The English language contains many expressions relating to astronomical events, which is not all that strange, when you realise that before humans had clocks, radar, satellites, and so on, people were completely reliant on their own observations in order to keep time and predict seasonal changes.

 

The term ‘blue moon’ is one of many ‘full moon’-expressions. You may have also heard of ‘wolf moon’ or ‘harvest moon’, for example. Many of these terms come from ancient cultures where celestial observations guided local timekeeping.

 

A blue moon does not actually tell you anything about the colour of the Moon. The expression is commonly used when two full moons happen in one calendar month.

 

Our calendar months are based on the lunar cycle. The Moon takes 29.5 days to go through a full cycle. Our calendar months range from 28 to 31 days. As you can tell, the two cycles don’t match up completely. As a consequence, some months will have an extra full moon. The second moon in the same calendar month is often referred to as a ‘blue moon’.

 

This is a relatively rare event, only happening about once every two or three years. Hence the connection to the expression: something that seldomly happens.

 

So, if the Moon doesn’t actually change colour, where did the word ‘blue’ come from? It’s believed this word may have come from the Old English word ‘belewe’, which means ‘betray’. The moon ‘tricked’ people to believe a new calendar month had started, when in fact, it was still the same month.

 

Incidentally, there have been moments when the moon has taken on a slightly more blueish hue than what we’re used to. This sometimes happens as a result of increased ash or smoke particles in the atmosphere after a volcanic eruption, like when Krakatoa erupted in 1883. But such events only occur once in a … blue moon.

 

Credits: ESA

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Collective: of, relating to, or denoting a group of individuals considered as a whole.

 

The Collective is a group of friends/business partners who met while in school. They are makeup artists, hairstylists, photographers and fashion stylists that formed a group.

 

They sometimes work together (or in pairs or small groupings) on photoshoots, music videos and other projects.

 

The Collective is:

 

From left to right:

 

Front seated- Intern Tory Thomas

 

Back rear- Photographers: Jon Alexander

Evan Knight

 

Stylists: Danny Silvera

Foreground- Rowan Rogers

Willow (just Willow)

 

Makeup Artists: Doran Cain

Dallas Alexander (Jon's sister)

 

Hairstylists: Phoenix Jones (no relation to Nebraska or Noxema)

Nina Chen (professionally goes by Nina Black)

Here is another scan and retouch that relates a load of history... and a load of grief. It's age is in question. Maybe someone knows of this cutout photo prop at Rockaway Beach at New York City. This is a crowd of people all loaded into two who choose to advertise it. A bay tug could be at risk of capsizing were this a real boat. Perhaps the date of the snap could be determined by investigating when a food shortage took NYC by storm.

 

These two are the crowd that created the mess of the Hodum family children and spreading families. You need to pack a lot of groceries away to generate enough energy to pull off a feat like that with bodies like these. Does anyone have footage of elephants mating?

 

As usual, dust on negatives and contact printing left untold white specks and black holes. Grubby fingers and tears left plenty of defects across the image. In close, it looked like a shotgun blast. I attacked the worst of the flecks. As always, it provides plenty of practice whether needed or not. I already have far too much practice. I used the same two techniques, the Stamp and Brush to work on the image. Unfortunately, this scanner usually features all the defects on old snaps like this. I would have been lucky if these were all the problems I encountered. Part of the original was ripped away when someone tore it from an album with black pages where it was glued down, an elegant presentation certainly. Perhaps not so good for longevity and finding any inscription that might be on the reverse. I searched for the scrap but never found it.

 

I suppose that it will always be possible that this family will exchange the digital retouching and spread them far enough that my labor won't be entirely wasted. I gang output to high resolution PDFs that can be printed at home or taken to Fed-X/Kinkos for color printing. I output a couple dozen ganged sheets. Their output never seems to waver from the quality of the PDF. Trimming them with scissors, especially the deckle edges, will be a challenge. That's not my job.

 

I received a load of scanning and retouching recently relegated to me. So far, I have several solid days packed into the project and the collection has not shrunk that much. So much for me keeping up with Flickr. I wonder why the family thinks that I owe them thousands in difficult retouching labor?

 

Recent postings relating to the latest member of our 'Fantasy Fleet', AEL 170B and in-depth information received from 'Landersreach' on the dispersal of this batch of Bournemouth Atlanteans sent me off on an electronic rummage. I'd forgotten that I'd taken a picture of another of them beyond those which came to Stonier's and Berresfords and so here it is. The last of the batch made its way to South Wales and the predominantly Leyland based fleet, Creamline of Tonmawr. At some time in it's life, 179 appears to have gained a one piece windscreen ... unless it was that the remainder had gained two piece whilst at Bournemouth for practical reasons. The bus is seen here parked next to a poorly Leopard in the yard of Creamline's wonderfully scenic valley side garage.

September 2011.

All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…

In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.

On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders.

The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.

 

Dans toute la ville, les publicités d’Arirang (« Grande représentation gymnastique et artistique de masse », « Bienvenue à Pyongyang » etc.) mettent le profane en garde …Entre août et octobre, a lieu l’une des plus grandes et impressionnantes représentations au monde. Le ton est donné : pas même la cérémonie des Jeux de Pékin ne peut rivaliser avec les mass games organisés par la République Démocratique Populaire de Corée (RDPC). Le spectacle se tient plusieurs fois par semaine et accueille des touristes du monde entier, y compris des Etats-Unis, dans l’un des pays les plus isolés et méprisés sur terre. Les biens nommés mass games (« mouvements de masse») sont conçus pour mettre en avant les dynamiques de groupe plutôt que les performances individuelles comme emblème suprême du communisme. Préparés par des centaines de milliers d’artistes tout au long de l’année, après les cours pour les plus jeunes d’entre eux, les jeux sont entièrement dédiés au leader de la Corée du Nord, Kim Jong Il, et feu son père Kim Il Sung, considéré comme l’ « Eternel président » et « soleil du 21ème siècle »…

 

Aux environs du Stade géant May Day de Pyongyang, deux filles courent pour participer au spectacle de Arirang. Elles sont déjà en costume de gymnastique, tout comme quelque 100 000 autres qui participent à la représentation. Tous viennent pour honorer leur autoproclamé « cher leader » Kim Jong Il, après un très difficile et éprouvant entraînement, depuis leur plus jeune âge. Pourtant, cela fait plusieurs années que Kim Jong Il ne s’est pas montré, formellement pour des raisons professionnelles. Mais des officiels admettent les assertions des médias occidentaux sur sa maladie. Quoi qu’il en soit, Kim Jong Il ou pas, les jeux de masse ont lieu chaque année à Pyongyang, comme moyen pour le régime de montrer au monde entier la puissance et bonne santé du pays. Pour atteindre ce seul but, pas moins de 100 000 personnes sont engagées dans une chorégraphie de danses et gymnastiques synchronisées. De nombreux symboles sont affichés par des milliers d’athlètes entraînés, qu’il s’agisse d’adultes ou même d’enfants. Main sur le cœur, les jeunes élèves chantent en chœur « Nous sommes les enfants les plus heureux du monde », l’une des chansons de propagande les plus connues en Corée du Nord. De nombreux danseurs font des mouvements avec des rubans ou avec des fleurs colorées appelées « kimjonglias », du nom du leader Kim Jong Il. Tout le long du spectacle, un orchestre joue une musique solennelle.

 

À l’arrière-plan, quelque 20 000 jeunes coréens sont assis sur les gradins, faisant face aux spectateurs. Ils retournent des cartes colorées à une grande vitesse pour former une fresque d’images animées et détaillées, changeant de l’une à l’autre. Chaque fois qu’ils tournent la page pour créer une nouvelle illustration, ils crient. Cela crée une atmosphère impressionnante, le cri étant mêlé avec le bruit de milliers de pages tournées au même moment. Les chiffres sont stupéfiants : pour composer ces images, 2000 enfants sont nécessaires pour faire un seul soldat, 20 000 pour un drapeau de la Corée du Nord. Cachant une réalité bien plus dure, les panneaux représentent Pyongyang éclairée la nuit, des champs de blé prêt à être récolté, des scientifiques au travail, des atomes comme symboles de la bombe nucléaire et d’autres pour la réunification des deux Corées. L’un des mythes de Corée du Nord (ou histoire selon eux) est relaté au moyen d’une image gigantesque faite par des milliers d’enfants. Elle représente les deux pistolets que Kim Il Sung aurait utilisés quand il a fondé l’armée de guérilla populaire anti-japonaise en 1932. Lorsque les deux pistolets apparaissent, le public applaudit bruyamment. Parmi eux, de nombreux soldats assistent au spectacle comme récompense ultime après des années de bons et loyaux services. Les milliers et milliers de garçons et de filles participant créent un mouvement de masse géant dans le stade, qui laisse le public ébahi. Ces artistes talentueux sont coutumiers de ce type de représentation : en Corée du Nord ils doivent danser, chanter, sauter et virevolter autant de fois qu’il y a de célébrations, toujours à la gloire de leurs chefs.

Le spectacle continue de cette façon pendant une heure. Ensuite, les milliers de personnes présentes disparaissent dans les rues sombres et silencieuses de Pyongyang, ce qui contraste avec le déluge de lumières et de musique dans le stade. En l’espace de quelques heures, cela nous donne un étrange sentiment, entre le réel et l’irréel, d’un autre univers à la fois terrifiant et fantastique.

 

© Eric Lafforgue

www.ericlafforgue.com

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

 

Uses: Anything relating to finance.

It is with big 'thanks' to Robert Hay for the info relating to this working. Another though that I didn't appreciate enough at the time.

 

Unlike most I resented the fact that they took over West of England services from '33s' which were my faves of the time.

This rambling text relates to these 3 images but they are not necessarily posted in order… I am not sure that you will all (or any of you!) be able to make sense of it …but here goes

 

I have recently seen a few explanations of how to draw ellipses by enclosing it in a square that is in perspective. I discovered that setup trick quite a few years back but it never really helped me draw teacups because I never setup a perspective for my tea cup sketches and it is hard to work out where the square is anyway. At one stage I had a little sheet of plastic I would put over the top of the cup to help me see the square…but that was SILLY (kept the tea warm though while I was draw the cup!)

    

Coincidentally around the time of those other explanations appeared, I happened to be doing my own crazy analysis of circles and centre-points. This was in preparation for the start of my class (way back in late April) I took some photos of a lid with centre-points marked and tried to get a grip on how the centre-point varied and with very inaccurate photos I did some crazily accurate measurement on my CAD programme. This was a true left brain moment!

 

I then had a total brain switch (to the right hand side) and thought.."the shape I am looking at is a true ellipse which is bounded by a rectangle and the centrepoint is in the centre. My head went into a spin and I need an emergency call to the perspective guru - Gerard. Anyway, he set me straight. But I didn't get around to putting it all together…or how to find a way to explain my dilemma about how the circle can have a different centre-point from the ellipse… but it normally does! (Gerard agrees!)

    

The long and the short of all this rambling is that totally regardless of my analysis…

to draw a tea cup all I do is

1. establish a vertical axis that will pass through the centre of cup rim, base and saucer

2. 'measure' the height and the width of the cup. And draw a cross-hair with these distances meeting at the centre-point.

