We do it all with love.

1. Setter Love, 2. Roxy doggie and her stick, 3. Laughing, 4. Vote here for Bodie, 5. P1020353_1, 6. Napoleon :), 7. Hershey, 8. Such a hard life, 9. TYLER, 10. Untitled, 11. post-bath consolation., 12. ., 13. Nana and Uyanga, 14. Profile Of Keepher, 15. Good helpers, 16. Hot Number

Created with fd's Flickr Toys.

An infographic explaining how many arrests there have been relating to tax evasion in 2018

This tax evasion statistics infographic is free to use with attribution with a link to www.patrickcannon.net/insights/uk-tax-evasion-statistics/

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 6 recto (Original Folio 7 recto)

TRANSCRIPTION

contra id quid dictum est, et sine praecepto patronorum suorum cadant

de liber . C . parvorum pro qualibet vice, et ultra hoc sint perpetuo priva -

ti Comitaria, Patronia posticia, vel scribania sicut essent. Nauclerii vel

et alie persone minoris condictionis contra facietes predictis, et caricantes

mercimonia sine praecepto patronorum suorum ut dictum est cadat de li -

bris . XXV . Et stent uno mense in uno carcere inferiorum pro quolibet et

qualibet vice. Et praedicta comissimus inquirenda Provisoribus Cois

Cathavere Capitum postarum officialibus levantis : Dominis de nocte . Caputum

sesteriorum, et extrordinariis : q per sacramentum inquirere tenentur de

contrafacientibus, et penas exiger habendo partem ut de aliis sui officii, et

si fuerit accator in praedictis habeat tertium, et sit de credentia in offici -

ales primo invenientes tertium, et Commune reliquum. Et de omnibus

dictis penis non possit fieri gratia : donum : remissio, aut recumpensa -

tio ullo modo vel forma sub pena liber mille pro quolibet ponente

vel consentiente partem in contrarium. Et propetea Committimus tibi q

semel antiquo transeas Raguseum teneris praedicta facere in galeis cri -

dari ut omnibus nota sint sub pena liber. CC . in tuis bonis, et cum

applicveris ad loca tui magii antiquo incipias fieri facere bulletas a -

liquas. Similr facias ipas cri dari sub Dicta pena : de qua tibi non

potest fieri gratia aliqua, vel remissio, sub dicta pena liber mille.

Et commissum est de de voccatoribus qui inquirant contra te si fue -

ris negligens : et penas exigant habendo partem ut de aliis sui of -

ficii. Intelligendo q si Capitaneus, vel supra comiti. Comiti Patroni po -

sticii, Scribae vel Nauclerii, et alii ut dictum est Galearum Cois se re -

perirentur ad dicta viagia, vel Daretur ordo q irent, q teneantur

ad omnia praedicta. Et si contrafecerint praedictis est comissum solum

A duocatoribus qui inquirant contra eos et paenas exigant cum mo -

dis et ordinibus suprascriptis.

(42)PAtroni galearum nostrarum Alexandrie teneatur in ??tibus

Folio 6 recto (Original Folio 7 recto)

POSSIBLE ENGLISH TRANSLATION

41. …...... contrary to what has been said, that they fall from his own book and without the permission of the patrons, one hundred or smaller for each time, and above this they are always free to accompany the patron at the rear, or written as if it were. The owner and other persons or other persons to make the said agreement being underestimated, and responsible for their wares without the permission of the owners as it is a matter for the twenty five books, and stand the same for each month as one and on each occasion imprison on the lower decks. The predicted connection looked for the provision of official Cathavere taxation in the Levant : The Owners of the night. On the head of the extrordinary sesterce thyat are bound by oath to seek out those opposed, and rightly demand of some of the others of its own for part of the office, and if it is pressed as above it is a third, and the third is the finding of a belief of the first official and the common belief of the others. And out of all that is said the grace of the penalties cannot be done then the gift of forgiveness, or any recompense laid down in any way or form, or with the consent, under pain of a part of the book of the thousand in favour of the contrary. And allowing things to be done that were once allowed when passing Ragusa requires gallies to go free of all pain. 200. in your property, and when you beginn to become older and closer to places you make some notes. Similar to those given under the said penalty for other charges, and with it you shall not use it by some special grace, or the for the remission of sins, under the said penalty of the book of the thousand. And theyof those who joined together against you, inquire who is concerned about the eason you have been negligent , for part of the as one of the others in his own office has to imposese the penalties. Understanding that it is the captain more than the count. The count at the rear and patron of the scribes and others that have a galleys, from taxation are said to fund the journey, or which would give the order to go, and are bound to all the above. And should anyone contravene the aforesaid there there is an exact panalty to be made against them but only by the methods and arrangements described above.

42. Partons of our galleys in Alexandria ????? …............

The Maysville murals depict moments from Maysville's history, and Maysville is the type of place where the favorite bits of history relate to local folks who left town and made good in Hollywood. The blond woman seen here is local legend, actress Rosemary Clooney, who was born here in 1928. She became a popular local singer in her teenage years, and in 1945, she and her sister Betty got their own spot on Cincinnati radio station WLW. In 1946, Columbia records picked her up, and things started taking off. In 1954, she starred with Bing Crosby and a bunch of people in the movie White Christmas, and then there was no looking back. But Clooney never forgot her Maysville roots, and when she died of lung cancer in 2002, she was buried in Maysville in St. Patrick's Cemetery.

Rosemary Clooney is probably as famous now for her relatives as she was for her own career. Her son, Miguel Ferrer, is one of those character actors who you see on a lot of TV shows and think, "Oh, it's that guy." Another son, Rafael Ferrer, did a few bit parts before becoming a popular voice actor. And, of course, there's her brother's kid, George, who seems to have done okay for himself. (Maysville also claims George, though he was born in Lexington and went to school in the Cincinnati suburb of Fort Mitchell.)

Even more popular than George, though--at least to Northern Kentucky people--is George's dad and Rosemary's brother, Nick Clooney. If you're not from the Cincinnati area, you've probably never heard of Nick Clooney, but he spent decades as kind of the local media catch-all guy for various TV news stations around Cincinnati. According to Wikipedia, he also spent time on local TV in Los Angeles and Salt Lake City, but Cincinnati people talk like he was glued to Cincinnati media. Anytime I've been around Cincinnati people and somebody's mentioned George Clooney, they always say, "You know, his dad was a TV news anchor here for years and years."

