Allah, kerana kamu mengajarkan Kitab dan kerana kamu mempelajarinya!'" ( 3:79)

*ce bgtau alasan ape tak nangis baca ayat ni? sobs*

 

hasil tangkapan di sebuah blog, in which I believe it is relevant..

 

“Suasana dakwah di luar negara ni ibarat kita sedang berenang di sebatang sungai yang sempit. Di dalamnya ada ramai dai’e yang sedang berenang dan sungai yang sempit itulah gambaran bilangan mad’u yang ada. Masing-masing berenang dengan cara tersendiri untuk menuju ke destinasi yang sama. Sudah menjadi lumrah apabila ramai orang yang berenang pada sebatang sungai yang sempit, pasti sesekali ada yang akan tersakiti oleh yang lain. Mungkin ada yang tersiku, tertarik, tertampar dan sebagainya kerana sungai yang ada itu begitu sempit dan ruang untuk bergerak juga tidak banyak…”

    

“…Kemudian, bila masa terus berlalu mereka yang berenang di sungai itu tadi akan tiba jua ke muara dan masuklah ke medan baru iaitu laut yang luas tidak bertepi. Sesudah beberapa tahun kita menuntut di luar negara akhirnya kita akan pulang juga ke tanah air untuk menyumbang bakti. Pada masa itu, kita tidak lagi berenang pada sebatang sungai yang sempit tapi kita akan berenang dalam sebuah lautan yang sangat luas dan gelombangnya juga sangat ganas. Terlalu ramai mad’u yang ada dan tenaga dai’e yang ada sangatlah tidak mencukupi. Pada masa ini, kita tidak lagi tersiku atau bertepuk tampar dengan orang lain kerana lautan yang kita renangi itu sangat luas. Bahkan pada masa ini mungkin kita sendiri akan memanggil semula orang-orang yang kita marahkan dahulunya kerana tersiku kita sewaktu berenang di sungai, kerana dalam lautan yang ganas itu nanti, kita hampir-hampir sahaja lemas dan tidak mampu untuk terus berenang bersendirian…”

    

“…Situasi di tanah air kita ibarat lautan yang luas tersebut. Terlalu ramai orang yang perlu kita ajak kepada dakwah ini sehinggakan kita sendiri-sendiri pasti tidak mampu untuk melaksanakan tanggungjawab ini. Bukan itu sahaja, di Malaysia kini wujudnya pelbagai lagi ancaman seperti gerakan liberal, syiah, hedonisme dan sebagainya yang menjadikan kita seorang sahaja pasti tidak mampu melawannya. Justeru, sementara berenang di sungai yang sempit ini cubalah untuk berlapang dada dan saling bermafaan antara kita. Peliharalah sebaiknya hubungan sesama pendakwah walaupun berbeza jemaah dan fahaman kerana kita sememangnya saling memerlukan dalam perjuangan di tanah air nanti.”

 

after all, we are one, seperti buah oren2 yg bergelimpangan tu, hehe, oren2 tu dtg dari pokok yang sama,dan kita masih saudara seakidah, cuma pohon tu menghasilkan buah2 yang banyak dan berbeza setiap satunye, yg pengakhirannya insyaAllah, ingin memberi faedah(nikmat) kpd mcm2 jenis manusia,

however, it depends on tahapan iman kita, utk 'menangkap' mad'u kembali kepada Dia..

 

zasss, reminder khas especially utk hamba Allah yang marhaen yg tgh menulis ni sbnrnye, huu

 

p/s first time bercurhat (read: pillow talk) dgn murabbi pertama yg memperkenalkan kwujudan Dia sejak lahir, curhat bukan perkara main2 lagi, pasal da'wah kot, tengok cermin, cubit pipi, tak pecaye, ohoii >.<

 

pp/s after effect kene fire dgn atuk sebelum ke uskab, uhuk3, hamek kau, terkedu roh dan jasad tiga empat hari....

Interested in vintage cars in conditions ranging from rotting away to collectible classics? Here is one collection where you can find hundreds of automotive photographs organized by decade and by manufacturer (some photos of old trucks are included as well):

Automobile Photograph Collection

 

Would you like to make a quick visit to Central Illinois? Here are my collections and sets relating to the middle section of the Land of Lincoln:

Central Illinois (excluding Springfield)

Springfield and ONLY Springfield

All Things Political

All About Abe (Lincoln)

 

And for locations beyond Central Illinois, look here:

Beyond Cenral Illinois

 

Lastly, here are a few more "topical" sets that may be of interest to you:

Barbers & Barber Shops

Everything Wheaten (as in Wheaten Terriers)

Small Town Churches

Things that are Abandoned, Neglected, Weathered, or Rusty

 

Thank you for visiting my photostream - myoldpostcards

Brasília 28/03/2017 Relator da reforma política na câmara, Vicente Cândido, durante entrevista para agência PT.

