View allAll Photos Tagged Relateable
All these pictures relate to my blog for Gardeners World Magazine
while you are at it, try my other blog
28 - coins relating to George Washington. Some of the coins in this collection date back to the 1780s, while one is a 1960 restrike. One interesting specimen is a 1795 Washington grate Halfpenny, which was minted and used in Britain at the time. Grate halfpennies such as this one were minted as a part of a promotion for a fireplace grate manufacturing company. Another pair of interesting specimens are the North Wales Halfpennies. These halfpennies were minted in Birmingham as "evasion tokens", which were basically legal conterfeits. Because counterfeiting in Britain was only illegal for Regal Coinage, counterfeiters could legally produce facsimiles of other coinage as "tokens" which would then be used in place of actual currency. Gift of the Estate of Charles Lark Jr. Images are available at www.flickr.com/photos/scrc/5446172942/. Located in T&E S6 SS2, Box 1. Mss 1984.042.J1-J28
See scrc.swem.wm.edu/index.php?p=collections/controlcard&... for more information about items in the Manuscripts Artifact Collection.
From the collections of the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary.
Relates to UNDP-supported GCF-funded project 'Strengthening the Resilience of Smallholder Farmers in the Dry Zone to Climate Variability and Extreme Events' (known locally as CRIWMP)
Resident Representative's field visit, Feb 2023. Credit: UNDP Sri Lanka
Relates to Leeds TOTW: Comfort
Standing and waiting for trains can be a dull process. These teenagers take advantage of a dry floor to await the train's arrival at their comfortable leisure!
Here the benefits of having an 8 Meg Fuji Camera are priceless. This image was taken over 40 yards away in the neighbouring NCP. I didn't even need to venture by the platforms.
From: creativefeel.co.za/2018/05/chris-soal-orbits-of-relating/
“We think we are liberated by individualism, but in reality we’ve given up so much power. People are so caught up in the nuances of their own personal realm that they’ve lost real civic relationships with one another. We’ve lost that collective power.” – Andrea Zittel
Chris Soal’s artistic practice, is initially concerned with materiality. Specifically thus far, the materiality of objects which are available en mass and utilised daily by millions of people globally and then disposed of. These objects (toothpicks and bottle tops for example) are not only easily attainable, but are so common that they have become invisible to our eyes. They are manufactured for a single utilitarian purpose and are then discarded, once having served their purpose. They hold no value beyond that moment. These objects are manufactured to become debris. They exist on the margins of human existence, and they are indicators of a capitalist system that has a hierarchy of value, in relation to objects, materials, and even people. The choice to use these marginal materials was not immediate however, as the artist himself was entrapped by these very systems of value which he seeks to critique, and initially dismissed toothpicks and bottle tops as “unworthy” material for an artwork.
Chris Soal Soal is interested in the knowledges which are transmitted when bodies come into contact with one another. This is where he sees aesthetic judgment residing; in the world of things, not merely in concepts, emerging as the result of physical experience. It is due to this, that he consciously foregrounds the use of material in the artwork, with the intention of producing physical sensation. The viewer is integral and foremost in mind as the artist engages with the materials. For this body of work, it is the formal dynamism produced by the arrangement and use of toothpicks as a medium, which engages the viewer on a physical level, encouraging a visceral reaction; in some it urges them to recoil. On the other end of the spectrum, some viewers are overcome with a desire to touch the work.
The singular becomes plural. And it is in this plurality that the material begins to transcend itself. It is then in the moment of unveiling, the moment where the object is not only revealed but renewed for the viewer, that the value of it is altered, and thus our understanding of its value in relation to ourselves, changes. In this way the work gains political currency, and the titles become triggers for further contemplation. The artworks utilise form and materiality to reiterate that the viewer is a member of the “polis,” the citizenry; a part of a community.