Gears relating to either the Hoist Building behind me,an alternative way of sending men and material to the lower tunnels, or the Compressor Building in the background, which ventilated the tunnels that stretched for kilometers.

Empire Mine State Historic Park, Grass Valley, California

'I think Mary can relate to us in very different ways, from her poverty and her struggle, from her exclusion in her own hometown and having to move from place to place, the difficulty she must have had with her husband...I think every woman can relate to her. She can relate to us on a very human level."

~Paula from Britain

Image of Our Lady at the Gates of Dawn, Ostra Brama, Vilnius, Lithuania.

Agent8’s relator blogs carry useful marketing content, exclusive interviews with leading agents who share their innovative approach to real estate marketing. Visit www.agent8.ca/blog/ for more information.

I've noticed that a lot of my pictures have been relating with fire or light. They're not all on flickr, but just what I have been taking a lot is light based. It's probably because light is very easy to control and manipulate. Plus I like how you can use high shutter speeds in dark situations :)

I dropped off a role of TMAX Black and White 400 film at Ritz Camera 16 days ago and I haven't heard from them. They said that it was going to take 10 days cause they have to send it out because they don't have the chemicals in store to process it, which I understood of course. But if they lost it, I just really want them to admit that they lost it.

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.

I am trying to find any information relating to this boxing trophy, possibly an army championship of some sort. This was before WW1, so the date is probably 1910-1914ish. The person featured is my great uncle Edward Ives, and I would like to find out anything related to his boxing career or if this trophy still exists somewhere.

Relating back to the previous workshop of fashion illustration, I took inspiration to amplify even more human traits in this experiment. For this piece I worked towards a tight deadline - drawing 30 frames tested my consistency, efficiency and ability to work under pressure. Using primary sources of people’s eyes and a mouth with a prop cigarette, I edited them together Adobe Premiere to create a disfigured, but amusing looping video of a chair waking up. It has 6 eyes opening, whilst grunting and falling back to sleep - with some eyes interacting with one another. Unfortunately I added smudges to represent the puffs of smoke billowing from the chair however it was too faint to appear on screen. Regardless I am very pleased with the outcome of my first rotoscope.

Quote from students compiled by Grant Wiggins. Image is modified from a Microsoft Clipart file.

Relates to fix on Firestorm 4.7.4 UNRELEASED with OpenSimulator support.

Uploaded at the current window size (was set to 2560 x 1440, more than the screen setting is set to.

Result:

The shot is full quality. The size of the resulting shot is 1924 x 1064. The inworld snapshot thumbnail & preview showed the correct preview.

VERIFYING: The bug assigned to Ansariel Hiller and testedy by Whirly Fizzle is FIXED

Taken: OSGrid, Crown Land estates, Wolflandia sims using Firestom Fizzlefire 4.7.4.47531 to test direct Flickr uploads /fixed issue/ - 1920 x 1032, keeping aspect ratio

===============================================

SCREENSHOTS 14-15 in this album

The screenshots document that the problem described bellow was solved.

18) Current (not set in advanced) windows size - 1920 x 1032

17) A snapshot set at any of the preset sizes (here we set 1600 x 1200)

16) Custom, manualy set size 1920 x 1032 for the snapshot, the same setting is for the window size in the menu Advanced

15) Posting a snapshot to Flickr at size 320 x 240

14) Current window was 1920 x 1032 and the window size was set to 2560 x 1440

================================================

SCREENSHOTS 1-10 in this album (the original post):

The screenshots document that the similar settings, when used in Second Life and Opensim generate different results. This behavior persists since the latest beta release and it is present also in the final version. Firestom 64 bit for Second Life and Opensim was used to create these snapshots. First the clean reinstall of beta version was performed and no settings were automatically restored from the previous installation.

Uploads taken at the Opensim grid are not being uploaded for me with the best possible quality. To get them online I must save them first to disk. This way the procedure is longer, not so comfortable and the result does not contain data about the place where it was taken.

Visit this location at CrownLand in OSGrid

In analytical psychology, the shadow (also known as ego-dystonic complex, repressed id, shadow aspect, or shadow archetype) is an unconscious aspect of the personality that does not correspond with the ego ideal, leading the ego to resist and project the shadow, creating conflict with it. The shadow may be personified as archetypes which relate to the collective unconscious, such as the trickster.[1][2][3][4][5]

Overview

Main articles: Defence mechanism and Anxiety

For broader coverage of this topic, see Introjection, Identification (psychology), and Guilt–shame–fear spectrum of cultures.

See also: Dark triad and Otto F. Kernberg

The shadow can be thought of as the blind spot of the psyche.[6] The repression of one's id, while maladaptive, prevents shadow integration, the union of id and ego.[7][8] While they are regarded as differing on their theories of the function of repression of id in civilization, Sigmund Freud and Carl Jung coalesced at Platonism, wherein id rejects the nomos.[clarification needed][9] Persona is contrasted against the shadow.[10] Jung regarded the shadow as unconscious – id and biography – suppressed under the superego's ego-ideal, the way the superego wants to be.[11] The shadow is projected onto one's social environment as cognitive distortions.[12] However, the shadow can also be regarded as "roughly equivalent to the whole of the Freudian unconscious",[13] and Jung himself asserted that "the result of the Freudian method of elucidation is a minute elaboration of man's shadow side unexampled in any previous age".[14]: 63 

Contrary to a Freudian definition of shadow, the idea can include everything outside the light of consciousness and may be positive or negative.[citation needed] Because a subject can repress awareness or conceal self-threatening aspects of the self, consensus of the idea of the shadow that it is a negative function in the self, despite the extent of the repression failing to prohibit these aspects.[15] There are positive aspects that can remain hidden in one's shadow – especially in people with low self-esteem, anxieties, and false beliefs – with these aspects being brought to the conscious mind and exercised through analysis and therapy.[16] It may be considered the subject's identification with id, superseded in early childhood, though it can also be influenced by early to late childhood.[17][18]

Jung wrote that if awareness of the projection of the shadow remains repressed, "the projection-making factor (the Shadow archetype) then has a free hand and can realize its object – if it has one – or bring about some other situation characteristic of its power", lending the idea autonomous qualities which can have consequences on the id and the ego.[19] These projections insulate and delude individuals in society by acting as a symbolically deployed barrier between the ego and the ego-less Real.

