Public art relating to the history of Port Germein.

 

Port Germein is a small sea-side town in the Australian state of South Australia located about 219 kilometres (136 mi) north of the state capital of Adelaide and about 19 kilometres (12 mi) north of the city of Port Pirie on the eastern side of South Australia's Spencer Gulf overlooking Germein Bay. Port Germein was named after Samuel Germein, who discovered it in 1840. though some credit his brother John with the discovery. The township was proclaimed in 1878. Port Germein's population in the 2006 census was 249.

 

Port Germein was once an important transport hub for the surrounding districts following the opening of its jetty in 1881 – at the time known as the longest jetty in the Southern Hemisphere. Due to the shallow water along the coast, the long jetty was built to allow sailing ships to be loaded with grain from surrounding districts. Bagged wheat came from the local area, the eastern side of the Southern Flinders Ranges via Port Germein Gorge (opened in 1879), and from the west coast in smaller boats. About 100,000 bags of wheat were loaded per year. The jetty was extended to its full length of 1680m in 1883.

 

With the opening of the port came an influx of workers from Adelaide, and by 1900 the town's population had grown to over 300. Use of the port declined when rail was extended to Port Germein in 1934, and the jetty was later reduced to its present length of 1532m due to storm damage. The historic Port Germein Jetty Site is listed on the South Australian Heritage Register.

 

It formerly had its own municipality, the District Council of Port Germein; since 1980, it has been part of the District Council of Mount Remarkable.

 

A lighthouse was erected at the end of the jetty in 1894, replacing the Port Germein Lightship. The lighthouse was manned until July 1917, when it was replaced by an AGA flashing light. The lighthouse was re-established at its current site in 1975

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.

 

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.

Figures of Influence: Florence Nightingale and Sir Joseph Bazalgette

  

The nineteenth century was tumultuous and ripe for reform. Different charismatic figures with varying philosophies and approaches all attempted to conquer the biggest questions of the day relating to health, corruption, urban development, and quality of life. Who was most effective? I argue that while any individual who produced tangible results or implemented mechanisms was more successful than many, those who were most successful were those who used their skills to connect with their communities and use open communication and feedback to produce enduring models. As examples, I compared Florence Nightingale and Sir Jospeh Bazalgette.

  

Florence Nightingale, 1820-1910, was the daughter of affluent, landed parents who were well connected within the upper-class London community. She was privately educated and, although her parents were often perceived as somewhat ornamental, her mother sometimes hosted well-attended intellectual salons. In her early years Florence was dissatisfied, depressed, and wondered what her role as an upper-class girl was, especially in the lives of the less fortunate. She became spiritual and toured different religious communities where she came across a group of dedicated women at Kaiserwerth am Rhein who cared for the poor and destitute. From this experience she believed that women of any class could be trained to be effective nurses. She then entered the world of hospital administration and earned a reputation as a fierce advocate for hygiene and medical standards, citing her own statistical research of deaths in different environments. She worked as a nurse and administrator during the Crimean War, earning a formidable reputation as a leader, and was later granted a royal commission in London that established a medical cabinet to generate reports in order to reform Army medicine. Eventually a Nightingale fund was established to help endow schools, training programs, and hospital development, although support flitted from group to group and cause to cause as many failed or fell victim to conflicting leadership or ideologies. [1]

  

Jospeh Bazalgette, 1819-1891, was the only son of a naval officer. He was educated privately and was an apprentice to a civil engineer until he established his own practice in 1842. He worked tirelessly during the railroad boom in the 1840’s, took a brief medical leave, and returned in 1849 to work on the second metropolitan commission of sewers in London. When the main engineer of the project passed away, Bazalgette filled the position. Although the project changed management several times and ultimately ended under the London County Council, Bazalgette and his team developed 1300 miles of sewers, 82 additional miles of intercepting passages, and 4 pumping stations. He is especially remembered for his work on the Albert, Victoria, and Chelsea Embankments along the Thames in relation to this project. After the completion of the sewers he surveyed bridges that the British government had purchased and made public to eliminate tolls. He also was an advocate in Parliament and small committees for bills of public amenities like water supplies and energy because he was concerned that private ventures would overshadow public need. [2]

  

Nightingale and Bazalgette were both privately educated intellectuals with a desire to improve standardization and efficiency in the public arena. Both threw themselves into their work tirelessly to the point of medical impairment; Nightingale was an invalid and shut in for 20 years after complications arising from an infection and Bazalgette took a medical leave from 1847-1848. Nightingale focused her efforts on public health and reform, especially nursing, and was little less than a dictator of the hospitals she oversaw. She hoped to implement her exact standards on every organization she approached, whether it was nursing school, midwifery, the military health sector, or hospitals themselves. The problem was that she was too stubborn and specific- many institutions fell short of her standards and projects were constantly being abandoned in favor of new ones. It cannot be denied that her reform of nursing had great impact, but her inability to foster a loyal group of followers and those who could execute her strict ideals was her downfall. She tried to be a one-woman army and spread herself very thin. Bazalgette, however, shared his work and ideas with teams of engineers and was constantly consulting and conversing with the established communities of engineers in London. He continued assuming responsibility for his projects long after completion, furthering their development and monitoring their financial and operational statuses. He also formed close ties with other engineers and mentored many aspiring scientists to form enduring connections. [1,2]

  