Titles such as Orbits of relating, A delight in knowing and being known, and Little moments that remind us of ourselves, suggest a communal relating through the use of plural pronouns, read in the voice of the viewer, the first person. This not only suggests the concept of relational collectivity between viewers in the exhibition space, but also allows the artworks to become relatable themselves, by assuming anthropomorphic qualities. The quote by artist Andrea Zittel, whilst only discovered towards the end of the process, encapsulated and vocalised the artist’s desire that the work speak to a common human experience, a reminder which is sorely needed in a global society becoming seemingly evermore fractured.
This exhibition marks Chris Soal’s first solo body of work, to be publicly exhibited, since his graduation show at Wits Art Museum in 2017. It combines the artist’s previous use of bottle tops, as well as pointing into his sporadic forays into cement and rebar as materials, whilst foregrounding this body of work as a material exploration of toothpicks through sculptures, installations, drawing and three-dimensional wall pieces.
Chris Soal was born in South Africa in 1994. He graduated from the University of Witwatersrand with a Bachelor’s in Fine Art (Honours) in 2017. Today he lives and works in Johannesburg. He was awarded the Sculpture category and Overall Award at the PPC Imaginarium in 2018. He was selected as a finalist for the Cassirer Welz Award in 2017, the Wits Young Artist Award in 2016 and 2017, The SA Taxi Art Award in 2016 and the Thami Mnyele Award in 2015. Chris Soal was awarded a residency in 2018 by the South African Foundation for Contemporary Art. This residency was held in Knysna at Entabeni Farm for a duration of six weeks alongside fellow South African artist, Minnette Vari. He has exhibited in group shows at institutions such as Aeroplastics Contemporary in Brussels (2017), Wits Art Museum (2017), Fried Contemporary (2017), Museum of African Design (2016), Assemblage (2016), No End Contemporary (2017, 2018) and Galerie Noko (2016). Chris regularly exhibits at art fairs around Europe with Clifton Boulder Gallery.
Alongside his own artistic practice Chris works as a cinematographer at the Centre for the Less Good Idea, founded by South African-born, internationally renowned artist William Kentridge, and as a contributing writer on art and culture for Bubblegum Club.
Soal’s exhibition Orbits Of Relating will show from 24 May – 23 June 2018 at No End Contemporary Art Space | 60 4th Ave Linden, Johannesburg.
The central idea of my series was to convey a sense of a sweet/happy childhood that people could relate to. As an example, in the photos there are objects that were apart of my childhood and they represent things that I remember mostly from when I was younger and make me think about how happy and easy going my childhood and I think a lot of people can relate to that and get that same sort of feeling.
I think my series of pictures demonstrates my concept really well. I think this because I have taken objects that I mostly remember when I was younger. This works because my concept is of a sweet or happy childhood. When they look at my pictures I hope they think of their own childhood, even though I am a girl and I had a girl model and had girly things I still want guys to think and get a picture in their mind of their own childhood also. As an example in one of my pictures I have my model who is 7 and she has her moms dress shoes on, with this photo almost every girl has played in their moms old clothing, shoes, and or jewelry and I think this is a memory for not only me and many people. Also this can relate to guys to, not with dress shoes or anything like that, but with their dads old army suit if their dad was in the army or air force and things like and they would use to wear when they were younger and played in there like they were a little soldier. So I think some of photos can relate to both girls and sometimes-even guys. So I think my photos go well with my concept I have.
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: 479
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.
Just wanted to relate to you all how important it is in life to cherish every moment God lets you live with your loved ones. For two weeks my father had asked me to take him to a special place he wanted to eat lunch and taste the shrimp in that area. At 81, and in a fairly good health after his last stroke, my father wanted to eat shrimp by the bay. I was busy, doing my every day things and took me two weeks to take him. Once there my father told me the story why he wanted to go to that special place. When he was very young, my grandfather had a factory in the city and shipped his goods all thru the country from that special shipping port. They lived close by and he remembered dearly those moments when his father used to take him there (fishers market down town) and he ate those same shrimps over 70 years ago. He was so happy there, he enjoyed every moment, ate slowly and remembered grandma and grandpa who have longed passed away. He felt close to them and just lived the moment second by second every bite he took was just like being there again 70 years before.