3. Draw an ellipse connecting these points… if you need more set up- think of a squashed circle in a rectangle and use the 'little less than 3/4 rule for the diagonal)

4. do this for each of the edges of the cup/saucer

5. accept that they might be wonky… colour and pattern will make up for it!

Especially wonky to be expected if one draws slower than normal speed like I did here

 

Ok… have I confused everyone???

 

My best advise: go and make yourself a cup of tea and draw what you see!!!

This relates to the time I spent at Arriva. My regular journey in the mornings was a peak hour service 23 from Erskine to Glasgow. My arch enemy was Neil Stafford (although I did not know him at the time) who had the same timed competitive journey for Gibson's. Normally he would have a Dart and I would have a Dart or sometimes a Scania. Every morning was a battle of wits! The only predictable thing was that we were both unpredictable! One or other of us would throw down the gauntlet.......Let the battle commence. One bus would suddenly shoot off, closely followed by the other. Passengers would be scooped up. All the old tricks would be played, leave your back end sticking out at an angle, indicate to get out when you were still taking fares, hang back if not enough bums were on seats. It was all great fun, sometimes I would get the upper hand, sometimes not, but there were enough passengers to go round, and I usually got into Glasgow with a full load. Neil probably did too. It was actually many years later that I discovered Neil was a bus spotter too.

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

 

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

 

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

 

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

 

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

 

en.wikipedia.org/wiki/Kinetic_photography

 

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

 

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

 

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

 

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

 

Moorook Hall is dated 1897 – 1933.

The date of 1897 relates to the one-roomed stone school building, complete with chimney as had many schools of that era. The school also served as a public hall and was used for many meetings, church services and social events. In 1901 the Moorook Hall was used for an inquest after a young man was found dead near the Moorook billabong.

After the Moorook Hall of 1933 was built the old hall was referred to as the ‘supper room’.

 

The following Village Settlements, all on the River Murray, were proclaimed under the Act of 1893 in Executive Council on Wednesday: Holder, Kingston, Lyrup, Moorook, Murtho, Pyap, Ramco and Waikerie. [Ref: Adelaide Observer 6-6-1896]

 

From Kingston, reached Moorook in about four miles. Here again very much has been done. For the most part the dwellings are comfortable, and their schoolhouse, which is used for all meeting purposes, would not disgrace any town in the colony: it is well built and well finished.

The pumping-plant here seems well kept and well suited for its work, and it is really surprising the growth everything makes with a judicious water supply. As elsewhere, the settlers seem sanguine that there will soon be an entire change of system, and that if so they can support themselves without further Government assistance, and also in time pay off their liabilities to the State. [Ref: South Australian Register 17-4-1897]

 

MOOROOK, July 23

The settlement is greatly improving. A new fence has been erected to enclose the settlement from the public road. A large place has been reserved for the schoolchildren.

 

The work of making channels was started today to carry water from the low lift to the respective blocks inhabited by the settlers.

All the settlers have received the permission of Mr R Fleming, the manager, to select pine trees growing about the place, and use them for the building of temporary houses on the blocks. [Ref Register (Adelaide) 1-8-1901]

 

Moorook May 6th

A farewell social was given to Sapper Harry Krollig of the engineers on Tuesday evening of last week. Sapper Krollig having obtained his final leave came up to say good bye to his people, who are much respected in this district. The notice was short but a goodly number of folks rolled up to do him honour.

It was a coincidence that Pte H Ledgard was also in the neighbourhood. He had resided here previously and came to say goodbye to his sister Mrs B L Drogemuller, and was also welcomed and farewelled as a fellow guest of Sapper Krollig.

The Captain of the Rifle Club, Mr W Munn, presented Sapper Krollig with a periscope on behalf of the club. Mr A H Roberts also spoke and cheers were given for the soldiers.

Thirty three men have enlisted from Moorook: thirteen of these were members of the Rifle Club.

The ladies provided supper, and dancing concluded a pleasant evening. [Ref: Murray Pioneer and Australian River Record (Renmark) 11-5-1916]

 

MOOROOK

Before breakfast time on Saturday morning the ‘Industry’ and the ‘Alexandra’ left the Cobdogla woolshed landing, and His Excellence the Governor and the viceregal party continued their journey downstream. It was a perfect spring morning, and the fast steam with the current was one of the most delightful of experiences.

The trip seemed all too short, but there was plenty of interest to be seen on landing, for the next stopping place was at Moorook, originally a village settlement, but abandoned as such in 1905. A number of the old irrigable blocks are being worked by settlers with satisfactory results, and now a considerable addition has been made to the population by the establishment of a number of returned soldiers there.

The new orchards have been in for three years now, and it is anticipated that this year some 200 tons of grapes will be got from them. There are 34 returned soldiers established on the area and about 19 civilian orchardists. At the outset an experiment was tried with dairying, and several of the irrigationists grew lucerne and kept dairy cows. It has been found, however, that this is not a success, the cows have been disposed of, and the lucerne patches are to be planted, with vines, which, of all fruit crops tried along the river, are proving to be the most regular and financially successful. A packing shed and winery are now being established, and prosperity appears to lie ahead of all the settlers.

A function took place in the new hall shortly after the arrival of the visitors, who were given a hearty welcome to the district. This hall is one of the best seen all along the river. It was previously the pay office at Mitcham [military camp] and is just the very thing for the district. [This prefabricated building was subsequently named the McIntosh Hall and was intended for use by the RSL and for church services. It later became the Moorook Cooperative and general store] [Ref: Observer (Adelaide) 23-10-1920]

 

Moorook May l

A handsome Honour Roll was unveiled in the local hall on Anzac Day in the presence of a large audience. The board was constructed by Pengelly & Co, and the lettering by Mr R H Herriott, who was himself one of the original Anzacs. Mr A H Roberts who presided, asked Mr R Fleming to perform the act of unveiling, which he did, delivering a thoughtful address.

Major M I Herbert, one of the original 10th Battalion, gave a graphic account of the historic landing at Gallipoli, and of the conditions prevailing until and at the evacuation.

 

The Rev Eric Wyllie conducted the service, when special prayers were said and hymns sung, including, Kipling's Recessional and the National Anthem.

Mr R F Mayfield, chairman of the Loxton District Council, motored from Loxton to attend the ceremony, and delivered a short address. The room was tastefully decorated with flags. Altogether the ceremony was of a most impressive nature. [Ref: Murray Pioneer and Australian River Record (Renmark) 6-5-1921]

 

In 1923 the government erected a new school, still standing today, resulting in the original school house being available solely for hall use.

The following newspaper report describes the manner in which residents secured the old hall for their use.

 

The annual meeting of Moorook Progress Association was held in the local hall on the 24th inst. The president, Mr A Carne JP, occupied the chair.

Since the establishment of the new school the old "Moorook Hall" had lost its principal source of revenue. The premises, and some half acre of land, were reserved for educational purposes at the time of the founding of the Village Settlement, and the deeds were handed to the Education Department.

 

Fearing that the premises might now be lost to the public benefit by some means, the committee had for some time been in communication with the department, with the result that it had been offered a lifelong lease of the building and adjoining reserve, at a nominal rental, providing suitable trustees were appointed. To enable negotiations to be finalized, trustees were appointed at this public meeting, the following gentlemen being elected: Messrs J Aird, A G Carne, C F Drogemuller, C R Krollig, A H Roberts, A. L. Shillabeer and T G A Wachtel.

A motion authorising them to take over a lease of the property, so that it might be conserved for the benefit of the residents was carried unanimously.

Several amendments to the rules of the Progress Association were adopted. [Ref: The Murray Pioneer and Australian River Record (Renmark) of 30 March 1923]

 

Moorook November 2

A community song hour, which is held on alternate Mondays in the local and McIntosh halls, still holds its own in enthusiasm, especially that in the McIntosh hall, where the attendance is particularly good.

Mr H Gray is conductor, Mrs Herriot pianiste. [Ref: Murray Pioneer and Australian River Record (Renmark) 7-11-1924]

 

IMPROVING MOOROOK HALL

Moorook August 23

The Moorook Hall has recently been painted and generally repaired, and to the great satisfaction of the ladies, the anteroom has been floored with cement, new benches and cupboards have been installed, and doors added leading from the hall. This has been a long felt want and will be greatly appreciated by everyone having occasion to use the building. [Ref: Murray Pioneer and Australian River Record (Renmark) 27-8-1926]

 

NEW MOOROOK HALL Foundation Stone

Moorook October 7

Before a large assembly, including visitors from Barmera, Renmark, Loxton and surrounding districts, the official ceremony of laying the foundation stone of the new Moorook Hall was performed by Moorook's oldest settler and one of the River's pioneers, Mr J Aird senr, on Saturday. Appropriate speeches were made by Messrs C R Krollig, chairman of hall trustees, S G A Wachtel and F J Petch, chairman Loxton district council. Mr Aird was presented with a suitably engraved silver trowel.

The sum of £8/12/ was laid on the stone.

 

Following the ceremony a bazaar, opened by Mr F J Petch, was held in the old hall. The ugly man competition was responsible for raising about £15. Various stalls, and a mock court were operating during the afternoon and evening.

 

In the evening a dance was held, Messrs Flaherty senr, and N Schenscher supplying the music. As a result of the day's effort the building fund of the new hall will benefit to the extent of about £52.

 

It is anticipated that the building will be competed and ready for opening towards the end of December of this year. [Ref: Murray Pioneer and Australian River Record (Renmark) 12-10-1933]

 

MOOROOK January 6

The official ceremony of opening the new hall was performed by Mr T C Stott MP, before a large attendance. After a presentation to Mr Stott, by Mr C R Krollig on behalf of the hall trustees, of a gold key suitably inscribed, a banquet followed, at which, an impressive toast list was given.

A social and dance held in the evening was attended by a large crowd. [Ref: Murray Pioneer and Australian River Record (Renmark) 11-1-1934]

 

HALL IMPROVEMENT COMMITTEE

The Moorook Hall Improvements Committee held a social and dance on Saturday August 12, in the Moorook Hall.

Almond blossom and greenery on the stage comprised the decorative schemen.

Items interspersed with dancing were given by boys of the Yinkanni school, recitation: Misses S Battams and R Loxton songs: Miss F Saxon and B Krollig humorous sketches.

 

The Moorook Harmony Boys supplied the music for dancing. Mr C Krollig was MC. Supper was served by the committee.

 

Following the social and dance it is proposed if satisfactory by the Hall Improvement committee to purchase a 500 candle power petrol light for the main hall. Mr Don Loxton offered to demonstrate this lamp.

A King competition for the forthcoming fete was also discussed.

A pet and doll show with decorated perams and cycles and a miniature arts and crafts exhibition are also being considered.

 

The first of a series of bridge and table tennis evenings, arranged by the stallholder of the fete to be held in November, was held.