Perhaps it was because Nightingale was a woman that she felt she could not share power with anyone else if she wanted the job done right, but she took on so much all at one time. Perhaps it was also that she was trying to enact change in a very dynamic field and her 20 years as an invalid put her out of touch with the latest developments in public health. She was a strong proponent of the miasma theory and as Snow’s water theory became more prevalent I imagine her other philosophies might have suffered in the public eye. Her few contacts to the political world died in the middle of her career and the nineteenth century was not a hospitable place for an aggressive, assertive woman with few allies. Bazalgette was likely the beneficiary of the respect the public had for engineers and by his time many of the principles of physics had been established and vetted; his projects likely seemed more exciting than controversial. He was also given the space to reform the city’s infrastructure by committees, Nightingale had to wrestle her way into the spotlight. Given all of these factors, it is not surprising that Bazalgette was able to provide more meaningful and successful reformation to nineteenth century cities, although it is certainly interesting that it is the name of Florence Nightingale that lives on. One does not hear much about Bazalgette in popular histories and it seems unfortunate that such a dedicated and influential man be unheralded for his achievements.

  

Sources:

[1] Monica E. Baly, H. C. G. Matthew, ‘Nightingale, Florence (1820–1910)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2011 [www.oxforddnb.com/view/article/35241, accessed 15 Feb 2015]

[2] Denis Smith, ‘Bazalgette, Sir Joseph William (1819–1891)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Oct 2007 [www.oxforddnb.com/view/article/1787, accessed 15 Feb 2015]

 

立法會鐵路事宜小組委員會視察廣深港高速鐵路香港段西九龍總站，以及石蔭至海庭道隧道段的建築工地

立法会铁路事宜小组委员会视察广深港高速铁路香港段西九龙总站，以及石荫至海庭道隧道段的建筑工地

LegCo Subcommittee on Matters Relating to Railways visits the construction sites of the West Kowloon Terminus of the Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link & the Shek Yam to Hoi Ting Road tunnel section (2013.06.24)

立法會發展智慧城市事宜小組委員會參觀香港國際機場

立法会发展智慧城市事宜小组委员会参观香港国际机场

LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)

Richard McDonald, Relate Software and Liam McMahon, Bluestream Technology at the Chartered Accountants Ireland Annual Technology Forum, CA House 14th January 2015. Pic Iain White

It relates to the so-called green pass, showing that you are vaccinated, that had to be shown for all kinds of activities, such as eating in restaurants.

 

As in other countries, there is debate about the covid measures, which are all but abolished in most European countries.

www.youtube.com/watch?v=JVm7MnZ2wmY&feature=relate

Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.

立法會動物權益事宜小組委員會視察位於西貢的流浪牛遷移地

立法会动物权益事宜小组委员会视察位于西贡的流浪牛迁移地

LegCo Subcommittee to Study Issues Relating to Animal Rights visits a site in Sai Kung for relocated stray cattle (2017.11.14)

   

As most people collect, they end up meeting interesting people that they can relate to. I've certainly met my share of them, and have managed to obtain a few pieces with some assistance from them. As a result, hailing all the4 way from Singapore, we have the Hot Toys Exclusive (whatever that means) Avengers 2: Age of Ultron - Maria Hill figure.

 

I know they weren't super expensive back in the day (MSRP I mean), but by the time Sideshow got their hands on it, this figure cost $215 USD, which definitely cost more than your run of the mill figure back in the day, all the while being less equipped than they were. I managed to snag one that was opened and resealed in a box for $170 USD shippped.

 

You get the figure, 3 pairs of hands, walkie talkie, Bluetooth earpiece, and a pistol. Oh, and the usual base/stand.

 

Now, I learned about Pleather deterioration, but completely forgot about how tropical weather like in Singapore would affect a figure. It's not the worst I've seen, as some of my Widows have similar damage, but they've lived in Canada all their lives.

 

But it is unfortunate seeing how I didn't exactly score this figure for Garage Sale prices. I'm hoping my coats of leather paint prevents things from getting worse.

 

What I wasn't expecting was the effect of humidity on paint in contact with plastic. Hot Toys gave the sculpt some lovely blush to accentuate her cheeks. Well, that all turned from pink to yellow, so it looks kinda weird.

 

Unfortunate, but I treat it as a learning lesson on things to look out for when I finally make my way back to Asia to unleash holy hell on the secondary toy market.

 

So with the downers out of the way, the rest of the figure is pretty standard. I believe Maria uses a slightly taller version of the Widow body, which is a bit tall and narrow in the torso, but overall is a closer match to Colbie Smulders than Scarlett Johansson.

 

Maria was made when they still made softer fabric uniforms. I'd describe the feel of what she's wearing as being whatever Jeggings are made from. The upper body generally has full use of its faculties - unfortunately the body doesn't have Butterfly style shoulders, which is unfortunate as Maria could have really used them, especially for her pistol and arm crossed poses. Legs are restricted despite the softer fabric, though isn't as bad as with Winter Soldier Black Widow.

 

The head sculpt I'm actually quite impressed with. It's not perfect - they never are and if anyone says so, they're probably just not looking hard at the thing... or in some instances, not looking at all. The eyes are off, and the sculpted hair throws things off. But ultimately, it comes down to the jaw being too square, even for Colbie Smulders. On the whole, however, its probably 70 - 80% there, which is a lot more than I can say about any Black Widow up to that point, and Hot Toys accomplished that with one try as well.

 

Paint, I'm not really in a position to comment on. But, it appears if you can see past the discoloration, you'll see that the usual high quality is there. Build Quality is the usual high level, with nothing falling apart aside from the Pleather.