Collective shadow

Main article: Psychopomp

For broader coverage of this topic, see Systems psychology, Mephistopheles, and Daimon.

See also: Scapegoat, Collective trauma, and Odin

The collective unconscious, a concept that states that all of humanity shares some unconscious ideals, forms a projective identification with uncertainty and feelings of helplessness along with other negative feelings. This projection frequently identifies with the figure of the Devil as the "fourth" aspect of the Pauline-Christian trinity, functioning as its grounding myth.[24] This idea can be seen in other mythologies, for instance, the ancient-Egyptian-devil Set "represents overwhelming affects".[25] The collective shadow is ancestral and is carried by the collective experience of the human race (i.e., in-group and out-group: dehumanization; e.g., hate crime).[26][27]

Appearance

Main article: Daimon

For broader coverage of this topic, see Masking (personality) and Censorship (psychoanalysis).

See also: The Emperor's New Clothes

Jungians believe that the shadow aspect of the Self may appear in dreams and visions (i.e., mise-en-scène),[28][29] in various forms and typically "appears as a person of the same sex as that of the dreamer."[30]: 175  The shadow's appearance and role depend greatly on the living experience of the individual because much of the shadow develops in the individual's mind rather than simply being inherited from the collective unconscious and is important in the Jungian approach to dream interpretation.[30]: 183  Nevertheless, some Jungians maintain that "the shadow contains, besides the personal shadow, the shadow of society [...] fed by the neglected and repressed collective values."[31]

Jung also made the suggestion that the shadow may be made up of many layers. The top layers contain the meaningful flow and manifestations of direct personal experiences. These are made unconscious in the individual by such things as the change of attention from one thing to another, simple forgetfulness, or a repression. Underneath these specific layers, however, are the archetypes which form the psychic contents of all human experiences. Jung described this deeper layer as "a psychic activity which goes on independently of the conscious mind and is not dependent even on the upper layers of the unconscious – untouched, and perhaps untouchable – by personal experience."[32]

Encountering the shadow

Main article: Nekyia

For broader coverage of this topic, see Active imagination and Amplification (psychology).

See also: Dialectic, Dialogic, Hero's journey, and Katabasis

As the shadow is a part of the unconscious, a method called Shadow work is practiced through active imagination with daydreaming and meditation – the experience is then mediated by dialectical interpretation through narrative and art (pottery, poetry, drawing, dancing, singing, etc.); analysts perform dreamwork on analysands, using amplification to raise the unconscious to conscious awareness.[33][34][35] Jung uses the term Nekyia to describe the descent into darkness, where the ego fades.[36]

The eventual encounter with the shadow plays a central part in the process of individuation. Jung considered that "the course of individuation [...] exhibits a certain formal regularity. Its signposts and milestones are various archetypal symbols" marking its stages; and of these "the first stage leads to the experience of the shadow."[37] If "the breakdown of the persona constitutes the typical Jungian moment both in therapy and in development,"[38] it is this that opens the road to the shadow within, coming about when "beneath the surface a person is suffering from a deadly boredom that makes everything seem meaningless and empty...as if the initial encounter with the Self casts a dark shadow ahead of time."[30]: 170  Jung considered as a perennial danger in life that "the more consciousness gains in clarity, the more monarchic becomes its content...the king constantly needs the renewal that begins with a descent into his own darkness"[39]: 334  – his shadow – which the "dissolution of the persona" sets in motion.[40]

"The shadow personifies everything that the subject refuses to acknowledge about himself",[41]: 284  whether consciously or unconsciously, and represents "a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well."[41]: 21 

[If and when] an individual makes an attempt to see his shadow, he becomes aware of (and often ashamed of) those qualities and impulses he denies in himself but can plainly see in others – such things as egotism, mental laziness, and sloppiness; unreal fantasies, schemes, and plots; carelessness and cowardice; inordinate love of money and possessions...[30]: 174 

The dissolution of the persona and the launch of the individuation process also brings with it "the danger of falling victim to the shadow ... the black shadow which everybody carries with him, the inferior and therefore hidden aspect of the personality"[42] – resulting in a merger with the shadow.

Merging with the shadow

For broader coverage of this topic, see Positive disintegration, Anagoge, and Introjection.

Jung considered merging with the shadow as typically bad, viewing it as the process of the suppressed id overwriting or controlling the ego. According to Jung, the shadow sometimes overwhelms a person's actions; for example, when the conscious mind is shocked, confused, or paralyzed by indecision. "A man who is possessed by his shadow is always standing in his own light and falling into his own traps...living below his own level."[41]: 123  Hence, in terms of the story of Dr. Jekyll and Mr. Hyde, "it must be Jekyll, the conscious personality, who integrates the shadow ... and not vice versa. Otherwise the conscious becomes the slave of the autonomous shadow."[43]

Individuation inevitably raises that very possibility as it further separates the ego from the collective unconsciousness. As the process continues, and "the libido leaves the bright upper world... sinks back into its own depths... below, in the shadows of the unconscious."[44] so too what comes to the forefront is "what was hidden under the mask of conventional adaptation: the shadow", with the result that "ego and shadow are no longer divided but are brought together in an – admittedly precarious – unity."[45][full citation needed]

The effect of such "confrontation with the shadow produces at first a dead balance, a standstill that hampers moral decisions and makes convictions ineffective ... nigredo, tenebrositas, chaos, melancholia."[39] Consequently, as Jung knew from personal experience: "In this time of descent – one, three, seven years, more or less – genuine courage and strength are required",[46] with no certainty of emergence. Nevertheless, Jung remained of the opinion that while "no one should deny the danger of the descent [...] every descent is followed by an ascent",[47] and assimilation of – rather than possession by – the shadow becomes a possibility.

Assimilation of the shadow

Main articles: Anima and animus and Acceptance

For broader coverage of this topic, see Reality testing, Metanoia (psychology), Pleroma, and Post-traumatic growth.