Bridge was played in the supper room, a cosy fire adding to the comfort of the players. Table tennis was fought out in the main hall under the direction of Mr A B C Downs. [Ref: Murray Pioneer and Australian River Record (Renmark) 24-8-1939]

 

Held on Saturday afternoon, November 25 in the hall with a large attendance, the fete of the Moorook institute was opened by Mr T C Stott MP, who made a hurried trip from Melbourne to fulfil his promise to officiate.

Mr Stott in his customary jocular manner complimented those present on the appearance of the hall and urged strong support for the undertaking. The hall was transformed into a garden, complete with trees, flowers, rockeries and garden seats.

Much credit is due to Mrs S Sanders and her band of willing workers for the beautiful setting, a veritable ocean of flowers.

A dance followed at night in the Institute, with Ern Saxon's orchestra in attendance.

The total proceeds amounted to nearly £73 which has been earmarked for the bank overdraft. [Ref: Murray Pioneer and Australian River Record (Renmark) 14-12-1939]

 

In aid of the DBNS a carnival night held In the Moorook Hall was a great success. Takings amounted to £18.

The stage was decorated with multicoloured streamers and balloons. Palm leaves and blossoms were in evidence in the background.

The large throng of dancers enjoyed the melodies supplied by the Night Owls Orchestra of Cobdogla. Mr W Wetherall was MC.

Strawberry, ice cream and cool drinks stalls were arranged cabaret style in the supper room.

 

During the evening opportunity was taken to honour Steward C Loxton, by the Win the War Committee and Moorook residents. Mr J Grey introduced Mr G Scott (president of the Moorook RSL Sub-branch) who made the usual presentation. Steward Loxton responded.

Prior to the carnival Mrs A E Loxton was hostess at a small dinner party at which Colin was the guest of honour. [Ref: Murray Pioneer and Australian River Record (Renmark) 19-12-1940]

 

Three Soldiers Honoured

Three members of the AIF, Privates M Royal, B Bartsch and R Bartsch were honoured by residents of Moorook and district on August 9.

The Moorook Hall was filled with one of the largest gatherings to a function of this nature. Mr J Gray (chairman of the Win the War Fund) presided and welcomed the residents. Presentations were made by Mr W E Harrington, representing the Moorook RSL Sub-branch.

The Bartsch brothers had lived in the district all their lives, while Pte Royal had come to Moorook as a young man and had become well known. He wished them a safe return.

The three men responded, thanking the residents for the interest taken in their welfare.

Mr. Harrington called for a minute's silence in honour of the late Pte T Chisholm.

Mr C Krollig was MC for a programme of dances. Community songs were sung to music played by Mrs R Herriott. Supper was served by members of the local Red Cross Circle.

Among the gathering were Pte T McCullock (Garrison), Steward C Loxton (RAN), Ptes L Aird, F Seiboth and G Bartsch (Militia). [Ref: Murray Pioneer and Australian River Record (Renmark) 14-8-1941]

 

New Kitchen for Moorook Hall

Following a donation for £20 from the CWA for the erection of a new kitchen, the Moorook Hall Committee met a CWA subcommittee to draw plans for the kitchen. This is now well in hand, but the treasurer stated he would like a little more money in hand for the project. Anyone wishing to give a donation could send it to Mr O W Kloden, by whom it would be officially acknowledged. [Ref: Murray Pioneer (Renmark) 26-10-1950]

 

Moorook CWA Help for Hall

Christmas Party Moorook December 18

The Moorook Branch of the CWA, at its last meeting for the year, held in the Moorook Hall on December 13, decided to help the Hall committee on a 50/50 basis, to build a new kitchen and if possible to carry on with the proposed children's playground.

The Loxton District Council, it was stated, had offered its equipment to level the ground when it was in the district.

The first function in aid of the fund would be a cherry fete on December 15.

 

A huge Christmas tree decorated the stage for a Christmas party which the hostesses arranged to follow the meeting. A good programme comprising community singing, competitions and songs by Mesdames Bullock and M E Loxton was much enjoyed.

 

During the afternoon "Merry Christmas" arrived with a huge stocking on her back containing small parcel for each person present. The president, treasurer and secretary received a well filled Christmas stocking from the members, and much appreciated the thought.

Afternoon tea was served in the supper room, and a Christmas cake made by Mrs Loxton and decorated by Mrs R Smith was cut by the president. [Ref: Murray Pioneer (Renmark) 21-12-1950]

   

relating to or denoting faculties or phenomena apparently inexplicable by natural laws, esp. involving telepathy or clairvoyance.

 

another sign? indeed.

 

still playing tag with deb, check out her entire collection, it's all eye candy.

  

HINDU GODDESS KALI

Kālī, also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, shakti. She is the fierce aspect of the goddess Durga (Parvati). The name Kali comes from kāla, which means black, time, death, lord of death: Shiva. Since Shiva is called Kāla— the eternal time — the name of Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess. Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time" but also means "black" in honor of being the first creation before light itself. Kālī means "the black one" and refers to her being the entity of "time" or "beyond time." Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli" referring to Devi Parvathi being a manifestation of Devi MahaKali.

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP & MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is called Devi Argala Stotram.

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā kṣamā śivā dhātrī svāhā svadhā namō'stu‍tē.)

 

TANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kāli who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.

 

In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

 

At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.

 

The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

 

He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.

 

The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER OF RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

 

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. She is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her. In her fury, she fails to see the body of Shiva lying amongst the corpses on the battlefield and steps upon his chest. Realizing Shiva lies beneath her feet, her anger is pacified and she calms her fury. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist and an enchanted Shiva lies beneath her feet. Each of these icons represent a deep philosophical epithet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali is undoubtedly the primeval energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest; both of them dance and Kali matches Shiva in every step that he takes until Shiva takes the "Urdhvatandava" step, by vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and became pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

Another legend depicts the infant Shiva calming Kali. In this similar story, Kali has defeated her enemies on the battlefield and begun to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child's distress, Kali ceases dancing to care for the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva. This legend is notable because it shows Kali in her benevolent, maternal aspect, with which she is not usually identified.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces and ten feet and three eyes. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda; indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black. The waters of the ocean depths are the same; The infinite is always mysteriously dark. This inebriating darkness is my beloved Kali.

 

SRI RAMAKRISHNA

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).

 

The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

______________________

 

HINDU GODDESS DURGA

Durga, meaning "the inaccessible" or "the invincible", is the most popular incarnation of Devi and one of the main forms of the Goddess Shakti in the Hindu pantheon. Durga is the original manifested form of Mother Parvati or Adi-Parashakti. Durga is Adi-Parashakti herself. The Devi Gita, declares her to be the greatest Goddess. Thus, she is considered the supreme goddess and primary deity in Shaktism, occupying a place similar to Lord Krishna in Vaishnavism. According to Skanda Purana, the goddess Parvati accounted the name "Durga" after she killed the demon Durgamaasura. Goddess Parvati is considered to be the complete incarnation of Adi Parashakti or Goddess Durga, with all other goddesses being her incarnations or manifestations. Adi Parashakti or Mahadevi, the supreme power, is called Durga Shakti as per Devi-Mahatmya. Adi Parashakti or Devi Durga is a Hindu concept of the Ultimate Shakti or Mahashakti, the ultimate power inherent in all Creation. This is especially prevalent in the Shakta denomination within Hinduism, which worships the Goddess Devi in all her manifestations. She is Goddess Lakshmi and Goddess Saraswati in her mild form; Goddess Kali and Goddess Chandi in her wrathful form. Durga is also called Padmanabha-Sahodari and Narayani, the sister of Lord Vishnu. According to Shaivism and Shaktism She is supreme, but to bring back lord Shiva in Sansar, she was reborn in human form (Sati and Parvati) to marry Shiva. Durga gave birth to his first child Kartikeya.

 

ORIGINS & DEVELOPMENT

Ramprasad Chanda writes the following about the development of Durga from primitive goddess to her current form:

 

"...it is possible to distinguish two different strata – one primitive and the other advanced. The primitive form of Durga is the result of syncretism of a mountain-goddess worshiped by the dwellers of the Himalaya and the Vindhyas, a goddess worshiped by the nomadic Abhira shepherd, the vegetation spirit conceived as a female, and a war-goddess. As her votaries advanced in civilization the primitive war-goddess was transformed into the personification of the all-destroying time (Kali), the vegetation spirit into the primordial energy (Adya Sakti) and the saviouress from “samsara” (cycle of rebirths) , and gradually brought into line with the Brahmanic mythology and philosophy."

 

It is not possible to date her The delusion of the supreme soul is otherwise called Shakti (power). From this power, generates all forms of knowledge of the world and it is accepted as vital cause of creation, existence and destruction. According to 'Shree Durga Shaptshati- Rahasyam', the original power is Mahalaxmi that created three pairs of Supreme Powers. They are Brahma, Vishnu and Shiva as male and Saraswati, Laxmi and Parvati as female, and they married respectively. Maha Saraswati is well known as Brahmani, Mahalaxmi as Vaishnavi and Mahakali as Maheswari. Durga Shakti is the original cause of all the present or past worldly occurrences. Durga Shakti is called as Adhyashakti, Paramatma Shakti or Ati Prakrutika Shakti. She is creating and controlling other two powers: Natural and General. Natural Power is called as Atma Shakti, Prakrutika Shakti, Pancha Mahabhuta Shakti etc. This Shakti creates and controls the General Energy. General Energies are called Jada Shakti or Tamashakti. By the blessings of Durga Shakti, the mother of the Universe, man is able to get his emancipation or salvation and indulge in enjoyments in performance of his daily activities. So Vyasadev, the eminent poet of "Devi Bhagwat", has aptly described "Rudrahinam Vishnuhinam na vadanti janastatha Shaktihinam Yathasarbe probodhanti Naradhamam". The powerless persons are despised as mean persons. So, by being devoted to the Supreme, we should be strong and powerful by her grace.

 

STORIES

Shiva Purana gives an account of the origin of Durga. At the beginning of time, Lord Shiva invoked Durga, the primordial energy from his left half to create. Together they created their eternal abode, Shivaloka, also known as Kashi. Thereafter, they created Vishnu and Brahma.

 

As per Shiva Purana and Devi Mahatmyah, Mahishasura, the son of demon Rambha, unleashed reign of terror on earth. When gods intervened, Mahishasura defeated gods and banished them from heaven. Vanquished gods went to Trideva- Brahma, Vishnu and Shiva. As they narrated their woeful tale, immense mass of light manifested from Lord Vishnu's mouth, which was joined by similar rays that emerged from the enraged faces of gods. This mass of light transformed into a woman. Then all the Gods gave their devine weapon to that supreme power. Adishakti re-manifested as Durga to slay Mahishasura. Armed with celestial weapons of all deities and decked with divine ornaments, Durga rode into the battle field and challenged demons for battle. Mahishasura's entire army, led by demons like Chikshur, Chamar, Asiloma, Vidalaksha, Durdhara, Durmukha, Mahahanu and many more attacked Durga at once. But Durga slew all of them with unparalleled cruelty. An enraged Mahishasura attacked Durga in guise of a buffalo. But Durga bound it with ropes. The buffalo morphed into a lion and lept on Durga, but she beheaded it with her sword. At this, Mahishasura began to fight in form of a swordsman. Durga pinned him down with a torrent of arrows. Mahishasura now assumed form of a giant elephant and tugged at Durga's lion. Durga lopped off its trunk with her sword and freed her lion. The elephent turned into a buffalo and charged at Durga. Sipping from her wine cup, Durga flung her trident and beheaded Mahishasura, finally killing him.