I write this with the deepest pain in my heart, so bad it hearts deeply, as I felt God was telling me he is getting ready to reunite my Dad with my grand parents, let him live again but now forever, those unforgettable moments he carries in his heart for all his life, let him have a well deserved peace and tranquility he has more than earned thru his 80 years of being the best Dad anyone can have, the most amazing example of a brave man, who never gave up to give us all the best any one can give and get.
As I sit here praying to God he lets me reimburse my Dad for all he has given us, I wanted to make it public, and ask any of you out there to take one minute and ask God to keep him with us for as much as he wishes so we can all enjoy him for the last days, months o years of his life he has left. We certainly can’t change the past but can absolutely change the future. God I made my deepest desire to you public in my most sincere hope you hear us all and have mercy upon us. God Bless you all.
General Surgery III
This is part of a 52-week project relating my experiences during my medical internship during the last year of medical school.
I think I'm that blue one leaning to the side. I'm bright and blue with other bright and yellow friends. We're all trying to be happy but it ain't floating.
For @wombat37's Twitter #sundaypics, this week curated by @JohnRands_TMTL.
The theme? "A photo relating to your life now that your younger self would never have expected" As a Twitter-based project it's a bit difficult to sum up in 160 characters...
As you have probably noticed my picture is of my nurses' uniform top, as my current profession is probably the biggest change in my life over the past few years. My grandfather was a bit of a pioneer in the computer world, nothing famous, just working hard on getting UNIX to talk to printers and the like and this instilled in me an interest in the technical side of life. Following courses at school and college I found I rather liked electrical installation work, you know, wiring and the like. Good bit of conduit bending, always getting the screwheads level (I still tut when I see this not done - no pride in their work!). This lead to me doing BTEC courses in electrical stuff and then higher engineering qualifications. What with one thing and another I ended up going to the University of Surrey and leaving with fond memories and a BEng (Hons) AUS - probably a bit more than required for your electrician.
However, there's always a 'however', about the time I finished uni and went travelling my grandfather fell ill. He had cancer and over 9 months or so he deteriorated and eventually died. I mention this only as I feel it was the catalyst that prompted my change of career. As an engineering student on a course with loads of boys I hung out with a lot of nurses and as my grandfather grew frailer I felt sad that I couldn't do more for him - I didn't even know how to help him sit up in bed without pain! I discussed this occasionally with a friend, but not too much as I'm a funny bugger.
My grandfather passed I entered my first job in engineering and did OK, nothing amazing, just OK. I stuck at it for 5 years until eventually events at work and an opportunity to travel again made handing in my notice the right thing to do - when I returned I decided to go back to uni to add three more letters after my name - RNA.
Anyhoo, so that's that. I started off wanting to be an electrician, switched to engineering and have ended up a nurse. All because of a few little things. But they all add up.
kt.
A few more furnitures and accessory for my Rolleiflex 3.5F (see below for details relate d to the camera) with a couple of old-fashioned carbon-zinc 22.5V batteries from China to test the Rolleiflash with FP1b bulbs and a close-up accessory Rolleinar 1 (1 diopter) in the correct bayonet dimension (RII) suitable for the Rolleiflex 3.5F with Zeiss Planar lens or Schneider-Kreuznach Xenotar 1:3.5 f=75mm.
There are 3 different filter bayonet sizes on the Rolleiflex (RI, RII, and RIII) and one should check that both optical pieces are of the correct same dimension before buying. The Rolleinar 1 permit the focusing of the Rolleiflex between 1m and 0.47m instead of the normal minimum focusing distance of 0.9m. The parallax for Heidosmat viewing lens is corrected with an integrated prism that should correctly positioned with a red dot directed up. The Rolleinar came with its original Rollei Francke & Heidecke branded leather case.