Assimilation[48] is the process of acknowledging the shadow and possibly incorporating parts of it into the ego. Jungians believe this may lead to a numinous experience, while anchoring to the numinosum effect without reality testing can lead to ego inflation (qv., archetypal possession).[49]

In analytical psychology, the struggle for the superego is to retain awareness of the shadow, but not to become it or be controlled by it. "Non-identification demands considerable moral effort [which] prevents a descent into that darkness"; and though "the conscious mind is liable to be submerged at any moment in the unconscious...understanding acts like a life-saver. It integrates the unconscious."[50][full citation needed] This reincorporates the shadow into the personality, producing a stronger, wider consciousness than before. "Assimilation of the shadow gives a man body, so to speak,"[14]: 239  thereby providing a launchpad for further individuation. "The integration of the shadow, or the realization of the personal unconscious, marks the first stage in the analytic process... without it a recognition of anima and animus is impossible."[51] Conversely, "to the degree in which the shadow is recognised and integrated, the problem of the anima, i.e., of relationship, is constellated,"[41]: 270n  and becomes the centre of the individuation quest.

Carolyn Kaufman wrote that "in spite of its function as a reservoir for human darkness – or perhaps because of this – the shadow is the seat of creativity;"[52] so that for some, it may be that "the dark side of his being, his sinister shadow...represents the true spirit of life as against the arid scholar."[53] Nevertheless, Jungians warn that "acknowledgement of the shadow must be a continuous process throughout one's life;"[54] and even after the focus of individuation has moved on to the animus/anima, "the later stages of shadow integration" will continue to take place – the grim "process of washing one's dirty linen in private,"[55] of accepting one's shadow.

Popular culture

Mr. Hyde from Strange Case of Dr Jekyll and Mr Hyde[56]

The young wizard Ged in Ursula K. Le Guin's 1968 novel A Wizard of Earthsea must confront his own shadow, influenced by Le Guin's interest in Jung [57]

The 1971 David Bowie song "Shadow Man"[58]

Persona, a series of Japanese role-playing video games (JRPG) where many Jungian concepts are used directly, including the shadow, the collective shadow, Persona, and Archetypes[59][60]

The video games Alan Wake and Control reference many Jungian concepts such as the Collective unconscious, Synchronicity, and the shadow

Luke Skywalker's confrontation with Darth Vader in the cave of Dagobah in the film The Empire Strikes Back (1980)[citation needed]

Gollum with himself in the novel The Lord of the Rings (1954–1955)[citation needed]

See also

Psychology portal

Alter ego

Anger management

Antagonist

Anticathexis

Apollonian and Dionysian

Bias blind spot

Big Five personality traits

Cognitive bias

Cognitive dissonance

Cognitive distortion

Compartmentalization (psychology)

Death drive

Egosyntonic and egodystonic

Eros (concept)

Eudaimonia

Homunculus argument

Inferiority complex

The Shadow (fairy tale)

Transpersonal psychology

Yin and yang

Further reading

Abrams, Jeremiah. 1995. The Shadow in America. Nataraj.

Abrams, Jeremiah, and Connie Zweig. 1991. Meeting the Shadow: The Hidden Power of the Dark Side of Human Nature. Tarcher. ISBN 0-87477-618-X

Arena, Leonardo Vittorio. 2013. The Shadows of the Masters. ebook.

Bly, Robert. 1988. A Little Book on the Human Shadow, edited by William Booth. San Francisco: Harper and Row. ISBN 0-06-254847-6

Campbell, Joseph, ed. 1971. The Portable Jung, translated by R. F. C. Hull. New York: Penguin Books.

Johnson, Robert A. 1993. Owning Your Own Shadow: Understanding the Dark Side of the Psyche. Harper San Francisco, 128 pp. ISBN 0-06-250754-0.

– – 1989. Inner Work: Using Dreams and Creative Imagination for Personal Growth and Integration. Harper San Francisco, 241 pp. ISBN 0-06-250431-2.

Massi, Danielle. 2022. Shadow Work: Face Hidden Fears, Heal Trauma, Awaken Your Dream Life. New York: Sterling Ethos.

Neumann, Erich. 1990. Depth Psychology and a New Ethic (reprint ed.). Shambhala. ISBN 0-87773-571-9.

Zweig, Connie, and Steve Wolf. 1997. “Romancing the Shadow.” Ballantine.

– – “Meeting the Shadow of Spirituality.”

References

Beebe, John (2004). "Understanding consciousness through the theory of psychological types". In Cambray, Joseph; Carter, Linda (eds.). Analytical Psychology: Contemporary Perspectives in Jungian Analysis. Advancing Theory in Therapy. Routledge. p. 110. ISBN 978-1-58391-999-6. Opposing Personality [...] Senex/Witch [...] Trickster [...] Demonic Personality [...] EGO-DYSTONIC COMPLEXES Shadow.

Solomon, Hester McFarland (2004). "The ethical attitude in analytic training and practice". In Cambray, Joseph; Carter, Linda (eds.). Analytical Psychology: Contemporary Perspectives in Jungian Analysis. Advancing Theory in Therapy. Routledge. p. 251. ISBN 978-1-58391-999-6. The shadow, that portion of the self that the ego designates as bad and projects as unwanted, carries what is treacherous and subversive – what is unethical and immoral – within the self and hides it, relegating its contents to unconscious areas within the psyche where it can be lived out in projection, using and abusing the other as a vehicle for the bad aspects of the self.

Jung, Carl (1971). "Aion: Phenomenology of the Self (The Ego, the Shadow, the Syzygy: Anima/Animus)". In Campbell, Joseph (ed.). The Portable Jung. Penguin Books. pp. 145, 146. ISBN 978-0-14-015070-4. The shadow is the moral problem that challenges the whole ego-personality [...] To become conscious of it involves recognizing the dark aspects of the personality as present and real. [...] dark characteristics[...]the inferiorities constituting the shadow[...]have an emotional nature, a kind of autonomy, and accordingly an obsessive or, better, a possessive quality. [...] These resistances are usually bound up with projections, which are not recognized as such, and their recognition is a moral achievement beyond the ordinary.

Hillman, James (1977). Re-Visioning Psychology. Harper. p. 128. ISBN 978-0-06-090563-7. Archetypal psychology envisions the fundamental ideas of the psyche to be expressed of persons – Hero, Nymph, Mother, Senex, Child, Trickster, Amazon, Puer and many other specific prototypes bearing the names and stories of the Gods. These are the root metaphors.

Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.

Brown, Rebecca; Stobart, Karen (2008). Understanding Boundaries and Containment in Clinical Practice. The Society of Analytical Psychology Monograph Series. Karnac Books. p. 7. ISBN 978-1-85575-393-8. Those parts of our psyches that are hidden and that we find difficult to face, Jung called 'the shadow'.

Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. [M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.

Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow is all that gets suppressed in the process of becoming a decent, civilized adult. [... it's] man's thwarted selfishness, his unadmitted desires, the swearwords he never spoke, the murders he didn't commit. The shadow is the dark side of his soul, the unadmitted, the inadmissible.

Demos, Raphael (1955). "Jung's Thought and Influence". The Review of Metaphysics. 9 (1): 71–89. JSTOR 20123485. Retrieved 2022-06-25. As for the 'shadow' side of human nature (on which there is no difference of opinion between Freud and Jung) we may remind ourselves of Plato's phrase that 'in all of us, even those that are the most respectable, there is a lawless, wildbeast nature which appears in sleep' [...] (Republic 571-2)

Demos, Raphael (1955). "Jung's Thought and Influence". The Review of Metaphysics. 9 (1): 71–89. JSTOR 20123485. Retrieved 2022-06-25. [T]he polarity of opposites[...]persona-shadow[.])

Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]

Spivack, Charlotte K. (1965). "The Journey to Hell: Satan, the Shadow, and the Self". The Centennial Review. 9 (4): 420–437. JSTOR 23737939. Retrieved 2022-06-25. The major activity of the shadow is what Jung calls projection. [...] cast[ing] forth its ruling [negative] emotions [...] into other people ('people don't like me') or [...] considers [everything] a hostile, malevolent environment ('the world is against me').

Anthony Stevens, On Jung (London 1990) p. 43

Jung, C. G. 1993. The Practice of Psychotherapy. London.

Jung, C.G. 1938. "Psychology and Religion". In Psychology and Religion: West and East, Collected Works of C.G. Jung 11. p. 131

Young-Eisendrath, P. and T. Dawson. 1997. The Cambridge Companion to Jung. Cambridge University Press. p. 319.

Jung, C.G. 1952. "Answer to Job." In Psychology and Religion: West and East, Collected Works of C.G. Jung 11. p. 12.

Fordham, Michael (January 1965). "The Importance of Analysing Childhood for Assimilation of the Shadow". Journal of Analytical Psychology. 10 (1): 33–47. doi:10.1111/j.1465-5922.1965.00033.x. ISSN 0021-8774. PMID 14253371.

Jung, C.G. 1951. "Phenomenology of the Self." In The Portable Jung. p. 147.

Avens, Roberts (1977). "The Image of the Devil in C. G. Jung's Psychology". Journal of Religion and Health. 16 (3): 196–222. doi:10.1007/BF01533320. JSTOR 27505406. PMID 24318090. S2CID 13610615. Retrieved 2022-06-25. [A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]

Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]

Clark, Margaret (2005). Understanding the Self-Ego Relationship in Clinical Practice: Towards Individuation. Routledge. p. 8. ISBN 978-0-367-10552-5. Jung often uses language we usually associate with God to think about the collective unconscious.

Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. p. 92. ISBN 978-1-63051-515-7. Jungian theory commonly fills the place of the 'fourth' with the archetypal feminine but also includes evil as a fourth element.

[20][21][22][23]

Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. p. 21. ISBN 978-1-63051-515-7. In Egyptian myth the devil Set, who is the enemy of the forces of order, represents overwhelming affects, including terrifying abandonment depression and dismemberment.

Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.

Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow is projected outward, onto others. There's nothing wrong with me – it's them.

Le Guin, Ursula K. (1975). "The Child and the Shadow". The Quarterly Journal of the Library of Congress. 32 (2): 139–148. JSTOR 29781619. Retrieved 2022-06-25. The shadow stands on the threshold between the conscious and unconscious mind, and we meet it in our dreams, as sister, brother, friend, beast, monster, enemy, guide.

Derrida, Jacques; Domingo, Willis; Hulbert, James; Ron, Moshe; L., M.-R. (1999). "The Purveyor of Truth". Yale French Studies (96): 124–197. doi:10.2307/3040722. JSTOR 3040722. Retrieved 2022-08-22. The dreamer is the only one to see himself naked. And in contemplating his nakedness, he is alone. This, Freud says, is 'a suggestive point.' [...] the other [dream] people should be staring and laughing or becoming angry, but they are not.

von Franz, Marie-Louise. [1964] 1978. "The Process of Individuation." In Man and his Symbols, edited by C. G. Jung. London: Picador. ISBN 0-330-25321-2.

Fordham, Michael. 1978. Jungian Psychotherapy. Avon. p. 5.

Jung, C.G. The Structure and Dynamics of the Psyche. p. 148.

Humphrey, Caroline (2015). "Shadows Along the Spiritual Pathway". Journal of Religion and Health. 54 (6): 2376–2388. doi:10.1007/s10943-015-0037-2. JSTOR 24735970. PMID 25794547. S2CID 11733262. Retrieved 2022-06-25. Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space – time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)

Falzeder, Ernst (2012). "Freud and Jung, Freudians and Jungians". Jung Journal: Culture & Psyche. 6 (3): 24–43. doi:10.1525/jung.2012.6.3.24. JSTOR 10.1525/jung.2012.6.3.24. S2CID 144239928. Retrieved 2022-06-28. Apart from using dreams, Jung's method of soliciting emanations and manifestations of the unconscious was that of 'active imagination,' a method that produces a kind of waking vision or phantasy, which he then subjected to what he called 'amplification,' consisting essentially in finding 'parallels' to those images in 'collective' imaginations, such as myths, religious systems and practices, visions, alchemy, yoga[.]

Clark, Margaret (2005). Understanding the Self-Ego Relationship in Clinical Practice: Towards Individuation. The Society of Analytical Psychology Monograph Series. Routledge. p. 93. ISBN 978-0-367-10552-5. Active imagination is a technique that promotes dialogue between the ego and the self. The ego is deliberately set aside temporarily, and images from the unconscious arise and develop; the ego watches the story unfold as in a theatre, noting plot, characters, setting, dialogue. [...] If the patient is on their own [doing solo-work], it is obviously important that their ego is able to cope with whatever images and affects the self produces [...] the practitioner of active imagination can be overwhelmed by the emerging unconscious material[.] [...] Art therapy and drama therapy are based on the theory of active imagination; images can also be formulated in pottery, or poetry.