 

WIKIPEDIA

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Jesus can relate to you and me. His life was full of immense suffering so he understands intimately what we go through every day.

 

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

  

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

  

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

 

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

 

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

 

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

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

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

 

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

 

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

 

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

 

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

  

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

 

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

• over an assembly of people

• farther than 300m from the operator

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

• closer than 5km from an aerodrome

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

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

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

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

  

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

  

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

 

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

 

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

 

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

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Les Invalides contains museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée (the military museum of the Army of France), the Musée des Plans-Reliefs and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 350 feet. It houses tombs of some of France's war heroes, most notably Napoleon. The architect of Les Invalides was Libéral Bruant. By the time the enlarged project was completed in 1676, the river front measured 643 feet, and the complex had 15 courtyards, the largest being the cour d'honneur ("court of honor") for military parades. Jules Hardouin-Mansart assisted the aged Bruant, and the chapel for veterans was finished in 1679. This chapel was known as Église Saint-Louis des Invalides, and daily attendance of the veterans in the church services was required. Shortly after the veterans' chapel was completed, Louis XIV commissioned Mansart to construct a separate private royal chapel referred to as the Église du Dôme. The domed chapel was finished in 1708. The building retained its primary function of a retirement home and hospital for military veterans until the early 20th century. In 1872 the musée d'artillerie (Artillery Museum) was located within the building to be joined by the musée historique des armées (Historical Museum of the Armies) in 1896. The two institutions were merged to form the present Musée de l'Armée in 1905. At the same time, the veterans in residence were dispersed to smaller centers outside Paris, as the building became too large for its original purpose. The modern complex includes facilities about a hundred elderly or incapacitated former soldiers, including one gentleman sitting outside in full World War II army dress.

  

This image relates to a later post where I tried to replicate the album cover as part of a challenge

-FOFT Music from 1969

The FFF+ Group has a monthly challenge called "Freestyle On The Fifth" a different theme posted on the 5th of the month. This month it was Phunny Photos turn to choose the theme, and she chose -Music from 1969.

 

I looked at the top 100 songs from 1969 and saw Dylan’s Lay Lady Lay. I had already paid tribute to this song for my Dylan Series and then I thought of the iconic album cover of Nashville Skyline, the album which Lay Lady Lay was from.

 

I wondered if I could replicate it using my No. 1 son as the model.

 

I tried.

 

I thought it would be easier than it was but it turned out to be really difficult to get that bloody angle right. We tried 3 different photo shoots. Dark cloudy skies in one shoot, so windy the hat kept blowing off in another and then the sun was in the wrong position. I had the added pressure of my son decided to bleach his hair last week so needed to get it done before then! (no blonde allowed peeking out from the hat for Bob Dylan).

 

Nashville Skyline was incredibly important for the country music industry. The album didn’t rate in the country charts but was No. 3 on the Billboard top 200 and introduced mainstream fans to a sound many had never heard before. This crossover of country and pop helped pave the way for the Eagles and other country-rock superstars of the early ’70s “The country scene was so conservative until he arrived. He brought in a whole new audience (said Kris Kristofferson). The album took 4 days to record.

 

My favourite song is Girl From North Country. Even those that don’t love Dylan’s voice might find this one surprisingly beautiful. This album marked a change in Dylan’s vocals: “He had developed a baritone country croon that he claimed was a result of his decision to quit smoking cigarettes. “

(Interview in Rolling Stone).

 

www.youtube.com/watch?v=Je4Eg77YSSA (Bobby and Johnny Cash-original)

 

www.youtube.com/watch?v=IJCmgKRszYM (recording of baby faced Dylan singing in a cabin)

 

Sorry-I just can’t help myself rattling about Dylan but I do know a few of my followers are fans too.

 

I nearly drove myself mad trying to get the image right so this is not identical but it is my Ode to my favourite musician with my favourite son once again putting up with my direction to model for me (Added to Flickr x 100 portraits of son).

  

Midori is releasing a series of new products relating to the popular Traveler's Notebook. In an attempt to create the same aesthetic of the leather notebook, the development team chose to use brass as the material which radiates the same pleasing quality as it ages. I think it is an excellent choice of material, it gives you the feeling of a trusted old friend, give it a little polishing it comes back to a shiny companion.

 

The brass series includes 12 pieces of numbered clips, a 15cm ruler with raised edge for easy pick up, a solid brass pen case and bullet pen/pencils. These bullet pen/pencils are available in white or brown barrels in addition to the brass ones. The pens have a ring at one end for strap add-on while the pencils have a large eraser instead.

 

During the Midori private show I visited, I learned that they are preparing for a "Traveler's notebook & company" exhibition to be held in Spiral Market again this year around March/April. I am glad to be invited to contribute some contents for their on-site newsletter in "what's in my bag" style.

 

The large size Traveler's Notebook is far more popular than the passport size they released last year. To promote the use of the passport size Traveler's Notebook, which can be used as an actual passport jacket with note keeping capability and kept close to your body, Midori is releasing more add-ons such as new refills, rub-on letters and 2 limited edition refills which looks like a real passport. In the limited edition refill package, they thoughtfully included rub-on letters in passport looking font so you can personalize the notebook on the last page like it is a real thing.

 

Finally, since document envelope with string closure is very difficult to find in Japan, "Kraft envelopes" are created. It gives a crafty way to store your receipts or coasters collected from travels, either use them individually or make them handy by taping them on the notebook refill cover.

 

Here's my 2 cents about material use. I love the brass application on the hardware (pen case, clip, pen and ruler), while Midori is proud of its range of high quality paper products, application of tougher material on the notebook covers or even envelopes and document holders will add similar aesthetic and durability to this overlooked area. I would recommend to use jean label material in the form of cellulose fibre in combination of leather and paper to create a new range of pleasing products under the Traveler's Notebook collection.

 

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The face of the artist is nothing but his mask, since his real "I" remains invisible. According to Steiner, the head having become a kind of hologram of the body, then all the effort of spiritualization of the human being by the artist, will have to relate to the shape of the human head. This is what will happen with the design of the Goetheanum. Once more, we are faced with an objectification of the supersensible domain. The model of Gnostic art for Rudolf Steiner is of course as a work of art the Goetheanum in which he will give substance to his thought. 1965 The model of artistic gnosis for Raymond Abellio is of course a cabalistic diagram: the Universal Senaire Sphere which achieves the synthesis and the program of all his thought. Same. Through these images, we can grasp the artistic project of the first Goetheanum whose architectural elements, such as the columns, the capitals and the windows, owed nothing to chance, neither taste nor even less to functionality, but had to obey requirements particular esoteric and spiritual. The entire Goetheanum was to illustrate the foundations and 16 teachings of Anthroposophy, just as the art of Gothic cathedrals illustrated the foundations and various passages of the sacred history of Christianity. The scene of the Goetheanum was of course the apogee of his artistic project, with the column-seats where the twelve "apostrophes" should sit, next to the carved wooden ensemble, "The Representative of Humanity". which returns as a colored figure under the cupola.

In the rented hall of the Munich State Theatre, the Mystery Plays of Rudolf Steiner were performed each year between 1910 and 1913. The wish arose within the circle around Rudolf Steiner to build an appropriately designed building for these and for performances of eurhythmy. As there were many obstacles from the side of the authorities in Munich, it was decided to redesign the building to be erected on donated land in Dornach near Basel/Switzerland.

Construction began in 1913, meeting with delays during the First World War. Still incomplete, the building burnt down on New Year’s Eve of 1922/23.

The central element, already present in the project in Munich was the ground plan: 2 domes of different sizes resting on 2 large rotundas and interlinked with one another. Because of their particular proportions, they gave the impression both of a single, sculpted space, or also one consisting of 2 separate portions. The pillars along the interior of the building connected with earlier epochs in the development of architecture. Yet each pillar was sculpted individually with a base and a capital whose motifs were carved in such a manner that each new one derived its forms from elements of the previous one. It was Steiner’s attempt to incorporate into the design the laws underlying all development from one form to another in the living world, as in Goethe’s theory of metamorphosis, and to give to these new forms of artistic expression.

Architecture thereby departs from the static, “dead” state and begins to take on elements of a path of animated development. The arts of architecture, sculpture, painting and stained glass windows were united to create a space for the other arts – music, drama and eurhythmy. The building represents an effort to assist what slumbers in each human being as a higher element into full fruition

 

The First Goetheanum: A Centenary for Organic Architecture

John Paull*

University of Tasmania, Hobart, Australia *Corresponding Author: j.paull@utas.edu.au, john.paull@mail.com

ABSTRACT

A century has elapsed since the inauguration (on 26 September, 1920) of a remarkable piece of architecture, Rudolf Steiner‟s Goetheanum, headquarters of the Anthroposophy movement, on a verdant hilltop on the outskirts of the Swiss village of Dornach, near Basel. The Goetheanum was an all timber structure, sitting on concrete footings and roofed with Norwegian slate. The building was begun in 1913, and construction progressed through the First World War. Rudolf Steiner‟s intention was to take architecture in a new and organic direction. On New Year‟s Eve, 31 December 1922, the Goetheanum hosted a Eurythmy performance followed by a lecture by Rudolf Steiner for members of the Anthroposophy Society. In the hours that followed, despite the fire-fighting efforts of the Anthroposophists and the local fire brigades, the building burned to the ground. The popular narrative is that the fire was arson but that was never proved. A local watchmaker and anthroposophist, Jakob Ott, was the only person to perish in the fire. He was falsely accused (in death) as „the arsonist‟ but the evidence is rather that he perished in his brave efforts at saving the Goetheanum. Rudolf Steiner saw the “calamity” as an opportunity “to change the sorrowful event into a blessing”. He promptly embarked on plans for a new building, Goetheanum II. This time there was to be “no wood”. The short-lived Goetheanum I had served as a placeholder for Goetheanum II. This new Goetheanum, Rudolf Steiner‟s finest work of organic architecture, is of steel reinforced concrete and today stands on the Dornach hill right on the site of the old Goetheanum.

Keywords: Rudolf Steiner, Anthroposophy, Goethe, Edith Maryon, Jakob Ott, Marie Steiner, fire, arson, disability, Dornach, Switzerland.

INTRODUCTION

The present Goetheanum building, located at Dornach, Switzerland, is one of the great buildings of the twentieth century (). The world has this building, Goetheanum II, because of three strokes of good luck (karma if you prefer), although they did not appear in that guise at the time. First, was a frustrating bureaucratic denial [1], second, was a catastrophic fire that Rudolf Steiner (1861-1925) described as a “calamity” [2], and third was the arrival of a talented English sculptor who became one of Rudolf Steiner‟s closest colleagues [3].