 

Overall, despite being a simpler figure I have to say I certainly like this better than I liked AoU Widow, which was just.. weird from a MCU perspective as well as from a Hot Toy perspective. I'll probably have to hunt down a WS Nick Fury to pair with her, but this time I'll be sure to make sure everything is is one piece.

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

 

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

 

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

 

ETYMOLOGY AND OTHER NAMES

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

 

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

 

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

 

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

 

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

 

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

 

ICONOGRAPHY

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

 

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

 

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

 

COMMON ATTRIBUTES

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

 

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

 

VAHANAS

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

 

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

 

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

 

ASSOCIATIONS

 

OBSTACLES

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

 

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

 

BUDDHI (KNOWLEDGE)

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

 

AUM

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

 

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

 

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

 

FIRST CHAKRA

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

 

FAMILY AND CONSORTS

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

 

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

 

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

 

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

 

WOSHIP AND FESTIVALS

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

 

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

 

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

 

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

 

GANESH CHATURTI

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

 

TEMPLES

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

 

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

 

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

 

RISE TO PROMINENCE

 

FIRST APEARANCE

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

 

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

 

POSSIBLE INFLUENCES

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

 

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

 

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

 

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

 

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

 

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

 

VEDIC AND EPIC LITERATURE

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

 

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

 

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

 

PURANIC PERIOD

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

 

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

 

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

 

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

 

SCRIPTURES

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

 

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

 

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

 

BEYOND INDIA AND HINDUISM

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

 

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

 

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

 

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

 

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

 

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

 

WIKIPEDIA

Relates to UNDP-supported GEF-funded NAPA III project. See story 'At one with nature: Towards climate-resilient people, forests and wildlife in Bhutan 🍃’, June 2022 undp-climate.exposure.co/at-one-with-naturenbsptowards-cl...

 

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 5 verso (Original Folio 6 verso)

 

TRANSCRIPTION

 

(39)

que vis sit, audeat levare, vel carricare, aut levari vel carricari

facere aliquas mercationes cuius cunq conditionis existant infra Cul -

phum pro portando extra Culphum cum aliquo navigio armato, ex -

cepto auro et argento sup pena perdendi totum, qd fuerit carricatum

vel levatum in dictis navigiis armatis, de quo non potest fieri ulla

gran, vel remissio, aut predictorum revocato, sub pena dutum. C C .

pro quolibet pone te vel consentiente partem in contrarium. Et est

commisstim Cathevere, Capitaneo postarum, officialibus levantis

promisoribus Communis, et aliis officialibus contrabannorum q in -

quirant de contrafacientibus, et penas exigant habendo partem ut

de aliis sui officii : Et si fuerit accusator per quem sciatur veritas heat

medietatem, et sit de credentia : Et alia medietas dividatur inter Coe

et officiales primo invenientes.

(40).Nostri rectores qui ad eorum regimina cum aliquibus galies mercati

ire volverint, vel ab ipsis regiminibus remeare Venetias debeant cum

patronis in facto nabuli convenire quod si erit bene quidem, Alioqu

nos cum consiliariis nostris. & Capitibus de Iuadraginta p maiorem par -

tem nostrum debemus terminare quatum ipsi Rectores solvere debeant

Iam eundo q redeundo. Et si aliquis am basiator communis qui iret cum

dictis galeis vel rediret non audeat, nec debeat aliquis solvere pro

nabulo.

(41)Nullus pertonus galearum de mercato . S . Cypri. Alexandrie. Romanie

& Thane : ullo modo vel formo audeat per se vel alium recipere ut

recipi facere merces aliquas in galies sine bulleta nostrum officialium

in Venetiis, & extra Venetias sine Bulleta nostrorum Capitaneorum

sub pena libr mille parvorum pro quolibet contrafaciente, & qualibet

nice in suis propriis bonis, & ultra hoc sit primatus patronia Gale -

arum de mercato. Comiti vero : Patroni, posticii, & scribe dictarum

galeao, si contra fecerint in Levando seu levari faciendo mercatioes

  

Folio 5 Verso (Original Folio 6 verso)

 

POSSIBLE ENGLISH TRANSLATION

 

39. …...... want you to be, or to dare to raise or carry or make some lesser trade carrying acquisition conditions under Culphum for carrying out of Culphum with an armed boad, with the exception of gold and silver, upon pain of losing the whole of that which is carried or recovered from the vessels by the said armed men of which there can be no great number, or release of the aforesaid parts, under the penalty of the leaders 200 to put yourself in the place of any part of or with the consent of those to the contrary. And it is commissioned that Cathavere, the next captain, officer of the Levant promises the generals and other officials who, on the other hand enquire about opposing the penalties required on part of the others of his office, shall be the plaintiff, by whom it may be known, and if part of it be half of the truth, and that it be believed then the first and the other half be divided between the commune and the officials of the finding.

40. Our leaders who wish to go to their governments with their galleys or from the government for the markets must return to Venice when in fact junior patrons agree that it is indeed well, otherwise we, with our councelors, and the heads of the greater part of our dircetors must determine adequate, and they must now go and pay it back. And if anyone who was to go with the kind words of the common galleys or not dare to return then no man is bound to pay for the juniors.

41. No owners of the galleys for the markets of Cyprus, Alexandria Romania and Thane who have the capacity to operate in any way or form shall dare to be received on their own, or by any other document do without the wages of our officers in Venice and some in France, and Venice and beyond many of the small documents for any of our captains, opposed, under the penalty of the book and any of those like their own proper good men, and this is no longer the primacy of the patrons of the galleys of the market. The committee sais: the owner at the rear, and the cscribe of the said galley, if they have done well in relieving or lessening the performance of the merchants ….............