Marlan, Stanton. The Black Sun: The Alchemy and Art of Darkness. pp. 23–25. Jung refers to the descent into darkness as nekyia. In Psychology and Alchemy, Jung uses this Greek word to designate a ' 'journey to Hades,' a descent into the land of the dead.' [...] The nekyia ultimately leads to the fading of the ego's light and a death[.]

Jacobi, J. 1946. The Psychology of C. G. Jung. London. p. 102.

Homans, Peter. 1979. Jung in Context. London. p. 102.

C. G. Jung, Mysterium Coniunctionis (London 1963)

Jung, C. G. 1953. Two Essays on Analytical Psychology. London. p. 277.

Jung, C.G. The Archetypes and the Collective Unconscious (London 1996).

Jung, C. G. 1954. "Psychology of the Transference." In Practice of Psychotherapy, Collected Works 16. London. p. 219.

Stevens, Jung p. 50

Jung, C. G. 1944. Psychology of the Unconscious. London. pp. 181–82.

Jung "Psychology"[full citation needed] pp. 238–39

Bly, Robert, and Marion Woodman. 1999. The Maiden King. Dorset.

Jung, C. G. Symbols of Transformation (London 1956) pp. 357, 375

"Definition of ASSIMILATE". www.merriam-webster.com. 2023-10-16. Retrieved 2023-10-23.

Schwartz-Salant, Nathan (2018) [1989]. The Borderline Personality: Vision and Healing. Chiron Publications. pp. 93, 121. ISBN 978-1-63051-515-7. Only with a conscious integration of the shadow can the positive numinosum actualize. [...] The experience of our [human limiations via] embodied size is essential for the numinosum to gain actuality; without this knowledge of our limitations, and hence, an awareness of our humanity, contact with the numinosum leads to an inflated state. [...] ego [...] inflation[.]

Jung, "Psychology"[full citation needed] pp. 260, 266, and 269

Jung, C. G. Aion: Researches into the Phenomenology of the Self. (London 1959) p. 22

Kaufman, Carolyn. "Three-Dimensional Villains: Finding Your Character's Shadow." Archetype Writing: The Writer's Guide to Psychology.

Jung, C. G. Memories, Dreams, Reflections (London 1983) p. 262

Hart, David L. 1977. "The classical Jungian school." In The Cambridge Companion to Jung, edited by P. Young-Eisendrath and T. Dawson. Cambridge: Cambridge University Press. p. 92

Stevens, On Jung p. 235

Gómez Moreno, Marta; Hewitt Hughes, Elena Carolina (July 2016). "An analysis of Stevenson's novel based on Jung's theory of the Shadow archetype in The strange case of Dr. Jekyll and Mr. Hyde". Alpha (Osorno) (42): 51–76. doi:10.4067/S0718-22012016000100005. ISSN 0718-2201.

Bailey, Edgar C. (1980-01-10). "Shadows in Earthsea: Le Guin's Use of a Jungian Archetype". Extrapolation. 21 (3).

Stark, Tanja (22 June 2015). Crashing Out with Sylvian: David Bowie, Carl Jung and the Unconscious" in Deveroux, E., M.Power and A. Dillane (eds.) David Bowie: Critical Perspectives. Routledge Press. pp. 82–110. Retrieved 4 December 2016.

"'Persona' Bends But Doesn't Totally Break Jungian Psychology". Inverse. 2016-10-27. Retrieved 2023-11-08.

Gailloreto, Coleman (2020-04-10). "The Jungian Psychology Concepts Which Acted As Inspiration For The Persona Franchise". ScreenRant. Retrieved 2023-11-08.

External links

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en.wikipedia.org/wiki/Shadow_(psychology)

Pete Yorn and Scarlett Johansson - "Relator"

When I met you I didn't know what to do

but I noticed that I didn't really feel

Now you're away you write home everyday

I don't beg, I don't borrow, I steal

You don't think that life's for us to talk about

You can leave whenever you want out... you want out...

You don't relate to me, no girl

You don't respect to me, no girl

------------------------------------------------------

Cuando te conocí no supe qué hacer

pero me dí cuenta que realmente no sentía

Ahora que estás lejos escribes a casa cada día

No mendigo, no pido prestado, robo

Tú no crees que nuestra vida sea para hablar de ello

Puedes omitirlo cuando quieras

cuando quieras...

Bueno no sintonizas conmigo, no chica

No me respetas, no chica

I can only relate to this beautiful song.

www.youtube.com/watch?v=LF5GZuO9Krg

Shot this at Shravanabelogola.

When you are happy you feel like jumping in the air, no matter where you are, whether on top of hill or on the streets. Thanks to these three idiots for making this shot so beautiful :)

Image from 'Historical Collections of the State of New York ... relating to its history and antiquities, with geographical descriptions of every township in the State', 000194809

Author: BARBER, John Warner and HOWE (Henry)

Page: 62

Year: 1846

Place: New-York

Publisher: S. Tuttle

Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.

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.

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 recto (Original Folio 5 recto)

TRANSCRIPTION

(32)

Culphi,ordmatum, et firmatum est per nostra consilia, et sic servabis

q Capitaneus Galearum Culphi sit et esse debeat Capitanens generalis

dictarum galearum, et omnium navigiorum nostrorum armatorum &

disarmatorum, et facere Capitaneariam dones erunt simul.

(33)OMnes bulletas quas extra Venetias fieri facies pro cari eando merca -

tiones in galeis debeas facere ordinate registrari, & seribi in uno qua -

terno ut bene appareant, Et similiter debeas comittere patronis gale -

arum tibi commissarum, q onmes bullete que facte fuerint p te pro car -

ricondo debeant p sim seribam notari facere, & diligenter registra -

ri : Salvando tamen bulletas predictas ne perdantur, quos omnes

quaternos tu, et Patroni praedicti simul cum dictis cedulis dare

teneamini in vestro reditu, & prontare exordinariis quibus com -

missum est q debeant disearricare galeas iuxta formam dictorum

quaternorum et cedularum.

(34)QUicunq patronus approbatus p nostra consilia qui exinerit remane -

re in aliqua parte aliqua causa, nisi causa infirmitatis sue persone

que sit talis : q acceptet per Capitaneum armatae, et ut in isto cau

Capitanei ponant alium sufficientiorem quem poterunt, et contrafacien -

tes cadant ad penam libr quinq pro quolibet, & quolibet vice et com -

misum est advocatoribus comunis in Venetiis, et Capitano ex Venetiis

q predicta faciant observari, & exigant a contrafacientibus penam

predictam de qua haenant medietatem, et reliquum sit cois. Et si ad -

vocatores erunt negligentes ad excutiendum dictam penam, cadant

de tantundem, & Domini de nocte exigant penam ab advocatoribus

et Capitanus vel Advocatores sub pena libr ducenorum pro quolibet

ponente vel consentiente partem in contrarium.