Foto: Lula Marques/Agência PT

This is where the roads ends for you baby. It started on a assembly line in Flint, Michigan, some 16 odd years ago, and it ends, for me at least, at the end of my driveway here in (mmrph), Virginia. Between point A, and point B, exactly 253,281.7 miles have occurred. You have been driven around the world at it's widest point 10.171 times. You've been through a engine, numerous sets of tires, and surprisingly, not much more. (Not including things that do not relate to physical motion, of course.) I was there when we picked you up, safety seat, diapers, and all. You were there when I helped plant our first garden , you were there when I got my first bike, I had to have something to run into, you remember where that dent came from. You were there when I lost my first tooth (shame your dash isn't a little softer) etc. You were there when I first drove you without FARM USE tags on it, on July 1st, 2005. You where there when I first got pulled over for driving you without a license, on July 1st, 2005. You were there when I had a bad day, and grabbed the door handle, only for it to snap off, and shatter the passengers side window. Sorry about that. You've always been there, throughout the years. When I took over caring for and maintaining you, I thought you'd last forever. Sadly, it cannot be. While I would give nearly everything to keep you, I just can't afford to. Sure, there is nothing special about you, you're a plain jane red truck. Base model, no options, with a V-6, underpowered, and wimpy. But that's not what makes me love to hop in and take you for a spin. Whenever I'm in you, I feel like a little kid again. The one who didn't worry about what the future holds, the one who didn't know about a world outside of his eyesight, the one who passed on a long time ago. That's what makes you special.

I haven't slept well the past few nights. I often wake up, and just think about all we've been through, and how it will come to an end very shortly. Perhaps whoever buys you, will be able to take care of you better than I am able to. Perhaps they will have the money to. I wrote your VIN down the other day. I put it in the lock-box at the bank. When I get older ,and have more income, I'll look you up, and come back for you. I'll restore you to the way you were ,when mom brought you home. Until then, I'll always keep a picture of you in the back of my head, not to be forgotten.

 

While this is the end of the road for now, it's only short-term.

 

Who would have ever thought

The day could ever come

When we would see

A love like this fall into pieces

 

And it hurts me to know that now 'til then

I'll only have these memories

And now there's no time left to pretend

And it feels like it's the end

But you're always in my heart

Until we meet again......

  

I'll never forget.

Because of recent news relating to the development [re-development] of Cherrywood in the South of County Dublin I decided to see if I had any relevant photograph but the earliest usable photographs were taken in July 2013. I do know that I did photograph the area in 2010 and possibly in 2009 but I cannot locate the original photographs.

 

This photograph was taken in 2013 but nothing really changed between 2010 and 2013,

 

Back in 2010 I made the following comment online:

 

“The New Luas Extension Has Been Criticised By Commuters Who Cannot Park.”

 

“When it comes to transport in Dublin there have been two success stories in recent years. The DublinBike scheme is one and the other is the Luas tram system. Last Monday was a beautiful sunny day and after photographing the Dublin Marathon I decided that it would be a good idea to get the Luas to Cherrywood to see if I could take a few photographs. It was explained to me, by a gentleman that I met on the tram, that the land is now tied up in NAMA and as a result it cannot be developed as a park and ride facility. Commuters were turned away from the new Cherrywood terminus on opening day as there were no parking facilities available.”

 

“Cherrywood is one of Dublin's newest suburbs and as can be seen from my photographs it is partly developed and there are some very large empty spaces and believe it or not there is a shortage of parking spaces. Some time ago a decision was made to extend the Sandyford (Green) Luas line to Cherrywood and construction started in February 2007 and the line became operational this month (October 2010) There are now two Luas stops in Cherrywood: Cherrywood and the terminus, Brides Glen.”

 

I would suggest that the tram stop at Laughanstown could be described as being in the area.

 

FRIDAY 10 FEB 2016:

 

Hines Ireland has officially started work on the first key phase of construction at Cherrywood in South County Dublin. If all goes well up to 30,000 people will live at Cherrywood by early in the next decade meaning that it will be as large as Bray and even larger than a town such as Athlone.

  

Brian Moran said, “The upfront delivery of the roads, cycle and pedestrian network and three wonderful parks is a pivotal moment for the Cherrywood project. These will be the green lungs for this modern new town and this not only strikes the right environmental note for Cherrywood to come but it also underpins our commitment to expedite the delivery of the 4,000 modern new homes within the Hines land holding."

 

"We are acutely aware of the enormous public demand for new housing stock and the submission of planning for the new €875 million Cherrywood Town Centre in the coming months will include 1300 new smart design apartments as part of this highly ambitious plan.”

 

In 2014, Hines acquired Cherrywood in South Dublin. The two components of this investment include an existing 52,000-square-meter office park and a 390-acre master-planned development site. The Cherrywood site has been acquired with approval for the construction of a new, retail-led mixed-use town center; up to 3,800 apartments and houses; and zoning capacity to expand the second largest office park in Dublin to three times its current size.

 

Mr. Moran is the Senior Managing Director responsible for developing Hines’ Ireland projects. He established the Hines platform in Ireland which currently has more than €1.2 billion of retail, office and residential assets under management, in addition to a major development pipeline which includes an additional €500 million of retail development and over 4,000 residential units. He rejoined the firm in 2011 having previously worked with Hines in Russia in the 1990's.