The original Goetheanum was opened on 26 September, 1920. It was designed by the New Age philosopher, Rudolf Steiner. The first plan was to build a centre for Rudolf Steiner‟s Anthroposophy movement in Munich, but the city authorities denied building approval [1, 4]. It was a source of frustration and disappointment at the time, although it was really a stroke of great good fortune. As the Nazi ideology took root in Germany, Rudolf Steiner was unwelcome and threatened in Germany. After two decades of

living in Berlin, Rudolf Steiner relinquished his Berlin apartment in 1923 and never revisited Germany [5].

Alfred Hummel, who served as a member of the Building Office for the Goetheanum, explains of the denial of building approval: “this could be seen as good providence because the building would have run into great difficulties after the outbreak of World War 1. Munich would have been a place of great danger after 1933” [4: 2]. If the Goetheanum had been raised in Munich, it would have stood a good chance of destruction during World War II since the city was carpet bombed, including with magnesium incendiary bombs, in Allied raids. Such an alternative reality was never tested because shortly after the Munich denial, Dr Emil Grossheintz offered a site for the Goetheanum in Switzerland and Rudolf Steiner took up the offer [1].

The first Goetheanum was a building of very short life. Opened in 1920, it was burned to the ground at the end of 1922. This was a blow to the aspirations of the Anthroposophists and the multinational contingent of dedicated workers

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who had laboured through the war, many as volunteers, to create this unique building. Rudolf Steiner described it as a “calamity” [1]. But, the destruction proved to be a blessing in disguise because it allowed a rethink of the design. In place of the original rather quaint structure of Goetheanum I, there is now Goetheanum II, which is a truly remarkable and timeless masterpiece.

The English sculptor, Edith Maryon (1872- 1924), arrived in Dornach a few months before the outbreak of war in 1914, to devote her talents to the service of Rudolf Steiner and his Anthroposophy movement. Here she found her spiritual home and she devoted herself forthwith to „the cause‟. Goetheanum I was already designed and under construction by the time Edith Maryon arrived in Dornach, but she was the sculptor on hand, and by then established as one of Rudolf Steiner‟s close collaborators when Goetheanum II was conceived.

On the occasion of the centenary of the opening of Goetheanum I, the present paper, considers the dharma of the building, its reception, and its passing

Methods

Goetheanum I is, a century on from the opening, beyond living memory. The present account draws on contemporary documents of the time, to throw light on the building, its reception, and its calamitous demise. Documents drawn on include eye witness accounts, personal published and manuscript accounts, newspaper accounts, correspondence, and Rudolf Steiner‟s own comments, explanations and lectures. The original sources are quoted where appropriate.

Results

The Goetheanum with which this paper is concerned is the first Goetheanum, Rudolf Steiner referred to it as the “old Goetheanum”[6], the present paper will refer to it generally as „Goetheanum I‟. When building approval was denied in Munich [4], a devotee of Rudolf Steiner‟s Anthroposophy, the Zürich dentist Dr Emil Grosheintz, offered a site on the outskirts of the Swiss village of Dornach, the site of a famous Swiss battle of 1499 where Swabian invaders were repulsed [7]. Dornach is a brief commute (train or tram, about 15 km) to the city of Basel, which sits in the north west of Switzerland near the junction of three country borders (France, Germany and Switzerland).

The Goetheanum was a project of the New Age philosopher and mystic Rudolf Steiner. He had honed his skills as an orator and lecturer as

leader of the German section of the Theosophy Society [8]. Emerging differences between the Theosophists and Rudolf Steiner led to the establishment of a breakaway movement, the Anthroposophy Society. The Goetheanum was to be the home of the new Society, an administrative centre, and a performance space for Steiner‟s Mystery plays.

Rudolf Steiner went on to design various buildings in the growing enclave of Anthroposophists at Dornach [9], but the monumental Goetheanum I was the first venture into Anthroposophical architectural design on a grand scale, and the Goetheanum II was the apogee of Rudolf Steiner‟s architectural manifestations .

THE GREAT WAR

An Australian soldier, arriving in Europe in 1916, sent a postcard home: “Dear Dave, We have seen a lot of ruined towns & villages since we have been in France. This must have been a nice building once, now ruins, Keith” [10].

In the Europe of the time, destruction on an industrial scale was the order of the day. However, Switzerland remained neutral throughout, and her neutrality was honoured by all the belligerents for the duration.

Construction of the Goetheanum at Dornach began in 1913. Construction carried on through the years of World War I (1914-1918). The Russian artist, Assya Turgeniev, recalled: “Already at the beginning of hostilities Dr Steiner tried to speak to us about the background to the events of the war ... The stirred up chauvinistic moods of his listeners thrown together from all quarters of the globe (we were from about 17 different nations) that did not allow him to continue” [11: 99].

Marie Steiner wrote that, as the war stretched on, the work force was depleted by call-up notices: “one after another our artists were called away to the scene of the war. With very few exceptions, there remained only those men who belonged to neutral countries, and the women” [in 12: vii].

The Goetheanum was built during the Great War using volunteer and paid labour. They came and went. Amongst the privations and avalanche of news of death and destruction of the war: “the work went on as best it could and as far as our strength allowed” [11: 136]. “From all quarters of the globe people gathered in Dornach to help with the building. It was a motley, many-sided, multilingual company”[11: 57]. “Our carving group grew to about 70 in number, not counting those who put in a short appearance ... All financial affairs were

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attended to by Miss Stinde. For those who needed it she arranged a modest remuneration” [11: 58].

The artist Assya Turgeniev remembered: “we were only a bunch of dilettantes ... Only the knowledge that we were working together on a great future task and Dr Steiner‟s helping guidance brought order into this chaos. It remains a wonder that the work progresses without any kind of organisation” [11: 59].

With the outbreak of war, “A heavy gloom settled over Dornach ... a European war, was now on our very doorstep [11: 68]. Goetheanum volunteers were called up to return to their respective countries: “Many friends had been recruited and had to depart” [11: 69]. “Our group of wood- carvers grew less and less as further friends were called up” [11: 79].

Figure 1. View of the Goetheanum with blossom trees [source: 13].

A NEW STYLE OF ARCHITECTURE

Rudolf Steiner spoke of the Goetheanum, “The Dornach Building”, in a lecture to Anthro- posophists at The Hague in February 1921: “I have said that the style of this Goetheanum has arisen out of the same sources that gave birth to spiritual science. The endeavour to create a new style of imperfections which must accompany such architecture is accompanied by inevitable risks, by all the a first attempt” [14: 150]. Steiner elaborated: “there is not a single symbol, not a single allegory, but rather we have attempted to give everything a truly artistic form [14: 151].

Organic Architecture

Rudolf Steiner explained his Goetheanum as a manifestation of a new organic architecture: “Concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static- dynamic architectural styles into an organic style” [14: 153]. The plinth was concrete and the superstructure was timber.

The Goetheanum was organic but not imitative of nature: “Not that some sort of organic form has been imitated in the Dornach building. That is not the case” [14: 154]. Rudolf Steiner informed his audience that: “The least and the greatest in an organic whole has its place in the organism, its absolutely right form. All this has passed over into the architectural conception of the Dornach building” [14: 154]

Rudolf Steiner acknowledged the German writer and polymath, Johann Wolfgang von Goethe (1749 -1832): “it has been my aim, in accordance with Goethe‟s theory of metamorphosis, to steep myself in nature‟s creation of organic forms, and from these to obtain organic forms that, when metamorphosed, might make a single whole of the Dornach building. In other words, organic forms of such a kind that each single form must be in precisely the place it is” [14: 154].

Windows, as all the elements of the Goetheanum, were conceived of as part of an organic whole: “we are handing over this auxiliary building [the Glass House, Glashaus] ... in order that they

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may create something that in the fairest sense may be a living member in the whole organism of our building” [12: 15].

Rudolf Steiner was aware already that not all would be won over to his organic architecture: "I well know how much may be said against this organic principle of building from the point of view of older architectural styles. This organic style, however, has been attempted in the architectural conception of the building at Dornach ... You will therefore find in the Dornach building certain organic forms... carved out of wood, as embodied in the capitals of the columns at the entrance” [14: 154-6]

THE OPENING

The Italian artist Ernesto Genoni, who later spent a year with Rudolf Steiner at Dornach (in 1924) [15, 16] and was a member of Rudolf Steiner‟s First Class, wrote two (somewhat cryptic) accounts of his first visit to the Goetheanum on the occasion of the inauguration (26 September, 1920).

In one account Ernesto Genoni relates: “In Milan I came in touch with the Anthroposophical Society where I took part for a whole year in the study of Anthroposophy. Then my sister Mrs [Rosa] Podreider, for certain business reasons, sent me to Lausanne and said „While you are there you can go as far as the Goetheanum‟. Eventually I arrived in Dornach at the inauguration of the first Goetheanum. There Mrs [Charlotte] Ferreri introduced me to Dr Steiner and I was received by him with great warmth. Unfortunately he was speaking in German which I did not know, but by his long handshake

and smiling expression of the face I could feel his sincere welcome. Here I would like to add this - That was the only time among all the people I met at the Goetheanum that anyone gave me a feeling that I was truly welcome ... So much did I feel this isolation that I decided to return to Italy” [17: 7].

In another account of his Goetheanum inauguration visit, Ernesto Genoni writes: “In autumn 1920 Rosa sent me to Lausanne for selling some opossum skins and then I went to Dornach. What a strange impression I received from the first view of the Goetheanum building ... The short conversation with Fräulein Vreede ... chilly! Frau Ferreri ... the meeting with the Doctor ... the bewildering impression of the interior of the Goetheanum. I could not enter in such saturated life of the spirit and after a few days I left ... the reproach from Miss Maryon. In the following years it was a painful search to find my way in life” [18: 19] (author‟s note: ellipses are in the original handwritten manuscript).

ART OF THE TOUR

Rudolf Steiner wanted the art of the Goetheanum to speak directly to the viewer without intermediary explanations: “Sometimes I had occasion to show visitors the Goetheanum personally. Then I used to say that all „explanation‟ of the forms and colours was in fact distasteful to me. Art does not want to be brought home to us through thoughts, but should rather be received in the immediate sight and feeling of it” [1: 3]. The photographs in the present paper offer an insight into the experience of Steiner‟s visitors (Figs. 1, 2 & 3).

Figure 2. Rear view of the Goetheanum with Heizhaus to the right (postcard)

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NEWS IN THE ANTIPODES

The Register newspaper in Adelaide, Australia‟s city of churches, informed its readers in 1925 about Rudolf Steiner and the Goetheanum: “a man who built a building large enough to contain an audience of a thousand people, roofed by intersecting domes, the larger of them slightly greater span than St Peter‟s, earned a title of serious consideration from all who profess the art of architecture. The building owed nothing to traditional styles. No effect was made by its designer to present an intellectual conception of what the temples of ancient Greece could contribute to the art of modern Europe, nor were the forms of medieval Gothic borrowed and adjusted. In no sense was it a drawing board design.” [19].

The Register continued: “It was conceived and designed, as architecture should be and must be, in three dimensions, and it had to be seen in three dimensions to be understood ... as a first effort in a new presentation of architecture it has probably no rival in the history of art” [19].