(35)ET teneris dare sacramentum omnibus mercatoribus galearum tibi

Folio 4 recto (Original Folio 5 recto)

POSSIBLE ENGLISH TRANSLATION

32. …................ Culpho, ordered and confirmed by our plans, and so perfect that the said captain Captain General of the said galley Culpho and and all our galleys and boats both armed and unarmed and made accountable to him.

33. All those armed galleys that are in the same trade that that can get together outside of Venice should do so in order to be registered, and at greater length one in four appear as well to be similarly bound to the committee of the patrons of the galleys, yourself have also committed, that all the armed galleys have been made available to you should be noted by the scribe, and carefully registered, so that those armed shall not be lost, and that all four are together with with the above mentioned patrons and to give assurance of committing to a safe return extraordinarily quickly which should be decided upon according to the terms agreed by these four galleys.

34. Whosoever is the patron that is accordingly approved to remain in any part of our plans has any cause, who is such a person, unless it be for reasons of: a person for reasons of: a person the be accepted by the captain of armed men, and that in the case of the captain's account, which will be able to be put by someone else more adequate, and, opposed to the punishment of five pounds for each one, then after it was discussed and at any time, as is common in Venice and from Venice, and the captain may have observed the aforesaid, and, opposed the penalty aforesaid, of which ????? half of the demand and the rest of the costs. And if the advocates carelessly strike off a penalty imposed, so much of the loss, and of the increasing requirements from the penalty of the advocates and the captain or the advocates under the pain of two hundred pounds for each reckoning or with the consent of the other.

35. And being bound to you the secrets of all the merchant's galleys ….............

December 2022. Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta

Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba

North of Manzanillo, in Granma, is El Palmar, a community that has agriculture as its main activity. A little further north, crossing the Yara River, is one of the conservation areas of interest for the 'Mi Costa' project.

La Tronconera is an extensive area of mangrove that separates the sea from El Palmar's arable land.

With cooking fuels becoming scarce, people turned to the mangroves in search of firewood. The result: total deforestation and the remains of ancient trees; hence its current name: La Tronconera.

It is now vitally important to work on conservation of the site because of the diversity it presents for the region's flora and fauna.

Salinity has taken over the deteriorated soil.

Although far away, in the area closest to the sea, you can see how the mangrove forest is coming to life with birds. Human intervention is needed to accelerate the process.

#proyectomicosta

I can relate in many ways....

IMG_0640_edited-1

Sad Love Quotes :

QUOTATION – Image :

Quotes Of the day – Life Quote

ExtraMadness – Inspiring & Relatable Quotes

Sharing is Caring

- #Love

quotestime.net/sad-love-quotes-extramadness-inspiring-rel...

立法會鐵路事宜小組委員會視察港鐵南港島線 (東段)

立法会铁路事宜小组委员会视察港铁南港岛线 (东段)

LegCo Subcommittee on Matters Relating to Railways visits MTR South Island Line (East) (2016.12.12)

British postcard by K LTD. Photo: Hana, London. In 1902 Robey created the character The Prehistoric Man. He dressed as a caveman and spoke of modern political issues, often complaining about the government "slapping another pound of rock on his taxes". The character was received favourably by audiences, who found it easy to relate to his topical observations. That year he released The Prehistoric Man on a shellac disc using the early acoustic recording process.

George Robey (1869-1954) was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th and early 20th centuries. As a comedian, Robey mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the 'Pantomime dame' roles. He only had modest success in the cinema.

George Robey was born as George Edward Wade in London in 1869. He came from a middle-class family. His father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade née Keene, was a housewife. After schooling in England and Germany and a series of office jobs, he made his debut on the London stage, at the age of 21, as the straight man to a comic hypnotist. He soon developed his act and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing The Simple Pimple and He'll Get It Where He's Gone to Now. In 1892, Robey appeared in his first pantomime, Whittington Up-to-date in Brighton, which brought him to a wider audience. With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons; black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of unbrushed, dirty-looking hair that poked below a large, dishevelled top-hat. He applied thick white face paint and exaggerated the redness on his cheeks and nose with bright red makeup; his eyeline and eyebrows were also enhanced with thick, black grease paint. He held a short, misshaped, wooden walking stick, which was curved at the top. Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he soon became a mainstay of the popular Christmas pantomime scene. By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime enjoyed wide popularity until the 1890s, but by the time Robey had reached his peak, interest in it was on the wane. A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience. Robey's music hall act matured in the first decade of the 1900s, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912 and regularly entertained before the aristocracy. Robey had made his film debut in 1900, according to IMDb. The short comedy The Rats (N.N., 1900) offered a brief glimpse of some of the greatest entertainers from the late Victorian and early Edwardian stage, Dan Leno, Herbert Campbell and George Robey. In 1913, Robey appeared in two early sound shorts: And Very Nice Too (Walter R. Boots, 1913) and Good Queen Bess (Walter R. Boots, 1913), made in the Kinoplasticon process, where the film was synchronised with phonograph records. The next year, he tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour. Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled George Robey Turns Anarchist, in which he played a character who fails to blow up the Houses of Parliament. George Robey's Day Off (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. Producers did not know how best to apply Robey's stage talents to the film. He continued to appear sporadically in film throughout the rest of his career, never achieving more than a modest amount of success. By the First World War, music hall entertainment had fallen out of favour with audiences. Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. He achieved great success in The Bing Boys Are Here (1916). He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma. The couple duetted in the show's signature song If You Were the Only Girl (In the World), which became an international success. Robey raised money for many war charities and was appointed a CBE in 1919. From 1918, he created sketches based on his Prime Minister of Mirth character and used a costume he had designed in the 1890s as a basis for the character's attire.