In this project I have been exploring the feeling of alienation. In order to understand this topic more fully I researched philosophers and psychologists. In doing this, I learnt more in depth about current schools of thought relating to the concept of alienation. This was important because it informed the meaning and intentions behind all my physical work completed in this project. It allowed me to collect my thoughts and ideas and link them to pre existing philosophies. Albert Camus is an existentialist philosopher who wrote about the absurd, human mortality and suicide. In his book, The Outsider, the protagonist, Meursault, becomes so alienated from reality that he does not mourn his mother's death, does not care about getting married and eventually does not care about killing a man or being executed for this. Camus believed that humans had no purpose or meaning and that we must create these for ourselves. It can be hard to do this and failure to do this can lead to alienation in all forms. This school of thought came into popularity after World War 2 due to a questioning of religion, something that gives people purpose. This questioning resulted from the atrocities that were committed in the war. The ‘existential attitude’ is a feeling of dread or disorientation felt when faced with a meaningless and absurd world. This feeling also affected the art world, with movements like abstract expressionism emerging. Inspired by surrealist ideas, abstract expressionism is a movement which emphasises the self, anxiety and grief being expressed through vigourous, active brush strokes and expressive mark making.

 

Another existentialist philosopher I researched was Sartre. One of his key ideas was bad faith. This is when a person submits to societal forces and does not utilise their personal freedom. Sartre’s common example was a waiter who is too ‘waiter-esque’, too eager to please, too absorbed in his waiter identity that he has forgotten he is a free entity. He is acting inauthentically and therefore is suppressing his freedom. In this modern interconnected world I believe people are acting in bad faith more and more as there is not often a time when one is truly alone. We are always communicating via social media. We act as our perceived ‘best’ form of ourselves where we are not actually being free. We are merely pretending to be ‘cooler’ than we actually are, pretending that we fit into societies boxes, when, more often than not, we don’t. This is possibly a reason for increased mental health issues in today’s society (although I do not believe this is the only or even the main reason).

 

A psychologist I researched was Carl Jung. He was a psychodynamic psychologist who worked with Freud and the Vienna Society. He wrote about the shadow self. This is an unconscious part of the self which one does not identify with oneself. Contrary to Freud’s definition of the shadow, Jung believed it not only contains very negative parts of oneself but also can contain positive parts; it is comprised of anything hidden from our consciousness. Positive parts of the self are more commonly held in the shadow in people suffering from mental health disorders like low self esteem and anxiety. Jung wrote that the shadow is the animalistic and instinctive part of the self which the ego suppresses when you develop out of childhood. It is linked with the Id, the part of the self which operates on the pleasure principle. Jung also wrote that the shadow is prone to psychological projection, a phenomenon where a persons insecurities and perceived deficiencies are projected onto another person. For example, someone who is very intolerant may call someone else intolerant when they are called out on their intolerance. They do not want to believe they are intolerant and have not accepted that part of themselves so they use projection as a defence mechanism. Furthermore, Jung wrote that the shadow self is a window to creativity and expressing one’s true self, “in spite of its function as a reservoir for human darkness, or perhaps because of this, the shadow is the seat of creativity”. I feel that all of these philosophical and psychological ideas will be very interesting to express through visual art.

 

After this research I went on to research artists whose ideas linked to existentialist philosophy and psychodynamic psychology. One artist I researched was Francis Bacon. He was a painter from the 1900s who painted grotesque, raw and bold images. Usually portraits, his paintings are distorted and mangled into emotional expressions of the artists own troubles. He had a troubled life, one example being kicked out of his home at 15 because of his homosexuality. A lot of these troubles shine through in his paintings. His paintings often have an element of aggressive expressionism, using obvious brush strokes and mark-making to accentuate the raw emotion he is expressing in his paintings. The distortion of the face could link to Sartre’s idea of bad faith, the figures changing and distorting themselves to fit into societies prescribed boxes, creating ugly versions of oneself. Also, it could link to the shadow self as it is an ugly representation of the figure which seems surreal or disconnected to reality.

 

Another artist who links to these ideas is Giacometti. Although his most famous works are his sculptures, I think his paintings are also very interesting. They often depict a figure sitting, staring straight at the viewer. The colours he uses are very muted, creating a negative, depressing mood. His brush strokes are again expressive, attacking the canvas with colour. This creates a sense of anxiety and conflict. This may be felt by the subject, the artist and the viewer. The proportions of the subject are often distorted, stretched to make them more slender, almost ghost-like.

 

A third artist I researched who greatly influenced my work was Emilio Villalba. His paintings are a mismatch of facial features. He greatly distorts the face of his subjects, creating a strange, eerie mood. The dark background contrasts the often over saturated face, creating interesting depth in his works. He often combines elements of realism with very expressive areas, adding to the surreal, psychological mood. From these artists I created responses, meaning I learnt more fully about the techniques they use. They also informed my first photoshoot which I presented in my source book. This photoshoot contained simple portraits that I intended to distort and change through my drawings and paintings. They helped to link my ideas into ideas for my own pieces. For example, throughout my project I experimented with lighting to create a dark almost ghostlike atmosphere.