  

"Infinity" is a group exhibition of artists whose practices or aesthetics relate to the many facets of the infinite. The Vastness of this concept will be explored through painting, drawing, photography, and 3D multi-media installation. The subject matter as well as the medium will vary greatly. Some artists work may be a more literal representation of this subject, suggestive of such things as mathematics, space, time, technology, abstraction, pattern, or repetition, while others have chosen to address the opposite or "finite", such as fragility, mortality, the temporary, and even doomsday scenarios.

 

The show features original work by:

 

Ryan Travis Christian, Richard Colman, N. Dash, Noah Davis, Chris Duncan, Andreas Guerrero, Joseph Hart, Andy Diaz Hope, Xylor Jane, Butt Johnson, Chris Natrop, Aaron Noble, Hilary Pecis, Andrew Schoultz, and Ryan Wallace

 

Opening Reception Saturday, October 10th, 2009.

 

Show Run: October 10 - November 7, 2009

I Love Russia ! Not only the traditions and unique “know-how” relates “Raketa” and “Tupolev”, but also a strong relationship with a Russian history and the opportunity to position itself as the native Russian brand. «Tupolev» is Russia’s largest aircraft designer and manufacturer. They produce, test and sustain aircrafts designed for the Russian Aerospace Force and civilian use. The Tupolev bureau is also a key actor in technological research and development, contributing to keep ahead the Russian Aerospace industry.

The watch Raketa «Pilot TU-160» is based on the 24h mechanism «Raketa Avtomat» calibre 2624. The central topic of the watch has become the image of the missile carrier “TU-160” on the dial. This concept was created by the designers of the Petrodvorets watch factory and engineers of Tupolev bureau. The hands and dial are coated with luminox so it is possible to check time in any extreme conditions or at night.

Packaging may slightly differ in reality.

raketa-shop.com/en/raketa-tu-160-for-pilots/74-pilot-tu-1... Russian pilot watch designed by Tupolev engineers for TU-160 pilots - With a 24 hour dial, this pilot watch is equipped with the legendary Raketa automatic movement ! This time piece is a reference in the Russian air and space industry. Raketa ''TU-160'' - for pilots Movement: Automatic movement, Water resistant: 20 АТМ, Crystal: Sapphire, Case size: 43х11 mm, Gender: Man, Strap type: Genuine leather, Size of the strap: 22 mm, Movement Type: Avtomat 24 hours, Wrist size: 145 - 200 mm Главная, - Raketa watches since 1961, Watches, Raketa ''TU-160'' - for pilots, 24h Russian Watches, Russian Pilot watches, 24 hour dials watches raketa-shop.com/2334/pilot-tu-160.jpg raketa-shop.com/2326/pilot-tu-160.jpg raketa-shop.com/2325/pilot-tu-160.jpg raketa-shop.com/2327/pilot-tu-160.jpg raketa-shop.com/2328/pilot-tu-160.jpg raketa-shop.com/2329/pilot-tu-160.jpg raketa-shop.com/2330/pilot-tu-160.jpg raketa-shop.com/2331/pilot-tu-160.jpg raketa-shop.com/2332/pilot-tu-160.jpg raketa-shop.com/2333/pilot-tu-160.jpg raketa-shop.com/2335/pilot-tu-160.jpg raketa-shop.com/2324/pilot-tu-160.jpg raketa-shop.com/2323/pilot-tu-160.jpg

 

 

Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444

 

Author: HOOD, Robin.

Volume: 02

Page: 253

Year: 1847

Place: London

Publisher: Longman, Brown, Green & Longmans

 

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.

 

I've posted this academic on Flickr because it seems to me that her expertise and interest relate so directly to the current problems of land use faced by Greece, and other countries blighted by misuse of land, sea and shore. Her interests from the URLs below are:

 

Environmental/Energy/Economic Planning and Policy Analysis

Integrated Economic/Environmental/Energy Modeling

Environmental Conflict Resolution, Mediation, and Negotiation

Tourism and the Environment, Sustainable Tourism Development

Planning Theory and Decision Making

Planning Methods (Demographic, Economic, Evaluation, Integrated Models)

Multicriteria Analysis and Evaluation

www.aegean.gr/geography/english/people/briassouli_cv.htm

www.rri.wvu.edu/WebBook/Briassoulis/contactinformation.htm

 

And look at just a sample of the kind of things she writes about, in academic journals, for policy reports and in practitioner journals:

 

'Land use policy and planning, theorizing, and modeling: Lost in translation, found in complexity?' Environment and Planning B (forthcoming).

 

'The institutional complexity of environmental policy and planning problems: The example of Mediterranean Desertification', Journal of Environmental Planning and Management (2003)

 

'The "commons" – Resources of collective ownership and collective responsibility: Concepts, problems and the question of their management'. Aeichoros (2003).

 

'Golf and tourism: The invisible sides of the moon'. Geografies (2003, forthcoming). (in Greek)

 

'Crete: Endowed by nature, privileged by geography, threatened by tourism?'. Journal of Sustainable Tourism, Vol. 11, No. 2&3 (2003, forthcoming).

 

'Sustainable tourism and the question of the commons'. Annals of Tourism Research Vol. 29, No. 4 (2002).