The Rolleiflash type-2 is the original one that came with the camera. It mounts to the viewing lens bayonet and is also of the correct type RII. Rolleiflashes exist also in other bayonet dimension. At now, I just tested the circuity continuation with the battery in place and also with a flash bulb mounted. When pressing the test button a small light flashes on the control window. Next step will to fire a bulb...
April 22, 2025
69004 Lyon
France
About the camera :
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in an exceptional state of conservation.
The Rolleiflex 3.5F is the model-3, or "K4F",that Rollei-Werke Franke & Heidecke produced in 50.000 units in Germany from Nov.1960 to Dec. 1964. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication.
Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I will not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China.
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.
This product relates to the product evolution that was discussed in lectures. Ever since cell phones have come used in people's daily lives there has always been one major flaw: every phone had a different charger. Long ago one may have thought that the smart thing for cellphone manufactures to do would be to make a requirement that a certain set of cell phones would have to have a certain port for a charger. It has taken many years, but now cell phone designers are finally getting to the point of making universal adapters for their phones. I hope that eventually all cell phone chargers resemble this one. This charger allows for the phone to be charged by a wall outlet by use of the USB port at the bottom of the main part of the charger. The beauty of this is that because the charger uses USB, that same wire can be used to connect the cell phone to the computer. Conversely, if a friend has the same kind of wire, they can also connect it to the main charger in order to charge their phone.
Artscape Gibraltar Point, Artscape Gibraltar Point, Toronto Island, August 2013 (photo by Johannes Zits) Island, August 2013
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Prof. A. Maiuri - Roman Herculaneum Rises from Its Mud." Nov. 29, 1931. p. XX6. [3/3].
This photo relates to my travel blog at http://www.heatheronhertravels.com/lunch-at-la-beneficencia-in-valencia/
This photo is licensed under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
This relates to my Yell.com blog.
It is here:
www.yell.com/gardens/blog/author/jamesalexandersinclair/
I have another one here:
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: 01
Page: 343
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.
The Panel numbers (or Pier and Face) quoted at the end of each entry relate to the panels dedicated to the Regiment served with. In some instances where a casualty is recorded as attached to another Regiment, his name may alternatively appear within their Regimental Panel (or Pier and Face). Please refer to the on-site Memorial Register Introduction to determine the alternative panel numbers (or Pier and Face) if you do not find the name within the quoted Panels (or Pier and Face).
On 1 July 1916, supported by a French attack to the south, thirteen divisions of Commonwealth forces launched an offensive on a line from north of Gommecourt to Maricourt. Despite a preliminary bombardment lasting seven days, the German defences were barely touched and the attack met unexpectedly fierce resistance. Losses were catastrophic and with only minimal advances on the southern flank, the initial attack was a failure. In the following weeks, huge resources of manpower and equipment were deployed in an attempt to exploit the modest successes of the first day. However, the German Army resisted tenaciously and repeated attacks and counter attacks meant a major battle for every village, copse and farmhouse gained. At the end of September, Thiepval was finally captured. The village had been an original objective of 1 July. Attacks north and east continued throughout October and into November in increasingly difficult weather conditions. The Battle of the Somme finally ended on 18 November with the onset of winter.
In the spring of 1917, the German forces fell back to their newly prepared defences, the Hindenburg Line, and there were no further significant engagements in the Somme sector until the Germans mounted their major offensive in March 1918.
The Thiepval Memorial, the Memorial to the Missing of the Somme, bears the names of more than 72,000 officers and men of the United Kingdom and South African forces who died in the Somme sector before 20 March 1918 and have no known grave. Over 90% of those commemorated died between July and November 1916. The memorial also serves as an Anglo-French Battle Memorial in recognition of the joint nature of the 1916 offensive and a small cemetery containing equal numbers of Commonwealth and French graves lies at the foot of the memorial.
The memorial, designed by Sir Edwin Lutyens, was built between 1928 and 1932 and unveiled by the Prince of Wales, in the presence of the President of France, on 1 August 1932 (originally scheduled for 16 May but due to the death of French President Doumer the ceremony was postponed until August).