Readers in South Australia were informed that the Goetheanum: “was built on the summit of one of the foothills of the Jura mountains, near the village of Dornach, standing out against a background of rugged hills and rocky cliffs ... He deliberately discards the limitations of squares, and one feels that his construction is organic rather than static” [19].

Figure 3. Interior of the Goetheanum [source: 13]. Journal of Fine Arts V3 ● I2 ● 2020

The Name

Even the name of the Goetheanum apparently drew offence. „Wokeness' is not such a twenty- first century phenomenon as some might suppose. Rudolf Steiner explained: “Many people were scandalised at the very name, „Goetheanum‟, because they failed to consider the fundamental reason for this name, and how it is connected with all that is cultivated there as Anthroposophy ... this Anthroposophy is the spontaneous result of my devotion for more than four decades to Goethe‟s world-conception” [2: 1].

Of the name, Rudolf Steiner explained: “this Goetheanum was first called „Johannesbau‟ by those friends of the anthroposophical world- conception who made it possible to erect such a building ... for me this building is a Goetheanum, for I derived my world-view in a living way from Goethe ... I have always regarded this as a sort of token of gratitude for what can be gained from Goethe, an act of homage to the towering personality of Goethe ... the anthroposophical world-view feels the deepest gratitude for what has come into the world through Goethe” [2: 2].

Second Thoughts

Less than a year after the opening of the Goetheanum, and even while the building remained incomplete (it was never entirely completed), Rudolf Steiner revealed that he was thinking of a Goetheanum Mark 2.

At a lecture in Berne on 29 June 1921 titled „The Architectural Conception of the Goetheanum‟ Rudolf Steiner told his audience that: “Naturally one can criticise in every possible way this architectural style which has been formed out of spiritual science. But nothing that makes its first appearance is perfect, and I can assure you that I know all its flaws and that I would be the first to say: If I had to put up this building a second time, it would be out of the same background and out of the same laws, but in most of its details, and perhaps even totally, it would be different” [20: 42]. As events played out just eighteen months later, it proved to be a remarkably prescient statement.

Bad Timing

For sheer bad timing (and perhaps prolixity), a fund raising letter dated 25 December 1922 by the British Anthroposophical Society in London would be hard to beat. The letter explained that: “the Goetheanum expresses in a language of line, form and colour those thoughts and ideas which a knowledge of higher spiritual worlds

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produces in the artist. As a work of art the Goetheanum can only be compared, in its tendency to the supreme artistic achievements of humanity, for it produces in the onlooker the perception of that interpenetration of object and idea of which the true world of art is the outcome, while it raises him to that point within his inner being where an ideal spiritual world is felt to be born into physical reality”.

Then the fund raising letter gets to the point: “The Goetheanum still remains to be completed. The funds at Dr Steiner‟s disposal are drawing to an end. Money is urgently needed to carry on the work. The work MUST NOT STOP ... Let each give what he or she can. In the old days ladies sold their jewellery to enable the foundation stone to be laid” [21].

Just six days after the date of the London fund raiser letter, the Goetheanum burned to the ground (on the night of 31 December 1922). Rudolf Steiner described the occurrence as a “dreadful calamity”. He reminded his audience of “The terrible catastrophe of last New Year‟s Eve, the destruction by fire of the Goetheanum, which will remain a painful memory” [2: 1].

Rudolf Steiner explained that the Anthroposophical Society was misunderstood and that there was calumny afoot: “That dreadful calamity was just the occasion to bring to light what fantastic notions there are in the world linked with all that this Goetheanum in Dornach intended to do and all that was done in it. It was said that the most frightful superstitions were disseminated there, that all sorts of things inimical to religion were being practiced; and there is even talk of all kinds of spiritualistic seances, of nebulous mystic performances, and so on” [2: 1].

The Fire

A local newspaper, the Basler Nachricten reported the news of the New Year fire at the Goetheanum: “The Goetheanum in Dornach-Arlesheim is on fire, was the terrible alarm message that flew like wildfire ... just before the bells sounded in solemn ringing ... On New Year‟s Eve ... at 7 pm , the Goetheanum had a presentation of Eurythmy and a lecture by Rudolf Steiner ... The last audience had left the lecture hall by 9.45 pm ... immediately after the seriousness of the situation was clear, the calls for help were despatched to the surrounding villages and to Basel ... The Dornachers were the first to arrive at 11:45 pm, followed by the Arlesheimers a quarter of an hour later ... Because of repair work, there was scaffolding where the fire was first seen” [22].

Rudolf Steiner put the fire as starting between 5:15 pm and 6:20 pm [23].

Rudolf Steiner related that: “one hour after the last word had been spoken, I was summoned to the fire at the Goetheanum. At the fire of the Goetheanum we passed the whole of that New Year night”. He stated that it was “exactly at the moment in its evolution when the Goetheanum was ready to become the bearer of the renewal of spiritual life”[6].

A newspaper gave an account of the events: “When the double cupolas fell in, there shot up heavenwards a giant sheaf of fire, and a torrent of sparks threatened the whole neighbor-hood so that fire-men had to be sent in all directions to prevent the spread of disaster” [24]. Later, on New Year‟s Day “The sky was veiled in clouds as if to check the great outpouring of people which took place from Basel and its neighbor- hood. For nearly the whole population there was one urge: Off to Dornach! Hour after hour unbroken streams of people climbed the muddy roads and slippery fields, whilst other streams, equally unbroken, flowed down again” [24].

Rudolf Steiner later referred to “the pain for which there are no words” [1: 7]. However, on the day, as Albert Steffen relates, Rudolf Steiner kept his nerve and declared the continuance of the New Year‟s programme: “In the morning Dr Steiner ... was still there ... „We will go on with our lectures as notified‟, he said, and gave instructions that the pools of water in the „Schreinerei‟ (the temporary shed used for lectures) and the dirt carried in by muddied shoes should be removed” [25: 13].

Seat of the Fire

Albert Steffen (1884-1963), Anthroposophist, writer and editor, wrote of the seat of the fire: “Unfortunately a scaffolding, necessary for certain work, had been put up just in the place where the fire was first noticed” [25: 12]. A local Basel newspaper had reported likewise: “Because of repair work, there was scaffolding where the fire was first seen” [22].

Ninety nine years later, accounts of the Notre Dame Cathedral fire of 2019 are reminiscent of accounts of the Goetheanum fire. “The fire began at about 18:43 local time on Monday (15 April). Pictures show flames shooting up around the spire, shortly after the doors were shut to visitors for the day. The blaze spread rapidly along the wooden roof as onlookers gathered on the ground below” [26]. Another account states

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that: “Flames that began in the early evening burst through the roof of the centuries-old cathedral and engulfed the spire, which collapsed, quickly followed by the roof” [27]. Builder‟s scaffolding for repair work are also a part of the Notre Dame story: “Much of the roof was covered in scaffolding as part of a big renovation programme, which is being investigated as a possible cause of the blaze” [26]. Two leading candidates for the cause of the Notre Dame fire are identified: “The catastrophic fire at the Notre Dame Cathedral could have been caused by a burning cigarette or an electrical malfunction, French prosecutors said ... Prosecutors are now looking at the possibility of negligence” [28].

Of the Goetheanum fire, a Basel newspaper reported: “Dr Steiner ... According to him,, who will probably know his way around the construction of the building, the fire must have started between 5:00 and 7:00 in the evening .... The smoke was noticed a little after 10 pm in the so-called „white room‟ on the third floor” [23]. The room, the apparent seat of the fire, was used by one or some Eurythmists as a change room [23]. It was reported that “there were no electrical systems at the fire site”[22].A discarded cigarette butt, a neglected candle or a portable camp stove or heater (the outside temperature would have been hovering around 0o C), or a flimsy Eurythmy costume draped carelessly on a hot light bulb are candidates as potential ignition sources.

The Goetheanum was insured for CHF 3,800,000 and with a further CHF 500,000 for furniture and equipment [22]. A proof of contributory negligence would have voided or severely prejudiced an insurance claim. This, combined with the prevailing persecution complex of the Anthroposophists, was a great motivation for fuelling suspicions of arson. To this day, the cause of the Goetheanum blaze remains an open question [29]. The timely payout of the insurance facilitated the rebuild of the Goetheanum, and the local Building Insurance Act was revised “to protect the state institution against such disasters” [30].

Jakob Ott

One person lost their life in the fire. That was Jakob Ott, a watchmaker from nearby Arlesheim, and a member of the Anthroposophy Society.

Assya Tergeniev recorded that: “When the glowing ashes had cooled, some days later, a human skeleton with a deformed spine was found therein. This deformity was the same as

that of a watchmaker who had disappeared at the time of the fire. It was officially announced that he had come to grief while helping with the rescue work” [11: 129].

A Basel newspaper reported that “Human remains were found in the rubble of the burned- down Goetheanum on Wednesday [10 January]. It is not yet certain whether it is the missing watchmaker Ott ... These are the bones of a single person, who presumably fell from the floor of the dome into the depth of the basement. The skull was smashed ... no one apart from the watchmaker Ott has been missing since that fateful night ... the bone remains were almost completely covered with slate residue from the roof of the dome. The casualty must have plunged into the stage basement below the collapsing dome at 12 midnight. Although all fire-fighting teams had withdrawn at 11:30 pm in view of the building, which was at risk and could no longer be saved, it is easily possible that, due to the thick smoke, a person who might already have been stunned had not been noticed” [31].

Conspiracy theorists of the day, and later commentators, have attributed the fire to arson, but that is not proven, and even named the supposed arsonist as Jakob Ott, and that is proven false. Research of Günther Aschoff has established: “the 28-year-old watchmaker Jakob Ott from Neu-Arlesheim had died in the fire. But he could not have been the arsonist, because he was home all New Year's Eve, then in the evening at a choir rehearsal and at the year-end service in the Reformed Church. (He was a member of the Reformed Church and of the Anthroposophical Society, he procured many advertisements for the magazine "Das Goetheanum" and had also collected signatures for the naturalization of Rudolf Steiner). At about 22.30 he was on the tram on the way home. When he saw the clouds of smoke at the Goetheanum in the moonlit night, he ran up the mountain, to help, which he used to do whenever he was needed. He was present when the fire was extinguished in the small dome at the top of the building, but when the others had already retreated because of all the smoke”. Jakob Ott failed to evacuate likely because he was overcome by smoke or that he lost his footing [32].

Jakob Ott was reportedly just 1.5 metres tall, and a hunchback with “a backbone curvature due to an accident” [31]. Another account simply sated: “Ott had a hump” [30]. He was a man of modest means and lacking influential friends. As a disabled figure, Jakob Ott was a

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ready candidate for „othering‟ and he made a convenient scapegoat for the smug. A Basel newspaper reported: “Dr Steiner, whom we also interviewed regarding Ott ... He himself has no suspicion of Ott” [23]. Rudolf Steiner subsequently attended Jakob Ott‟s funeral [33].

It appears that Rudolf Steiner never referred to the fire as „arson‟. Albert Steffen wrote of „The destruction of the Goetheanum by fire”, he did not write of „by arson‟ [25]. Arson does not rate in the top ten causes of house fires [34]. Arson does not rate as one of the nominated “leading causes of warehouse structure fires” [35]. If the arson conspiracy theory fails, then the quest for „the arsonist‟ is extinguished.