 

'Sustainable development and its indicators: Through a (planner’s) glass darkly'. Journal of Environmental Planning and Management, Vol. 44, No.3, 2001

 

'Policy-oriented integrated analysis of land use change: An analysis of data needs'. Environmental Management, Vol. 26, No. 2 (2001).

 

(with J. Papazoglou and G. Bonanos) 'Risk Informed Decision Making in Land Use Planning' Journal of Risk Research 3(1): 69-92 (2000).

 

'Tourism and biodiversity: Impacts and issues', European Nature, No.3: 3, November 1999.

 

'Who plans whose sustainability? Alternative roles for planners'. Journal of Environmental Planning and Management, Vol. 42, No.6, 1999.

 

'Sustainable development and the informal sector: An uneasy relationship?', Journal of Environment and Development

 

Meanwhile the Athens News Agency has a report in my regular digest of stories from Greece [No.2975, 6 Oct 2007]:

 

[33] Agriculture ministry promises tough action against crooked forestry official

Deputy Agriculture Minister Costas Kiltidis on Thursday pledged that the ministry will closely monitor the case of senior forestry service official Panagiotis Kanellopoulos - who currently faces a charge of bribery - and stressed that the ministry would not allow 'even a whisper' of suspicion regarding the existence of corrupt transactions in the forestry department. 'What must at last prevail is the morality of responsibility' Kiltidis said, adding that the response of the authorities would be 'ruthless in every direction'.

He was answering a question raised by main opposition PASOK MP Theodoros Pangalos in Parliament, who pointed out that Kanellopoulos had already been granted two postponements in the hearing of the case against him.

According to Pangalos, the whole Markopoulos area where Kanellopoulos served as head of the local forestry service was 'abuzz' with his activities. 'He operated in two ways: either by removing the designation of land as forested or public land and acknowledging it as private land, in return for bribes, or by blackmailing and raising issues that land was forested that he finally gave freely to be converted into building lots in order to earn money,' Pangalos claimed.

The MP further noted that the accused and a team that quite likely assisted him were rumoured to have earned huge sums in this manner, while pointing out that Kanellopoulos had a highly luxurious residence and lived in a 'scandalous' manner.

Pangalos also commented on the fact that the same forestry official had let it be known that he was extremely highly connected and could expect support, and that his brother was a trade unionist that was very well known at the agriculture ministry.

'I am not suggesting that this constitutes some sort of responsibility but it is undoubtedly an interesting dimension that must be treated carefully. It would be better if postponements of his trial did not continue,' the MP added.

Kiltidis noted that the forestry official was being prosecuted by justice and through internal disciplinary proceedings and that the Public Administration Inspectors and Comptrollers Corps had been called in to investigate any cases that Kanellopoulos had handled.

Thanking Pangalos for his question, he said that the entire government and leadership of the ministry were determined to uphold the law, according to the prime minister's orders.

Kanellopoulos was arrested on September 24 after he accepted a bribe of 5,000 euros in pre-marked notes from a woman to give a favourable opinion in a property case concerning her husband.

 

I am quoting this material because this is not just a Greek problem. The market for Greek land is global. I, with my love for Greece, and our property ownership in Corfu am among the millions of those who consume the dream of 'a place in the sun'. It seemed to me, being only partially frivolous, that this juxtaposition of an academic expert clearly committed to implementing rational and progressive land use policies in Greece with a corrupt forestry official accused of taking bribes from those who want to build on land intended for trees, echoes the familiar tension that has run through modern Greek history since the War of Independence, between klephts and constitutionalists. My apologies if this is an offensive analogy but it was the one that occurred to me. How i would like to see a conversation between forestry official Panagiotis Kanellopoulos (not to be mistaken for the Greek statesman of the same name) and academic Professor Helen Briasouli. What could they say to one another? It is an impossible conversation - and has been for a long time.

democracystreet.blogspot.com/

You rather have a loose pussy hoe over a virgin? Okay lol 😕. #InspirationalQuotes #GirlQuotes #Quotes #TeenageLife #LifeQuotes #BeautifulQuotes #RelationshipQuotes #SuccessQuotes #DontGiveUp #PositiveQuotes #TeenQuotes #WomenQuotes #Follow4follow #Adult #Love #Forever #LDR #LongDistanceRelationship #S4S #Relateable #Allgirls #Repost #beyonce #nickiminaj #nofuckingchill - _relate.quotess

"I now wish to relate the history of Zarathustra. The fundamental idea of the work, the Eternal Recurrence, the highest formula of a life affirmation that can ever be attained was first conceived in the month of August 1881. I made a note of the idea on a sheet of paper with the postscript: "Six thousand feet beyond man and time”. That day I happened to be wandering through the woods beside the Lake of Silvaplana and I halted not far from Surlei beside a huge pyramidal block of stone. It was then that the thought struck me. Looking back now I find that exactly two months before this inspiration I had an omen of its coming in the form of a sudden and decisive change in my tastes—more particularly in music. The whole of Zarathustra might perhaps be regarded as music." F.Nietzsche Ecce Homo

 

The Eternal Recurrence stone

 

Silvaplana, Engadin/Segl, in the district of Maloja in the Swiss canton of Graubünden.

This is where the german philosopher Friedrich Nietzsche penned part of his widely acclaimed work, "Thus Spoke Zarathustra". It was his favourite place, a place for free spirits.

  

Lomo Diana F+

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.

  

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.