 

After completing my source book, I started to work on the main book. I completed in depth research on two artists, Kwang Ho Shin and Frank Auerbach. From Kwang Ho Shin I learnt about impasto, a technique used by both of these artists to create an interesting, distorted image. Another idea I learnt from Kwang Ho Shin was to use bold, unnatural colours. This creates the unnatural mood. It could be related to the modern, technological world where we are becoming more and more detached from nature, also linking to my idea of modern bad faith. Also, I learnt about contrast. In his paintings, Kwang Ho Shin uses a large amount of contrast with the often plain white canvas backgrounds and the textural, bold figure. He also accentuates this with the black areas of the figure. This leads to the creation of an interesting image and could symbolise our detachment from society. From Auerbach I learnt about choosing subject matter. He said, “I find myself simply more engaged when I know the people. They get older and change; there is something touching about that, about recording something that’s getting on.” I believe that using yourself and subjects you know well in real life can lead to the creation of more intimate and honest pieces because you aren’t creating the emotions, you are expressing existing emotions which you have insight into. This lead to me predominantly using myself and my girlfriend in my pieces as I felt that we are the people I know best, meaning I know more of what's going on inside our heads. Another technique I learnt from Auerbach and Kwang Ho Shin was the use of randomness. Although it is generally informed randomness, it often can lead to a very honest piece as you are allowing your subconscious to take over. This links to a surrealist idea of automatism (used by artists like André Masson and Joan Miro) and Jean Arp’s use of randomness in pieces like ‘Collage with Squares Arranged According to the Laws of Chance’. I also learnt about colour from Auerbach with his use of distorted colours. Unlike Kwang Ho Shin, Auerbach doesn’t use such vibrant colours, creating a more moody atmosphere.

 

Using ideas from this in depth research and previous research, I took the first large photoshoot. I placed objects over the lens, used long exposure techniques and used coloured LEDs to distort the image. I tried to capture an atmosphere of uneasiness and anxiety. These ideas come from existentialist ideas like bad faith. The images distortions could signify the distortions we make to ourselves in order to fit into society. The bright colours take the images further away from reality. This lead to the creation of a series of work from these photos. I took ideas of mixed media from Kwang Ho Shin. I used chalk, charcoal and pastel to create surreal, sometimes angry self portraits using ideas from Kwang Ho Shin and Auerbach. I also drew a skull, using the macabre idea from artists like Ensor and Bacon. I also created many continuous line drawings, using a range of different techniques. In some of the pieces I tied multiple pens of different colours together, using ideas of unnatural colour from Auerbach and Kwang Ho Shin. I also used extended arm techniques where I tied a pen to a 30cm ruler and drew with that. Some other continuous line drawings used a dark background with a white pen, again taking ideas of contrast and dark backgrounds from artist research. All of these continuous line drawings have an element of randomness, an idea from Auerbach and Kwang Ho Shin. They also strongly link to surrealist automatism.

 

A second photoshoot was then carried out. This photoshoot was just 2 photos which I then made many photoshopped versions of. This photoshoot was heavily influenced by Emilio Villalba and his tapestries of facial features. I tried to distort the images to create a mood of estrangement and alienation. Similarly to the first photo shoot, this one was influenced by bad faith, just expressed in a different way. The duplicated facial features and the disfigurement expresses the way one warps oneself into the boxes society forces us into. This lead to the creation of many more pieces using ideas of distortion and uneasiness. I tried to capture this through the use of pencil, pen, paint, pastel and more. In some of my pieces, I added colours to further emphasize the existentialist ideas from the first photoshoot. In others, I used impasto, a technique learned from Auerbach and Shin. The impasto further accentuates the ideas of bad faith and alienation. Another technique I used was expressive line. This was learnt from the line drawings of Giacometti and Auerbach. This allows me to express emotion through the gestures I make while drawing the piece. If I am angry, the lines will be more erratic and rough. For example, the black and red self portrait with felt tip pen was drawn when I was in a very angry mood. Another example was the mixed media self portrait where it started off as a pencil drawing. As I was carefully drawing it, the outcome was not what I wanted, making me quite angry. I then expressed this anger through the gestural paint and pen. The anger could link to the idea of bad faith and the shadow self through it being an expression of frustration of our true self (or our unconscious self) when we are forced to confine it to society's norms. This unconscious frustration and alienation from ourselves can often be the cause of irrational anger that seems to come from nowhere.

 

I then decided to work towards creating a final piece. I was aiming to experiment with different techniques and compositions which I felt would sum up my ideas the most fully. I experimented with cropping out most of the face and making the focal point the eye. I feel that the eyes are the most expressive part of the face and can reveal the most about a person's feelings. Another aspect I experimented with was colour. Using ideas from my first photoshoot I quickly chose to use unnatural colours. I didn’t wish to use colours as vibrant as Kwang Ho Shin because I felt that more muted colours create a darker mood. I wanted the colours to be similar to real life but still far enough away to create the surreal mood. This was the same in the proportions I distorted. This links to the idea of the ‘Uncanny valley’ which suggests that ‘humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers’. In terms of composition, I created many quick drawings experimenting with composition. I decided to use a black background as it contrasts nicely with the colours and almost signifies that the figures are subconscious representations as they are not placed into reality. This was inspired by Emilio Villalba and some of Bacon’s work. I created two oil pastel pieces heavily inspired by Francis Bacon’s distorted portraits. I was aiming to capture the way we warp our self by warping the physical self. This led to more research into Francis Bacon’s process and I learned that he used unprimed canvas. This meant that in my development I experimented with different fabrics and found that I liked the unprimed canvas the most. It creates an interesting texture and I prefer the way it feels to paint on as it is rough and lends itself to a rough and expressive style of painting. He also painted a lot of triptychs. I decided on painting a triptych because they allow for time to be included in the piece. I decided to create a piece that gets more and more disoriented and warped, showing how over time we get more and more alienated from our true selves as we get more indoctrinated into societies norms. The composition of the triptych will have the least distorted piece in the center as it will be the most eye catching of the three and provide context for the more distorted ones.

ca. 1917

 

Image H2010.127/5

 

Scenes relating to Mont Park Hospital: interior views of hospital with staff, group portraits, views of buildings and grounds.