The demonising of Jakob Ott has been an unworthy episode propagated by some who should have known better. One hysterical account about Jakob Ott appears to be mere flights of fancy, ungrounded in fact, and owes more to a fertile imagination than sound research [e.g. 36]. It appears that Marie Steiner has fuelled conspiracy theories: “One of the suspects was the watchmaker Jakob Ott from Allesheim , whose skeleton was found ten days after the fire in the ashes of the Goetheanum which had burned down. It was identified by a spinal defect. Later Marie Steiner wrote „From a skeleton that was discovered, it can be established that the arsonist was burned‟‟ [quoted in 33: 904].

Jakob Ott (1895-1923) died a miserable death by incineration, in a worthy cause of trying to save the Goetheanum. Whether he was overcome by smoke and/or lost his footing, the action of entering a burning building is the act of a brave man.

A Blessing

Exactly a year on from the fire, Rudolf Steiner reflected on the events of New Year‟s Eve, 1922, at the Goetheanum. The venue for the lectures was now the much less salubrious (and cold) Schreinerei, the carpentry workshop, adjacent to the site of the remnants of the fire [37].

Rudolf Steiner referred to the “painful memory” of the final lecture that he had delivered at the Goetheanum, what he now called “our old Goetheanum” [6]. Remembering the night, Rudolf Steiner reminded his listeners that; “the flames bust from our beloved Goetheanum ... but out of the very pain we pledge ourselves to remain loyal to the Spirit to which we erected the Goetheanum, building it up through ten years of work” [6].

Changing tack, Rudolf Steiner urged his audience to move on from the “tragedy” and offered them the recipe for doing just that: “if we are able to change the pain and grief into the impulses to action then we shall also change the sorrowful event into a blessing. The pain cannot thereby be made less, but it rests with us to find in the pain the urge to action ... Let us carry over the soul of the Goetheanum into the Cosmic New Year, lets try to erect in the new Goetheanum a worth memorial to the old!” [6: 4].

Beyond Wood

Goetheanum I was an all-timber construct. One of the building officers related that: “our first director had implored us not to use any iron nail, coach screw or sheet metal in the main wooden structure. These artificial building materials were not to be brought in connection with the noble organic timber” [4: 15]

A few months after the fire, Rudolf Steiner, writing in the April 1923 issue of the periodical „Anthroposophy‟, was quick to rule in a rebuild, that was never in doubt in his mind, while at the same time he ruled out rebuilding in timber: “In rebuilding the Goetheanum we shall probably need to think on different lines ... There can, of course, be no question of a second Building in wood” [38: 38].

In 1923 Rudolf Steiner wrote to the Central Administration of the local Swiss Canton Solothurn: “The new building will stand directly on the site of the old. With regard to the construction of the building as a whole, we bring to your attention that it is to be executed as a solid structure and that all its structural parts, all floors and bearing walls, as well as the roof trusses will be carried out in reinforced concrete. We plan to employ a purely steel construction for the support of the floor of the main stage alone. Timber will be used nowhere as a constructional element in the new building, but exclusively for doors, windows, flooring and floor construction over solid slab floors, for rafters and for fixtures and cladding. As roof material the same Norwegian slate as was used on the old Goetheanum is to be employed. ... We are convinced that the entire building, when completed in this type of construction, will be able to meet all requirements as to fire safety to an unusual degree” [39: 52].

Concrete

By the time of Goetheanum II, Rudolf Steiner already had some experience of reinforced

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concrete as a building medium. The rather fanciful Heizhaus (Boiler House) of 1914 [9], located nearby the Goetheanum, and still standing today, is a creative exercise in concrete. Rudolf Steiner described it as “a remarkable structure” and so it is [14] (Fig.2).

Rudolf Steiner was well aware of criticism of his first adventure in concrete, the Boiler House. He proffered this rejoinder: “This is what is subject to the most severe criticism from some quarters ... I undertook to create ... a shell of concrete - a material which is extremely difficult to mould artistically. Those who criticise this structure today do not pause to reflect what would stand there if no endeavour had been made to mould something out of concrete - a material so difficult to mould. There could be nothing but a brick chimney. I wonder if that would be more beautiful than this, which of course is only a first attempt to give a certain style to something made of concrete. It has many defects, for it is only a first attempt to mould something artistic out of materials such as concrete” [14: 157].

Edith Maryon, Sculptor

Edith Maryon (1872-1924) stepped into Rudolf Steiner‟s life in 1914. It was just before the outbreak of World War I and she quickly became one of his closest confidants. Edith Maryon was an English sculptor trained at the Royal College of Arts in London.

As a trained and skilled sculptor, Edith Maryon brought new skills into the inner sanctum of Rudolf Steiner‟s bevy of talented women, which included the mathematician Elizabeth Vreede and medical doctor Ita Wegman. Goetheanum I was already under construction when Edith Maryon arrived at Dornach. Edith Maryon however quickly proved her skills in collaborative architectural design not just of sculptural elements within Goetheanum I. Together they created the Eurythmy Houses I, II and III (Eurythmiehäuser), a little way down the Dornach hill from the Goetheanum [9].

Edith Maryon brought a feminine influence and a sculptor's panache. Under the collaborative influence of Edith Maryon, Rudolf Steiner was liberated from the overt Freudian features of his earlier creations with his phallic Boiler House and the double-breasted Glass House (Glashaus) and Goetheanum I.

The clay models for Goetheanum II were constructed during 1923, the year of closest

collaboration between Rudolf Steiner and Edith Maryon. At the end of the year, at the Christmas Conference of 1923 Rudolf Steiner appointed Edith Maryon as the head of the Sculpture Section (plastic arts) of the School of Spiritual Science of the Goetheanum [40]. Sadly, by then her health was deteriorating and she passed away four months later. Rudolf Steiner‟s own health took a blow at the close of the Christmas Conference on 31 December 1923. He struggled on through nine months of 1924, before retreating to his sick bed in September, and he passed away six months later.

It could be regarded as fortuitous that Goetheanum I was destroyed during Rudolf Steiner‟s own lifetime and that he and Edith Maryon had developed a close collaborative working embrace that could bring the clay sculptural models of Goetheanum II quickly to fruition. Goetheanum II is Rudolf Steiner‟s final contribution to his portfolio of Anthroposophic buildings and to organic architecture, and more than any of his prior works, it is a monumental and masterful work of sculpture.

CONCLUSION

The first Goetheanum was both success and failure. It was a bold experiment in organic design, a proof of concept that such a vision could be translated into reality, that despite the disruption of war, work could proceed, funds could be raised, a distinctive building could be manifested, and the enthusiasm and talent of a multitude of volunteers could be harnessed. However, an all timber building is a conflagration waiting to happen, it is just the timing of the conflagration that is the uncertainty. In the case of Goetheanum I, the conflagration came quickly, before even the building was completed, before a Mystery Play was ever performed in the space, remembering that a dedicated performance space for such plays had been a large part of the rationale for the building.

The dharma of Goetheanum I was to serve as a placeholder for Goetheanum II. The new Goetheanum took the money from the insurance of the demise of the old Goetheanum, and embraced the lesson that an all-timber construction is not a recipe for longevity. Goetheanum II harnessed the sculptural skills by then on hand, and brought them to the fore to create what is not only a magnificent sculpture in concrete, but is also a functioning building and a delight to work in. Flushed away is the quaintness of Goetheanum I. The new Goetheanum is a bold twentieth

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The First Goetheanum: A Centenary for Organic Architecture

century building worthy of the twenty first century and beyond.

ACKNOWLEDGEMENT

Thank you to to members of the Goetheanum Archive (Dokumentation am Goetheanum Bibliothek Kunstsammlung Archiv) for kind

assistance in navigating the collection and to DeepL.com/Translator and Google Translate for assistance with various translations.

REFERENCES

[1] Steiner, R., The Goetheanum in the ten years of its life, I. Anthroposophy, 1923. 2(1-2): p. 2-10.

[2] Steiner, R., What was the purpose of the Goetheanum and what is the task of Anthroposophy, A lecture at Basel, 9 April, 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[3] Paull, J., A portrait of Edith Maryon: Artist and Anthroposophist. Journal of Fine Arts, 2018. 1(2): p. 8-15.

[4] Hummel, A., A Diary: Life and Work During the Building of the First Goetheanum. 2003, (Trans. Friedwart Bock from c.1955 German original), Aberdeen: Camphill Architects.

[5] Paull, J., Rudolf Steiner: At Home in Berlin. Journal of Biodynamics Tasmania, 2019. 132: p. 26-29.

[6] Steiner, R., World History in the Light of Anthroposophy, A lecture at Dornach, 31 December 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[7] Fahrni, D., An Outline History of Switzerland From the Origins to the Present Day. 1997, Zürich: Pro Helvetia Arts, Council of Switzerland.

[8] Steiner, R., The Story of My Life. 1928, London: Anthroposophical Publishing Co.

[9] Kugler, J., ed. Architekturführer Goetheanumhügel die Dornacher Anthroposophen-Kolonie. 2011, Verlag Niggli: Zurich.

[10] Keith, Postcard (with handwritten message on rear): Ypres - La Salle Pauwels (Halles d'Ypres) avant et après le Bombardment. The Pauwels Gallery (Halles of Ypres) before the Bombard- ment and after. 1916, Paris: Visé Paris (private collection).

[11] Turgeniev, A., Reminiscences of Rudolf Steiner and Work on the First Goetheanum. 2003, Forest Row, UK: Temple Lodge.

[12] Steiner, R., Ways to A New Style in Architecture: Five lectures by Rudolf Steiner given during the building of the First Goetheanum, 1914. 1927, London: Anthroposophical Publishing Company.

[13] Uehli, E., Rudolf Steiner als Künstler. 1921, Stuttgart: Der Kommnede Tag.

[14]

[15] [16] [17] [18] [19] [20] [21]

[22] [23]

[24]

[25] [26] [27]

[28]

[29] [30] [31]

Steiner, R., The Dornach Building, Lecture at The Hague, 28 Feb 1921, in Rudolf Steiner Architecture, A. Beard, Editor. 2003, Sophia Books: Forest Row.

Paull, J., Ernesto Genoni: Australia's pioneer of biodynamic agriculture. Journal of Organics, 2014. 1(1): p. 57-81.

Paull, J., The Anthroposophic Art of Ernesto Genoni, Goetheanum, 1924. Journal of Organics, 2016. 3(2): p. 1-24.

Genoni, E., Personal memoir. c.1970, 9 pp., typewritten manuscript, last date mentioned is 1966, A4. Private collection.

Genoni, E., Personal memoir. c.1955, 26 pp., handwritten manuscript, last date mentioned is 1952, school exercise book. Private collection.

The Register, Modernity in Art - New Architectural Forms. The Register (Adelaide, Australia), 1925. 31 December: p. 5.

Biesantz, H. and A. Klingborg, The Goetheanum: Rudolf Steiner's Architectural Impulse. 1979, London: Rudolf Steiner Press.