One of a number of technical brochures issued by BICC - British Insulated Callender's Construction Company Limited relating to their work on the introduction of the Continental 25kV AC overhead electrification system on to British Railways lines in the late 1950s. The British Transport Commission, having overseen completion of the much delayed LNER schemes on the London - Shenfield and Manchester to Sheffield schemes that used the then British Standard of 1500v DC, decided that the newer AC system offered better performance and a better price; improvements included improved current transmission and less substation requirement, along with a 'lighter' construction for overhead. This was announced in 1956.

  

BICC Bulletin 13 looks at the work BICC secured from British Railways on the electrification of the Manchester - Crewe section of the West Coast Main LIne electrification that was sanctioned in the Modernisation Plan. The first section to be tackled was this and it was in some ways a 'test bed' for the system that had previously been trialled on the short Heysham branch. This section of route opened to electric traction on 12 September 1960 and this brochure shows some of the work carried out and examples of structures, etc., used during the work.

  

PM Dr Ngirente presented before Rwanda parliament, Government of Rwanda achievements relating to ICT in the knowledge-based economy | Kigali, 2 December 2019

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.

together with papers undelivered at UN FAIR not held in TORONTO, CANADA January 28th, 1984 to which is appended A CORRESPONDENCE relating to UN FAIR & L'AFFAIRE ''PATAPHYSIQUE.

 

edited by bpNichol.

 

Toronto, Writers In Support Of Alphabet Archaeology, march 1985. 1oo copies issued as grOnk Final Series 5.

 

8-1/2 x 11, 67 sheets white xerographic bond in light blue mayfair card covers & clear acetate front cover overlay, all except acetate verso, inside covers & 15 int.pp printed black photocopy, all 19-hole rectangular-punched for 1/2" black cerlox strip binding.

 

cover graphic by Janine Mather.

12 contributors ID'd:

Michael Collins, Michael Dean, B.Dedora, Adrian Fortesque, Janine Mather, Steve McCaffery, Lleddir Nhah-Nhaj, bpNichol, David Penhale, Steven Smith, Richard Truhlar, Gaylord Wordsmith III.

 

Nichol contributes:

i) A Brief Introduction (p.1)

ii) DIGGING UP THE PAS T (pp.21-39; essay also includes:

–iii. "roads as energy accelerators & decelerators" (p.23, footnote 1; detail of Nichol's map "Ram Da In Winnipeg Our Esy Mapfrom Probable Systems 18)

–iv. "detail from the as yet unpublished Probable Systems 34" (p.24, footnote 3; weather map captioned "Feb 20 - 4 H's sighted")

–v. [Probable Systems 9. alternative version] (p.29; with brief introduction in footnote 7))

vi) "happy & sad laughing" (poem quoted in full in (xvii) below)

vii) DELEGATES' TABLE AT SYMPOSIUM, prose caption for photograph by Michael Collins (p.91; (xx) below)

viii) STEVEN R. SMITH I ADDRESSES THE SYMPOSIUM, prose caption for photograph by Michael Collins (p.91; (xxi) below)

ix) CHAIRMAN MICHAEL DEAN ADDRESSES THE SYMPOSIUM, prose caption for photograph by Michael Collins (p.92; (xxii) below)

x) DELEGATE FROM MELBOURNE, PHILLIP MvKENNA, MAKES TELLING POINT TO SURPRISED SYMPOPSIUM ATTENDEES, prose caption to photograph by Michael Collins (p.92; (xxiii) below)

xi) ATTENDEES, prose caption to photograph by Michael Collins (p.93; (xxiv) below)

xii) HONOURABLE RICHARD SHAPCOTT PICKETS THE CONVENTION, prose caption for photograph by Michael Collins (p.93; (xxv) below)

xiii) FROM THE FERNISS OF HISTORY Proto-Fern Texts: Windows on Meaning a sketch towards Probable Systems 38 (pp.113-121; in 2 prose intoductions & 5 graphics:

–1. "I would like to say, to begin with, that my purpose in being here is only"

–2. Addendum: March 1985

–3. [Proto-Fern Text 1]

–4. [Proto-Fern Text 2]

–5. [Proto-Fern Text 3]

–6. [Proto-Fern Text 4]

–7. [Proto-Fern Text 5])

xiv) "100 copies printed" (p.134; prose colophon)

 

also includes:

xv) An Introduction from the Chair, by Michael Dean (pp.3-6; prose includes a 2-sentence quote attributed to Nichol as from an interview in Lingua Quo Tendis 1:3, 198o, & a further partial quote from "later in the same interview")

xvi) THE SYMPOSIUM OF LINGUISTIC ONTO-GENETICS Toronto, Canada November 20, 21, 1981 Schedule of Events, by [Michael Dean?]

xvii) THE PERSEUS PROJECT: PALEOGORGONIZATION AND THE SEXUAL LIFE OF FOSSILS, by Steve McCaffery (pp.67-78; essay quotes Nichol's "happy & sad laughing" ((vi) above) in full with commentary on its quotient of sexo-cryptonymic fossil infiltration)

xviii) THE ALPHABET SPEAKS, by Janine Mather (pp.79-84; essay references Nichol's Digging Up The Past T)

xix) The Delegates, primarily by Michael Dean (with Adrian Fortesque, Steve McCaffery, Lleddir Nhah-Nhaj, David Penhale, Steven R.Smith, Richard Truhlar; pp.85-9o; in 9 parts, with part