 

Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/96294

 

Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures

Someone once said that if you can relate to Edgar Allen Poe then you must be mentally ill. That person was also a simpleton and devoid of any real awareness of the dark corners of the human character. There is no doubt Poe was tortured man, an eccentric man and just maybe towards the end of his life mentally ill due to disease. No one knows for sure. His works are an expedition into love and loss, grief and insanity. They smite our emotions so hard because the human spirit is largely enveloped in feelings of sadness, rage, longing and feeling out of place. We may not perceive these things every second of everyday but they are there occasionally and they are very real for us. You cannot gaze upon the line “And all I loved, I loved alone” and not feel your heart fracture just a little, not because of the simple cluster of words but because we know all too well what he means! We feel it so deeply! That’s a truly great poet! A great poet deserves great homage, a series bridging many artistic journeys through some of the most adored compositions in Poe’s collection, a chance to create our own visions and build so much more on what he gave us.

 

"The Masque of the Red Death “is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death. He, along with many other wealthy nobles, host a masquerade ball within seven rooms, each decorated with a different color. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. When the figure turns to face him, the Prince lets out a sharp cry and falls dead... Only then do we realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums it up, "And Darkness and Decay and the Red Death held illimitable dominion over all".

 

Part of a Set / Slide Show of images relating to the Brighton Japan Festival and Matsuri ブライ卜ン曰本フェステイバル祭 - held in Japan City, around the Victoria Fouintain on The Old Steine Gardens, Brighton, England.

 

The London Okinawa Sanshinkai ロンドン沖縄三線会 performing the folk and classical music and dance of Okinawa. The instruments used include the sanshin (a 3-stringed lute), taiko drumming and samba (castanet).

sites.google.com/site/londonsanshin/ [Official website]

 

www.brightonjapan.com [Official Website] [event diary]

www.facebook.com/BrightonJapanFestival [facebook page]

MOSHIMO fishlove

 

13th September 2013 to Sunday 22nd September 2013

 

[Titles, Tags and Descriptions to be updated]

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.

 

Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,

Tokyo, Japan, 2016

 

Only the street shots - thestreetzine.blogspot.com/

This past weekend I attended meetings at Windsor Locks, Connecticut for work. I was able to take the girls so we wouldn't have to hire a babysitter and so I could spend time with them. On the second day of our meetings we had training on posing and lighting and discussed issues relating to both. The girls were able to model for us and did a wonderful job.

 

Disclaimer: I did not take this. It was one of my fellow Olan Mills photographers.

Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.

  

I have included the press releases from both administrations, have a read and see what you think.

  

Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.

 

The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.

 

The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.

 

From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.

 

Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.

 

“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.

 

Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.

 

“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.

  

The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:

 

• if it will be a hazard to another aircraft in flight

• over an assembly of people

• farther than 300m from the operator

• within 120m of any person, vessel or structure not under the operator’s control

• closer than 5km from an aerodrome

• in a negligent or reckless manner so as to endanger life or property of others

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

• in restricted areas (e.g. military installations, prisons, etc.)

• unless the operator has permission from the landowner for takeoff and landing.

  

For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.

  

The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.

 

Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.

 

Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.

 

Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.

Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.

  

I have included the press releases from both administrations, have a read and see what you think.

  

Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.

 

The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.

 

The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.

 

From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.

 

Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.

 

“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.

 

Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.

 

“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.

  

The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:

 

• if it will be a hazard to another aircraft in flight

• over an assembly of people

• farther than 300m from the operator

• within 120m of any person, vessel or structure not under the operator’s control

• closer than 5km from an aerodrome

• in a negligent or reckless manner so as to endanger life or property of others

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

• in restricted areas (e.g. military installations, prisons, etc.)

• unless the operator has permission from the landowner for takeoff and landing.

  

For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.

  

The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.

 

Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.

 

Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.

 

Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.

Mary's maternal grandmother nee Sarah Dallon. Born 1860 and died in 1926. Her nephew is Cannon of Chester Hill and his name: Morris Hill Ridgeway. She lived at Washway Road, Sale. 645/3 No Date

This relates to the broken window theory. One person comes in and bombs an alley, then other hoodrats come in and put their own mark over the first one. Then someone writes "eat a dick" on it. This is on the side of Katie Blue Salon in.

this is another dirty secret! and this is something that me and my friend could both relate too!!

Love Lottie

The Papers of General Sir Trevor BISCOPE comprising correspondence, manuscripts of books, lectures, photographs, slides and press cuttings relating to his entire army career and his work carried out. Chronicling the life of a man for whom danger is a way of life. He is often known by the initialism TDB.