The dead of other Commonwealth countries, who died on the Somme and have no known graves, are commemorated on national memorials elsewhere.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Prof. A. Maiuri ] "Ruins of Pompeii Disintegrating..." The N. Y. Times, Nov. 16, 1955. p. 55 [1/2].
It relates to the Lincoln Ellsworth Relief Expedition - 1935/36. (Going by numbering on the back of the print). There are snow covered mountain peaks on the land. It could be Franklin Island. It could even be Coulman Island. Another possibility is the the mainland near Ross Island.
On the return journey to Melbourne the Discovery II went past Franklin Island. However although considered, a landing by a motor boat party was regarded as unfeasible by the Master of the Discovery II, Captain Leonard Hill.
Also on this return voyage the Discovery II made a running survey of the northern islands in the Balleny Group. This survey in February, 1936 was only a short one by the Discovery II as it had to be abandoned basically due to bad weather in the region.
Photograph by Eric Douglas in early 1936.
All the names relate to The Great War of 1914 – 18. One serviceman served on HMS Bulwark and one was assigned to the Canadian Expeditionary Force, others to the KSLI, Royal Welsh Fusiliers (or 'Welch' and 'Fuzilieers'), Montgomeryshire Yeomanry, Royal Engineers, South Lancashire Regiment, Coldstream Guards and The North Staffordshire Regiment.
Llandrinio is a village near Llanymynech in Powys. Heading south east from Llandrinio towards Crew Green and Shrewsbury, on the right before you come to the bridge over the River Severn, you'll see the Parish Church of St Trinio, St Peter and St Paul.
The Church is “.....a single-chambered structure, retaining architectural features from the Norman period through to the 20th Century. Internally, it has a couple of fragments from one or more early medieval slabs. Supposedly built in the 6th century....”
When you read about the history of the church and village, note the variations in spelling over the years, Trinio, Trunio and Llandrinio, Llantneio and Landrineaw.
For service times and for more information, please see........
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Prof. A. Maiuri - Roman Herculaneum Rises from Its Mud." Nov. 29, 1931. p. XX6. [2/3].
This relates to the topic of humanistic therapy. We became more self aware and accepting of ourselves versus our unconscious thoughts of covid and what if we catch it from a patient that we were working with. We were able to openly talk to each other about whatever was going on in our lives and everyone listened openly. There was no judgment, no-one giving advice, or someone directing our conversation. Everyone just listened to the other and accepted them for who they are with empathy. This increases diversity in Psychology because my friends and I are all of mixed Asian races on a boat in Kauai, Hawaii.
The plaquard relates to the stone statues and reads: the builders of the church, Killi and Nilli - in remembrance of all the generations who have built the city of Raisio.
-Not that Raisio, with a population of 50,000, counts as much of a city by international standards...
A collection of objects that relate to the true story of a woman poisoned by her ballgown.
In London 1862 a woman attended a ball wearing a green tarletane dress. The fabric had been coloured by mizing copper arsenate with starch and painting it onto cotton.
As the woman danced she swirled arsenic particles into the air, she developed a terrible headache and left early, pleading exhaustion. Once she arrived home she vomited and collapsed. By the next morning she was dead.
Lazercut and hand etched acrylic with handpainted fabric,ribbon and lace, press moulded porcelain and polyester resin stopper.
Things i relate to
27.02.08
Marsden Bay
18-55mm Nikkor
Nikon D50
Aperture: f25
ISO: 200
shot in raw in aperture Priority Mode
Relate your content to theirs
- Relate structure
- Relate vocabulary
- Relate context
It is possible!
- Reciprocal Research Network
- Straight fromCMS
Lee Iverson
IMG_0127
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Image courtesy Bruce Moore
These images were scanned by Panucci Graphics as part of a project to create a digital archives of records, memorabilia and photographs relating to the centenary of Drummoyne Sailing Club. If you can identify people, places or vessels in these images please leave a comment in the comments field below. Thank you to everyone who has contributed photos and information.