–1. bpNichol, by Michael Dean)

xx) DELEGATES' TABLE AT SYMPOSIUM, by Michael Collins/caption by Nichol (p.91; photograph (vii) above; group portrait oncludes Nichol)

xxi) STEVEN R. SMITH I ADDRESSES THE SYMPOSIUM, by Michael Collins/caption by Nichol (p.91; photograph ; (viii) above)

xxii) CHAIRMAN MICHAEL DEAN ADDRESSES THE SYMPOSIUM, by Michael Collins/caption by Nichol (p.92; photograph (ix) above)

x) DELEGATE FROM MELBOURNE, PHILLIP MvKENNA, MAKES TELLING POINT TO SURPRISED SYMPOPSIUM ATTENDEES, by Michael Collins/caption by Nichol (p.92; photograph (x) above)

xi) ATTENDEES, by Michael Collins/caption by Nichol (p.93; photograph (xi) above)

xii) HONOURABLE RICHARD SHAPCOTT PICKETS THE CONVENTION, by Michael Collins/caption by Nichol (p.93; photograph (xii) above)

___________________________

 

• Nichol's Digging Up The Pas T is here printed from the same set of masters as the original separate edition without corrections & lacks the Errata that accompanied its first release

Title

Letter to Frederick Evans from Edward J Howman

 

Date

31 May 1876

 

Description

Again, Edward Howman regrets his delay in leaving Bedworth for his new home in Chinnor, but informs Frederick Evans that he hopes to leave a week earlier than expected. Written from Bedworth and signed Edward J Howman.

 

Transcript

Bedworth

 

May 31st 76

 

My dear Fred

 

It is much to my interest as well as my most anxious wish to quit Bedworth on the first possible day. I am not fond of spending time & money on Railroads, or of living more than half my time away from my family with the expense of a double household. My position in Bedworth is worse than uncomfortable, & I can do little at Chinnor - you may therefore trust to my making no unnecessary delay. When I talked of the end of June the sale at Chinnor was fixed for a fortnight earlier than when it really took place, & the alteration of date was made without consulting me, & carried out notwithstanding my protest. The house with the exception of perhaps two rooms had not I fancy been touched since it was built sixty years back & paint, paper, & whitewash are positively necessary- There are some ten men at work in it since Monday last & I am urging them on as fast as possible. I may be able to move a week sooner than I said, but I cannot promise it- Willmot has been over this morning & has gone through the fixtures- The dilapidations he appears unwilling to value before you have been instituted & he is his own Master in this respect under the new law- I am sorry that you could not come down to meet him.

 

Yours very truly

 

Edward J. Bowman

  

All Right's Reserved. All images are subject to copyright restrictions. Contact Warwickshire Libraries for further details. Part of Warwickshire Libraries' George Eliot Collection.

 

Original held at Warwickshire County Record Office.

 

This is the my ninth sexyletterart — Relator. I was inspired by the song Relator (artist — Scarlett Johansson & Pete Yorn). I have based in my work on the font Lady Rene. Designed by Laura Varsky.

John relates the story of the Cross Bones site on the Valentine's Day gathering at the shrine, as mentioned on BBC Radio 4's "Making History" (link below). Taken during filming for CROSS BONES, my degree project at University of the Arts London.

 

www.bbc.co.uk/radio/player/b01qm4pf

Original text relating to an identification of F. adianthoides: According to the BBS field guide, the seta on Fissidens adianthoides emerges from a dwarf lateral shoot that's borne towards the base of the main shoot. This photomicrograph shows the area at the base of a seta, where some partially sheathing leaves are reminiscent of similar-looking arrangements in some flowering plants.

 

Update 3 May 2013: Comment by Liz Kungu: "You asked whether the Fissidens adianthoides id was correct. The only other species it could be is Fissidens dubius, that plant has the same toothed margins and paler marginal band of cells. The main distinguishing character is the size of the cells, 8-10mm in F. dubious and 12-20 mm in F. adianthoides. However, other differences are that F. dubious has bistratose patches in the upper part of the leaf, and looking at your leaf there are some areas where the cell walls are not quite so clear, so I wondered if those were areas of bistratose tissue, also the costa in your leaf looks to me to be slightly excurrent, this is a feature of F. dubious rather than F. adianthoides."

We all know what it's like to have that Domino's crave. Relate if you can, back to those moments in life when all you've wanted is to have that taste of our fresh dough with all our stunning toppings and melted fresh mozzarella, I’m thing of a Pepperoni Passion right now but really it's whatever floats your boa. Surely we can all relate to that moment when you get the pizza delivered to your door, the steam pours out of the bag when it's handed over & you take a bite even though it's still piping hot, you just can't wait.

Well image that but as a constant craving due to you being pregnant & then the added frustration of being constantly reminded of it and not being able to do anything about it either.

Last Tuesday after a busy evening of making your pizzas, the groups general manager Bradley went to fill up his car on the way home & when he came to pay was greeted by the cashier who was pregnant and started to comment how hard it was having the Domino's delivery drivers coming in all night and how she was craving pizza so much due to this as it was constantly on her mind. Well we never want a customer disappointed (and the need to get the queue moving again) Bradley called up the store and got them to knock up the lady's favourite pizza and delivery it to her till free of charge as a token of our appreciation for her love of Domino's pizza and for the slight amount of guilt felt for causing her hours of cravings every shift.

In all fairness however, if I could get pregnant I’d be hoping for pizza cravings as it would give me an excuse to do what I do every-day anyway!

Here’s a nice phone shot of the pizza being delivered

 

Casual D & Only Greats Relate

Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.