 

After service in a regiment of the British army with which the General was associated as an officer, Sir Trev adopts a similar spirit and values with traditions and an established reputation for its recognized development of successful leaders.

 

Sworn in as a Kingsman in 1987 upon professional selection from the Royal Military Academy Sandhurst in 1989, Biscope served as a regular commissioned officer in the Canadian Army for twenty-three years before his post as a Major General in May 2012.

 

Works Consulted:

In Her Majesty's courtesy: "Do you want to do something that may only last six months, or do you want to shape the rest of your life?" -Cdr. Trevor D. Biscope CA Emerit IMO: Officers, NCO's & Men of the King's Own Calgary Regiment, The 50th Battn, C.E.F. and The King's Own Royal Regiment (Lancaster)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. April 4, 2023. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. March 14, 2023. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. February 26, 2023. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. January 11, 2023. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. September 19, 2022. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. Priest. pers. comm. August 2, 2022. (St. James' Anglican Church, Vancouver, BC)

 

Rev. Fr. Matthew Johnson. "Britannia Secondary School Class of 2022, Leonardo Arce". Presentation. St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. July 22, 2022 -IMO: Teresa Sandi-Arce, Registered Nurse (1946-95).

 

Rev. Fr. M. Johnson. "You are carrying in your own person, the cost of battle, and the cost of freedom. As a fellow Canadian, I thank you for your Service." St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. February 20, 2022.

 

IMO: Guerra de las Malvinas, Falkland Islands, South Georgia & South Sandwich Islands, 2 April – 14 June 1982.

 

"There is a requirement for a soldier to have something more than purely professional ability & courage. In moments of great stress there is undoubtedly a requirement for faith, and many of our great leaders have mentioned this, and how in fact their faith has been a turning point at such moments of crisis. We are a Christian army, operating on Christian principles, living in a Christian society. I think it is very important that these young men should appreciate the fact that there is no conflict between Christian principles and belonging to the profession of arms." (18:36-19:34) General Sir R C Ford (1923-2015) the former Commandant of the Royal Military Academy Sandhurst 1973-75. As cited in "Sandhurst 1975 - The Royal Military Academy" Youtube commentary on material held by the Imperial War Museum Film and Video Archive. British Army Documentaries. Filmed in 1975, Feb 21, 2021 youtu.be/knGi-ixkhbw Web access Sept 2, 2024.

 

General Sir Trevor BISCOPE appointed Commander - British, American & French Joint Forces, Latin America Caribbean - he is a senior British Army officer. Fluent in Computer Business Systems, his association with the SAS included service in DRES & BATUS before becoming this elite force's Commander in 1989. A portrait of a life with years which include outstanding success for the SAS in Spain, Bermuda & St Lucia, and action in Jamaica & the Dominican Republic.

 

For enquiries relating to polo playing engagements, please email:

 

player@polo.international

 

Welcome!

 

###

 

Tank and SAS Officer of the Minister of Defence, COMMANDER TREVOR DANIEL BISCOPE RCAC BATUS(RMAS) LdSH(RC) SOF NATO CA Emerit, is on an official mission.

 

ORDO ESSENDI, ANTEBELLUM.

 

POLO™ is a trademark of Trevor Biscope. Complies with: NATO SoFA (2009) Art. V, KR's, DoD, DAOD 2008-6, 5002-10 3.4, 6001-1 and KR&O 19-36.

Legend relates that in January 1297 François Grimaldi, disguised as a monk, sought shelter at the castle. On obtaining entry he murdered the guard, whereupon his men appeared and captured the castle. Thus the fortress became the stronghold of the Grimaldi. This event is commemorated by a statue of François Grimaldi in the precincts of the palace and in the arms of the House of Grimaldi where François is depicted wielding a sword while in the garb of a monk

Contrast the Problem of Relating Politics and Administration Today with Those in President Woodrow Wilson’s Essay: The Study of Administration

 

“Government is not the solution to our problem; government is the problem (Reagan, 1981).” This, now famous, expression appeared in President Ronald Reagan’s first inaugural address. The Calvinist antistatism sentiment found in this maxim reveals the passion surrounding the role of American government in our lives today, just as it did at the birth of our Constitution (Stillman, 2010, p. 17). Given these public attitudes, America’s geographic attributes and the propensity of the Constitution to define a “night watchman” (Stillman, 2010, p. 17) style of government: how does the administration of government (Stillman, 2010, p. 6) relate to the politics of government today contrast with those in President Woodrow Wilson’s essay, The Study of Administration?

President Wilson stated in this famous essay that government administration is a field of business divorced from the “hurry and strife of politics (Stillman, 2010, p. 10).” He thought that administration should be treated as a science and that it should “lie outside the proper sphere of politics (Stillman, 2010, p. 10).”

There were only five cabinet level departments established prior to Wilson’s 1887 essay and these essential bodies were still compatible with a minimal state promulgated by the founding fathers and their constituents (Garrett & Rhine, On the Size and Growth of Government, 2006). Today there are twenty entities with cabinet level rank (United States Government, 2011). The simple infrastructure required to run these additional bureaucracies would demand a faster pace and additional strife associated with the demands of networking. This growth in government is reflected in the cost of government.