George Robey starred in the revue Round in Fifty in 1922, which earned him still wider notice. He returned to the cinema a further four times during 1923. The first two films were written to showcase his pantomime talents: One Arabian Night (Sinclair Hall, 1923) was a reworking of Aladdin and co-starred Lionelle Howard and Edward O'Neill. Harlequinade (A.E. Coleby, 1923) visited the roots of pantomime. One of Robey's more notable film roles was Sancho Panza in Don Quixote (Maurice Elvey, 1923), for which he received a fee of £700 a week. The amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. Except for his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio. In the late 1920s Robey wrote and starred in two Phonofilm sound-on-film productions, Safety First (Hugh Croise, 1928) and Mrs. Mephistopheles (Hugh Croise, 1929). In 1932 Robey appeared in his first sound film, The Temperance Fête (Graham Cutts, 1932). It was followed by Marry Me (Wilhelm Thiele, 1932), starring German actress Renate Müller, which was one of the most successful musical films of his career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper. Robey continued to perform in variety theatre in the inter-war years and, in 1932, he starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's film, Henry V (1944). Robey starred opposite Fritz Kortner, and Anna May Wong in a film version of the hit musical Chu Chin Chow (Walter Forde, 1934). The New York Times called him 'a lovable and laughable Ali Baba'. In the summer of 1938, Robey appeared in the film A Girl Must Live (Carol Reed, 1939) in which he played the role of Horace Blount. A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was 'a perfect study in bewildered embarrassment'. During the Second World War, Robey raised money for charities and promoted recruitment into the forces. Robey starred in the film Salute John Citizen (Maurice Elvey, 1942), co-starring Edward Rigby and Stanley Holloway, about the effects that the war had on a normal British family. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. By the 1950s, his health had deteriorated, and he entered semi-retirement. George Robey was knighted a few months before his death at his home in Saltdean, East Sussex, in 1954. He was 85. Robey was married Twice. In 1898, Robey married his first wife, Ethel Hayden, the Australian-born musical theatre actress. Ethel accompanied him on his tours and frequently starred alongside him. They had two children, a son Edward (1900) and a daughter Eileen. After his divorce from Ethel in 1938, he married Blanche Littler, who was more than two decades his junior.

Sources: Wikipedia and IMDb.

And please check out our blog European Film Star Postcards.

立法會鐵路事宜小組委員會視察港鐵金鐘站

立法会铁路事宜小组委员会视察港铁金钟站

LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)

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.

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

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.

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

If you'd like to see more please check out my set, "Vertigo:"

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

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

en.wikipedia.org/wiki/Kinetic_photography

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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.

This relates to the St David's Day photograph because on the (very grubby) back the name Hannah Aldred is pencilled in twice with the same address as the Edward mentioned on the back of that photo.

Found in Clitheroe, printed with a postcard back.

Miloon Kothari, Relator de Naciones Unidas en materia de vivienda y sus traductoras

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.

立法會鐵路事宜小組委員會視察港鐵金鐘站

立法会铁路事宜小组委员会视察港铁金钟站

LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)

Posted by Lauren Cohan (Maggie) - i can relate. t.co/mpaFegrShY #LaurenCohen #TWD #TheWalkingDead

Source: walkingdead.affiliatebrowser.com/i-can-relate-httpst-comp...

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simplykaytie: many celebrities use gramcool -c om

A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.

立法會鐵路事宜小組委員會視察港鐵金鐘站

立法会铁路事宜小组委员会视察港铁金钟站

LegCo Subcommittee on Matters Relating to Railways visits the MTR Admiralty Station (2015.05.19)

Historic documents relating to the German immigration to British Kaffraria in the 1850's, photographed in the Courtenay-Latimer Hall at the East London Museum, Eastern Cape, South Africa on July 7, 2008. Letters of Naturalization for German Settler, Johann Friedrich Philipp Humpel of Keiskammahoek, dated November 25, 1865.

Gary relates how the collection came to be

At the Britannia Hotel, Nottingham, for the BFS FantasyCon - 20th September 2008

Objects collected by Iain Sinclair relating to his walks in East London.

Taken in the exhibition

Ghost

The show’s second act, ​Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.

Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.

Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.

[Somerset House]

The Horror Show! A Twisted Tale of Modern Britain

(October 2022 - February 2023)

Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.

​Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:

Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.

Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.

[Somerset House]

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.

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.

This photo relates to my blog post

www.heatheronhertravels.com/the-museum-of-costume-in-nuoro/

This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.

See my profile for more detail.

Mary's Fortune's Maternal Grandfather Mr. Clough, c.1915

He came from a very old Sale family. Died in 1927 aged 75.

GB124.DPA/645/1

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.

And yes, that can relate to my eyes as well as my story.

I have decided that the humans I live with are simply unfathomable. Case and point: just because it's a little cold out, they won't take me on a walk late at night during the winter. They expect me to do my end of the night business in the yard. I don't like that much, and generally will only degin to go number 1.

For the past year or so, I've had the run of the house at night. Mom and Dad used to leave all the doors open, and I slept stretched out on the spare room queen sized bed. It was very comfy, let me tell you.

But, as I started to view the spare room as my own, I decided that I could use it to relieve myself of excess number 2 that I wouldn't get rid of in the yard at night. Mom and Dad didn't like this at all, so they started closing the spare room doors. Apparently, just like the rest of the house, I am not allowed to use it to as my bathroom, even if it is MY room.

So now I am back to sleeping on the couch instead of a comfy bed. I've tried sharing with Mom and Dad, which they will allow, but they have too many rules. I'm not allowed to stretch out, I can't sleep on their feet, I can't lay my head on their stomachs, and I can't kick them to make them give me more room.

I love my humans, don't get me wrong. But I don't get them. It was just a little number 2. Why lock me out of my room over that? If it really bothered them that much, I was willing to clean it up myself.

Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta

Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba

Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.

The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.

Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.

This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.

Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.

“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.

With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.

The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.

Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.

Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.

#proyectomicosta

Documents from the early 1990s relating to blood plasma transfusion by Henan provincial government and military blood plasma collection stations that led to the spread of HIV to many people who sold blood. The blood collection stations were closed in the mid 1990s though some continued this very profitable business underground.

HIV Blood Transfusion Disaster Documents For more information see: en.wikipedia.org/wiki/Plasma_Economy The Wound by He Aifang on the history of blood disaster museums.cnd.org/CND-Global/CND-Global.01-01-25.html

Links to US Embassy website mentioned at the end of the report above are archived on the Internet Archive web.archive.org/web/20010809150226fw_/http://www.usembass...

See also article Dr. Gao Yaojie Human Rights China at www.hrichina.org/content/4754

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".