The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Prof. Amedeo Maiuri -] "Pompeii Splendors - New Excavations." Feb. 22, 1953. p. ITS45. [2/2].

Edited.

 

I'm really digging this Carmen series because I find it to be so relate-able and such a bittersweet tale.

I'm definitely gonna keep using the black and white harsh-tone edit because it gives her story that much more depth to it.

I don't like to generally talk about/rave/big up/brag about/promote my band Tempercalm outside of anything relating to the band itself.

 

However! Tonight we did a joint band costume effort for a show in Glasgow, for Halloween. We were asked to play at the Admiral Bar, a place none of us have ever set foot in, but is actually an amazing little venue, very much like Captains Rest (but this has a bar downstairs!)

 

Aaaaaaanyway we decided to dress up as The Blue Man Group. I'm sick of people not understanding who they are... go check them out, they're interesting, funny, and very very talented.

 

It's been going on for years and years and they're all lovely millionaires now.

 

We didn't do anything out of the ordinary for our set, infact it was alot shorter than usual... we dressed up in Blue, we had this picture taken by our friend from MakethisRelate (Dave) and then we had a fun night.

 

Yey!

 

What did you all do for Halloween?

I've recently been very kindly gifted a fine item of ephemera relating to the Scottish General Omnibus Company Limited in the form of a booklet of six black and white photographs of locations on the Company's Braemar coach tour that has four colour cover plates. You rarely see much for the Scottish General so this is of particular interest.

 

The Scottish General appears to have been formed by the British Electric Traction concern in 1913, possibly to assist in developing road transport to supplement their tramway operation in the area. It may also have been one of the post-WW1 transport companies that made much use of both demobbed military staff versed in the maintenance of motor vehicles as well as the surplus sales of such vehicles to the civilian market. By the mid-1920 the company, whose managing director appears to be one D. Hays, had expanded from their original route which is shown as running from Bridge of Allan to Bannockburn via Stirling and St. Ninians. The company are also noted, in Commercial Motor for 1 April 1924, as running extensive motor coach tours such as this one to Braemar.

 

By the late 1920s the motor bus business was a crowded field and was expanding at a time of considerable technological development in vehicles - both of which required capital investment. From 1929/30 the main line railways, seeing that bus operation was a threat that buying into may help contain or generate additional profits for them, started to buy into existing bus companies. In Scotland this rapidly coalesced around the Edinburgh based Scottish Motor Traction Co. Ltd. who used the railways financial muscle to acquire, as subsidiaries, various other major concerns such as the Falkirk based W. Alexander & Sons, who also built bus bodies and still do to this day. W.. Alexander's acquired the Scottish General on behalf of SMT in 1929 and this added routes, vehicles and garages both in Central Scotland and, through an associated concern, up towards Aberdeen giving Alexander's a considerable operating area.

 

As can be seen from this booklet the SGOC had depots in Larbert, Stirling, Dunfermline and Crieff. I note these more 'central' Scottish locations as it appears that the SGOC, upon acquisition, was renamed as Western SMT and formed the basis of that subsidiary that was to develop an extensive operating territory in the counties to the south west of Glasgow. The use and renaming of existing companies was not unusual as it was a simpler way of setting up and operation and using its administration rather than setting up another concern.

 

Anyhow, the artworks are signed as by "D.M.R." and use scenery and hunour to market and advertise the General's tours that also seem to have included passing a blacksmith!

立法會中醫藥發展事宜小組委員會參觀香港標準及檢定中心

立法会中医药发展事宜小组委员会参观香港标准及检定中心

LegCo Subcommittee on Issues Relating to the Development of Chinese Medicine visits the Hong Kong Standards and Testing Centre (2015.04.27)

I recently shot the band 'Make This Relate' in a couple of different locations in Glasgow

 

This is one set of headshots that I took.

 

I'll upload all the best pictures soon. It was awesome fun.

 

This was shot with a flash at the front shot through an umbrella, and a bare flash only inches behind the subject.

 

Fun stuff.

 

The first written records relating to the church date back to 1505, though little is known beyond a bare list of the names of the ministers here. In 1627, one Neil MacKinnon was appointed to the post. He is remembered primarily for his meanness and his greed. This was the man who went on record as vowing to report the names of "all the Papists he knew within the Isles“ to the authorities.

 

He also achieved fame for allowing his workmen only one meal a day on Sundays (compared with two on other days) because they were resting. They retaliated by working on a Sunday. His sermons must have been a real barrel of laughs... Cill Chriosd continued in use until 1840, when it was replaced by a new parish church in Broadford.

 

Given the ancient heritage of Cill Chriosd you might expect to find traces of very old grave markers. And as recently as 1913 there are records of a pair of unusual stones here. One of these was dedicated to Chief Lachlan Mor and carried "obscure hieroglyphics". The other was thought to date to the pre-Christian era. Both have since disappeared without trace.

 

Looking at the graves that are on view reveals the area's historical connections with the Clan MacKinnon. Perhaps one of the most interesting is a memorial on the inner wall of the burial enclosure at the north east end of the church to a certain "Charles Third", apparently born in Corry near Broadford as a MacKinnon, before emigrating to Australia, where he died.

 

Fotos: Rodrigo Herrera / Rodrigo Villalobos

[Pete Yorn ft. Scarlett Johanson- open.spotify.com/track/14uGVBh9WAYWkBjMjDdG0Q]

 

a green and pink spiral i can relate to

 

Posted by Second Life Resident Torley Olmstead. Visit SL5B Render.