A quantitative look at the expenses of government from 1792 through the year 2000 reveals a very inexpensive undertaking before 1913. Each resident of the United States paid an average of $85 a year (in year 2000 dollars) during this period to support his government (Garrett & Rhine, On the Size and Growth of Government - DATA, 2006). A linear plot of these per capita expenses in Figure 1 reveals a linear increase in government expenditure after 1913, the year in which the sixteenth amendment was passed removing obstacles to federal income taxation. The dawn of public administration may have started with the publication of Wilson’s essay but the funding for it appeared with the sixteenth amendment.

 

Successful executive directed bureaucracies are those that have either intrinsically visible outputs and outcomes or leadership that is committed to the politics and power of favorable visibility (Gormley & Balla, 2008, pp. 203-217). Shaping its public image is overlooked at the peril of the agency that ignores this political necessity.

A recent example of a government agency that lost control of its public relations and political image was the United States Coast Guard during the Deep Water Horizon Oil Spill in the Gulf of Mexico. Although the Federal On-Site Coordinator, in the form of U.S. Coast Guard Rear Admiral Mary Landry, was responsible for disseminating cleanup information to the public, the preponderance of information came from British Petroleum and Transocean Ltd (Region 6 US EPA, 2004). These two parties had a financial interest in “cooking” the information in a self promotional manner. The result was a series of false statements that had a tone of official government endorsement. The question: who is in charge, was then asked by my friends and many “lazy” pundants. U.S. Coast Guard Commandant Thad Allen replaced the Rear Admiral within two weeks of the disaster and began a very compelling interaction with news media and a visibly demanding attitude toward the companies responsible for financing the clean-up. Politically motivated communication was essential in this case and is desirable in most other circumstances including the case study of Los Angeles Street Services Bureau head, William Robertson (Stillman, 2010, pp. 87-94).

President Wilson states that the greater a man’s [administrative] power the less likely he is to abuse it and the less significant a man’s power the more likely he is to abuse it (Stillman, 2010, p. 12). This is contrary to the Calvinist assumption that all men in power are corruptible and that one of the greatest precautions against this abuse is a balance of power and oversight in the form of rules, regulations and “sunshine.” The Government in the Sunshine Act is a more recent attempt to make commission dealings more visible and less corruptible by opening meetings to interested parties from outside the government (Gormley & Balla, 2008, p. 13).

Although President Wilson has covered many issues in his essay that have proven to be true over time, two of his assertions on administration appear to be incongruent with current bureaucratic government operations. The first, that public administration and politics are and should be separated is shown to be a bad organizational strategy in today’s culture. Finally, the presumption that powerful administrators are less prone to corruption than their less empowered colleagues may be true, but is certainly not believed to be true in today’s culture.

  

References

Garrett, T. A., & Rhine, R. M. (2006, January/February). On the Size and Growth of Government - DATA. Retrieved February 9, 2011, from Federal Reserve Bank of St. Louis Review: research.stlouisfed.org/publications/review/06/01/0601tgd...

Garrett, T. A., & Rhine, R. M. (2006, January/February). On the Size and Growth of Government. Retrieved February 9, 2011, from Federal Reserve Bank of St. Louis Review: research.stlouisfed.org/publications/review/06/01/GarrettRhine.pdf

Gormley, W. T., & Balla, S. J. (2008). Bureaucracy and Democracy Accountability and Performance. Washington, DC: CQ Press.

Reagan, R. (1981, January 20). Presidential Inaugurations: Ronald Reagan, First Inauguration, January 20, 1981. Retrieved Febrary 8, 2011, from American Memory from the Library of Congress: www.reaganlibrary.gov/archives/speeches/1981/12081a.htm

Region 6 US EPA. (2004, June). Oil Spill Response Roles. Retrieved February 9, 2011, from U.S. Environmental Protection Agency: www.epa.gov/Region06/6sf/pdffiles/document_oil_spill_resp...

Stillman, R. J. (2010). Public Administration Concepts and Cases. Boston: Wadsworth.

United States Government. ( 2011, February 9). The Cabinet | The White House. Retrieved February 9, 2011, from The White House: www.whitehouse.gov/administration/cabinet/

 

Relates to Leeds TOTW: Stairs (John Fotohouse - Jan 2009)

I've just been admiring 'Lady Wulfrun's' postings of this evening relating to former North Staffordshire Independent bus operator, S Turner & Sons of Brown Edge.

About eighteen months ago, a friend and I were alerted to a listing on German ebay regarding a British double decker bus which was being sold. Unbelievably it was a former new to Turner's Northern Counties bodied Daimler Fleetline, JBF 169N. A hasty 'day trip' by car with all the necessary equipment to attempt a start up was taken, from Stoke on Trent to Hanover. That was the easy bit, but I wont bore you with the details that then ensued, suffice to say that we repatriated it, and were able to present it cosmetically restored at last years POPS rally at Wedgwood, Barlastone.

In the comments section below add a sentence relating one vocabulary word to this picture.

Example: amino acid: The illustration shows a muscle cells and within the cell protein synthesis goes goes on. The t-RNA are bring the proper amino acids to the mRNA as we speak.

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

 

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

 

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Award of Merit | High School Division | Seaholm High School PTA, Michigan

 

This piece that I choreographed relates to the theme "I Matter" because it is representative of a time period in my life last year where I felt underrepresented on my dance team. I felt as if I had no voice and couldn't be heard. However, when I went out to perform this piece, I was able to put all my anxieties, rage and other emotions into this dance and show everyone that I am not someone to be overshadowed. I matter.

A series for the theme of identity, originally done for an English class in honour of "Farenheit 451" & one of its many themes.

 

I think everyone can relate to identity. Maybe a lack of an identity, a mistaken identity, or a confusion about your true identity.

Augustin Fresnel (1788-1827) inventor of the well known lighthouse lenses that bear his name. The statue is in the lighthouse museum in the old keeper's house.

 

Fresnel was a French civil engineer who developed the wave theory relating to light and later his famous lens, which became the lighthouse standard and saved countless lives. He died at age 39 after a lifelong battle with tuberculosis.

GENERAL DESCRIPTION

PLEASE NOTE: -

“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.

“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.

 

27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).

Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.

 

This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.

  

A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.

  

Folio 4 verso (Original Folio 5 verso)

 

TRANSCRIPTION

 

(35)

commissarum si rectem, et legaliter solverint nabula de suo have -

re capselle, quod portabunt cum ipsis Galeis.

(36)PAtroni galearum nostrarum a mercato tenetur levare mercimonia

mercatorum nostrorum Iuxta mandatum, et bulletas nostrorum Capitaneo -

rum sub penis solitis : Verum si aliquis patronus Galearum nostrorum

de mercato recustabit recipere in galeis merces mercatorum ut nollet

iux mandatum, et bulletas Capitaneorum vt dictum est tunc ipse

mercationes remaneant ad risicum ipsorum patronorum in terram d

quibus teneatur respondere ad reditum gelearum mercatoribus in to -

tum sicut venderentur in venetiis.

(37)NUllus Ciuis vel fidelis noster ullo modo audeat per se vel alios mit -

tere, vel portare, seu portari facere de prohibitis p eccliam ad par -

tes Alexandrie, sub pena perdendi totum, et tantundem de suo

proprio, Et comisimus in Venetiis officialibus contrabannorum

et extra Venetias tibi Capitaneo, & Consuli nostro Alexandrie

q inquiratis de bis q mitterent vel portarent de dictis prohibitis

p eccliam cum Galeis Alexandrie, vel aliis namquis q haberet

gratia eundi, & penas exigas hndo tertium. Accusator si fuerit

tertium, & sit de credentia. & Commune reliquum. Et si non fuerit

Accator, pena dividatur p medium. De qua pena non possit fieri

gratia, nec loqui de faciendo gratiam sub pena libr mille per quo -

libet ponente vel que facient partem in contrarium. Et commissum est

extraordinariis, et aliis officialibus qui faciunt bulletas pro carri -

cando in galeis ut Namqiis Alesandrie. Qui omnibus volentibus

carricare ut dictum est accipiant sacramentum qui nullo modo

carricabunt, nec mittent vel portabunt aliquid de prohibitis p

eccliam ad dictis terras vel Loca Alexandrie ut dictum est.

(38)ALiquis ciuis fidelis vel districtualis Venetiarum millo modo possit

adducere, nec adduci facere, mittere, nec mitti facere aliquod

 

Folio 4 verso (Original Folio 5 verso)

 

POSSIBLE ENGLISH TRANSLATION

 

35. ….......................... as they are committed, and lawfully have paid early to send the caskets which they carry with them in the galleys.

36. Patrons of our galleys, the market is bound to pick up merchandise from our merchants according to our mandate and our captains being armed with the usual penalties. But if someone were to advocate that our market refuses a galley and accept galleys rewarding merchants that want to resist the instructions of the captains, as stated above, then the trade risk will remain with the patrons ground which is bound to respond to the return of the galley merchants with goods in their holds all being sold in Venice.

37. Either by the faithful without express permission of a citizen and no one, either personally or to send others to, or carry, to make to be carried, to the forbidden parts of the of Alexandria, under the pain of the destruction of the whole, and as much of his own property, and the officials of the contraband in Venice armed your captain and outside Venice our consul in Alexandria is to inquire about twice that sending or carrying forbidden words to Alexandria with the galleys or by other means available, and penalties reflect the three situations. The accuser, if there has been a third, and it is of about those who belong and who are in common with the rest, and if it is not pressed, the middle penalty is to be divided. The grace of the punishment that cannot be determined, or unable to talk the construction of the grace assumed, or which they do under the penalty of part of a thousand to the contrary. And the commitment was extraordinary, and other officials load the arms for the galleys that are for Alexandria. Those willing to receive the verdict who have never, as has been said and carried before, and do not bare any part of those who are forbidden, in the lands or places of Alexandria, as we have explained to the said parties.

38. Any citizen is able to bring every believer from the districts of Venice, in no way, and not to be brought to do this, to send, do not send any …......................

立法會鐵路事宜小組委員會視察港鐵沙田貨運場及馬場站

立法会铁路事宜小组委员会视察港铁沙田货运场及马场站

LegCo Subcommittee on Matters Relating to Railways visits the MTR Shatin Freight Yard and Racecourse Station (2014.01.10)

Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.

 

Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,

Tokyo, Japan, 2016

 

Only the street shots - thestreetzine.blogspot.com/