Metaxa, G., Typed letter, Dear Friends and fellow members. 2 pages. 25 December. Anthroposophical Society. 1922, 46 Gloucester Place, London.

Basler Nachrichten, Das Goetheanum niedergebrannt. Basler Nachrichten, 1923. 2 January.

Basler Nachrichten, Zum Brand im Goetheanum - Ott in Verdacht als Brandstifter oder Mitwisser. Basler Nachrichten, 1923. 5 January.

National Zeitung, The account of the burning of the Goetheanum from the National Zeitung. Anthroposophy, 1923. 2(1-2, January- February): p. 18-19.

Steffen, A., The destruction of the Goetheanum by fire. Anthroposophy, 1923. 2(1-2): p. 10-13.

BBC News, Notre-Dame: The story of the fire in graphics and images. BBC News, 2019. 16 April.

ABC News, Notre Dame fire: Paris cathedral spire collapses as blaze tears through landmark. ABC News, 2019. 16 April.

Vandoorne, S., A. Crouin, and B. Britton, Notre Dame fire could have been started by a cigarette or an electrical fault, prosecutors say. CNN, 2019. 26 June.

Balzer, M., The unsolved Goetheanum case: A play is devoted to the fire of New Year'ds Eve 1922. Aargauer Zeitung, 2019. 2 May.

Basler Nachrichten, Zur Untersuchung über den Goetheanum-Brand. Basler Nachrichten, 1923. 11 January.

Neue Zürcher Nachrichten, Ein wichtiger Fund bei den Aufräumungsarbeiten am Goetheanum. Neue Zürcher Nachrichten, 1923. 13 January.

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The First Goetheanum: A Centenary for Organic Architecture

[32] Aschoff, G., Neues vom Goetheanum-Brand. Das Goetheanum, 2007. 1-2.

[33] Prokofieff, S.O., May Human Beings Hear It!: The Mystery of the Christmas Conference. 2014, Forest Row, UK: Temple Lodge.

[34] Real Insurance, The most common causes of house fires. 2013, Sydney: Real Insurance.

[35] Campbell, R., Structure Fires in Warehouse Properties. 2016, Quincy, MA: National Fire Protection Association.

[36] Ravenscroft, T., The Spear of Destiny: The Occult Power Behind the Spear Which Pierced the Side of Christ and how Hitler inverted the Force in a bid to conquer the World. 1982, York Beach, ME: Samuel Weiser Inc.

[37] Paull, J., Dr Rudolf Steiner's Shed: The Schreinerei at Dornach. Journal of Bio-Dynamics Tasmania, 2018. 127(September): p. 14-19.

[38] Steiner, R., The Goetheanum in the ten years of its life, VI. Anthroposophy, 1923. 2(4): p. 37-41.

[39] Raab, R., A. Klingborg, and A. Fant, Eloquent Concrete: How Rudolf Steiner Employed Reinforced Concrete. 1979, London: Rudolf Steiner Press.

[40] Steiner, M., Proceedings of the Founding Conference of the General Anthroposophical Society. 1944, Roneoed publication. "As edited and published by Marie Steiner in 1944. Translated by Frances E Dawson": "For Members of the General Anthroposophical Society".

  

hal.archives-ouvertes.fr/hal-02566578/document

relates to Sammy´s www.flickr.com/photos/196910382@N03/53321045230/in/dateta...

Source: Wikipedia...

 

Mary Pinchot Meyer (October 14 1920, - October 12, 1964), was a Washington DC socialite, painter, former wife of CIA official Cord Meyer and close friend of US president John F. Kennedy who was noted for her great beauty and social skills.

 

Meyer's murder two days before her 44th birthday in the Georgetown neighborhood of Washington D.C. during the fall of 1964 would later stir speculation relating to Kennedy's presidency and assassination. Nina Burleigh in her 1998 biography wrote, "Mary Meyer was an enigmatic woman in life, and in death her real personality lurks just out of view."

 

Mary Pinchot was the daughter of Amos Pinchot, a wealthy lawyer and a founder of the Progressive party who had helped fund the socialist magazine "The Masses". Her mother was Pinchot's second wife Ruth, a journalist who worked for magazines such as "The Nation" and "The New Republic". Mary was raised at the family's Grey Towers home in Milford, Pennsylvania where as a child she met left-wing intellectuals such as Mabel Dodge, Louis Brandeis, Robert M. La Follette, Sr. and Harold L. Ickes. Mary attended Brearley School and Vassar College, where she became interested in communism. She dated William Attwood in 1938 and while with him at a dance held at Choate Rosemary Hall she first met John F. Kennedy.

 

She left Vassar and became a journalist, writing for the United Press and Mademoiselle. As a pacifist and member of the American Labor Party she came under scrutiny by the Federal Bureau of Investigation.

 

Marriage with Cord Meyer

Mary met Cord Meyer in 1944 when he was a US Marine Corps lieutenant who had lost his left eye because of shrapnel injuries received in combat. The two had similar pacifist views and beliefs in world government and married on 19 April 1945. That spring they both attended the UN Conference on International Organization in San Francisco, during which the United Nations was founded, Cord as an aide of Harold Stassen and Mary as a reporter for a newspaper syndication service. She later worked for a time as an editor for Atlantic Monthly. Their eldest child Quentin was born in late 1945, followed by Michael in 1947, after which Mary became a housewife although she attended classes at the Art Students League of New York.

 

Cord Meyer became president of the United World Federalists in May 1947 and its membership doubled. Albert Einstein was an enthusiastic supporter and fundraiser. Mary Meyer wrote for the organization's journal. In 1950 their third child Mark was born and they moved to Cambridge, Massachusetts. Meanwhile her husband began to re-evaluate his notions of world government as members of the American Communist Party infiltrated the international organizations he had founded. It is unknown when he first began secretly working with the Central Intelligence Agency but in 1951 Allen Dulles approached Cord Meyer, he became an employee of the CIA and was soon a "principal operative" of Operation Mockingbird, a covert operation meant to sway the print and broadcast media. Mary may also have done some work for the CIA during this time but her tendency towards spur-of-the-moment love affairs reportedly made the agency wary of her.

 

With her husband's CIA appointment they moved to Washington D.C. and became highly visible members of Georgetown society. Their friends and acquaintances included Joseph Alsop, Katharine Graham, Clark Clifford and Washington Post reporter James Truitt along with his wife, noted artist Anne Truitt. Their social circle also included CIA-affiliated people such as Richard M. Bissell, Jr., high ranking counter-intelligence official James Angleton and Mary and Frank Wisner, Meyer's boss at CIA. In 1953 Senator Joseph McCarthy publicly accused Cord Meyer of being a communist and the FBI was reported to have looked into Mary's political past. Allen Dulles and Frank Wisner aggressively defended Meyer and he remained with the CIA. However, by early 1954 Mary's husband became unhappy with his CIA career and used contacts from his covert operations in Operation Mockingbird to approach several New York publishers for a job but was rebuffed. During the summer of 1954 John F. Kennedy and his wife Jackie Kennedy bought a house not far from where the Meyers lived, Mary and Jackie became friends and "they went on walks together." By the end of 1954 Cord Meyer was still with the CIA and often in Europe, running Radio Free Europe, Radio Liberty and managing millions of dollars of US government funds worldwide to support progressive-seeming foundations and organizations.

 

One of Mary's close friends and classmates from Vassar was Cicely d'Autremont, who married James Angleton. In 1955 Meyer's sister Antoinette (Tony) married Ben Bradlee of The Washington Post. On 18 December 1956 the Meyers' middle son Michael was hit by a car near their house and killed at the age of nine. Although this tragedy brought Mary and Cord closer together for a time, Mary filed for divorce in 1958. Her divorce petition alleged "extreme cruelty, mental in nature, which seriously injured her health, destroyed her happiness, rendered further cohabitation unendurable and compelled the parties to separate."

 

Friendship with JFK

Mary and her two surviving sons remained in the family home. She began painting again in a converted garage studio at the home of her sister Tony and her husband Ben Bradlee. She also started a close relationship with abstract-minimalist painter Kenneth Noland and grew a friendship with Robert Kennedy who had moved into his brother's house after John and Jackie Kennedy left in 1960. Nina Burleigh in her book "A Very Private Woman" writes that after the divorce Meyer became "a well-bred ingenue out looking for fun and getting in trouble along the way." "Mary was bad," a friend recalled.

 

Burleigh claims James Angleton tapped Mary Meyer's telephone after she left her husband. Meanwhile Angleton often visited the family home and took her sons on fishing outings. Mary visited John F. Kennedy at the White House in October 1961 and their relationship became intimate. Mary told Ann and James Truitt she was keeping a diary.

 

In 1983 former Harvard University psychology professor Timothy Leary claimed that in the spring of 1962 Meyer, who according to her biographer Burleigh "wore manners and charm like a second skin", told him she was taking part in a plan to avert worldwide nuclear war by convincing powerful male members of the Washington establishment to take mind-altering drugs, which would presumably lead them to conclude the Cold War was meaningless. Meyer said she had shared in this plan with at least seven other Washington socialite friends who held similar political views and were trying to supply LSD to a small circle of high ranking government officials (however, Leary's account is disputed by several writers, who point out that he wrote many other autobiographical books between 1962 and 1983 without ever mentioning her).

 

Mary Meyer and John F Kennedy reportedly had "about 30 trysts" and at least one author has claimed she brought marijuana or LSD to almost all of these meetings. In January 1963 Philip Graham disclosed the Kennedy-Meyer affair to a meeting of newspaper editors but his claim was not reported by the news media. Leary later claimed Mary influenced Kennedy's "views on nuclear disarmament and rapprochement with Cuba." In an interview with Nina Burleigh, Kennedy aide Meyer Feldman said, "I think he might have thought more of her than some of the other women and discussed things that were on his mind, not just social gossip." Burleigh wrote, "Mary might actually have been a force for peace during some of the most frightening years of the cold war..."

 

In his biography Flashbacks Leary claimed he had a call from Mary soon after the Kennedy assassination during which she sobbed and said, "They couldn't control him any more. He was changing too fast. He was learning too much... They'll cover everything up. I gotta come see you. I'm scared. I'm afraid." During the summer of 1964 Meyer reportedly told friends she thought someone had gotten into her house while she was not there and later told a friend from Vasser, historian Elizabeth Eisenstein, "she thought she had seen somebody leaving as she walked in.&quot

 

Murder

On 12 October 1964, eleven months after John F. Kennedy's assassination and two weeks after the Warren Commission report was made public, Mary finished a painting and went for a walk along the Chesapeake and Ohio Canal towpath in Georgetown. Mechanic Henry Wiggins was trying to fix a car on Canal Road and heard a woman cry out, "Someone help me, someone help me." Wiggins heard two gunshots and ran to a low wall looking upon the path where he saw "a black man in a light jacket, dark slacks, and a dark cap standing over the body of a white woman."

 

Meyer's body had two bullet wounds, one at the back of the head and another in her heart. An FBI forensics expert later said “dark haloes on the skin around both entry wounds suggested they had been fired at close-range, possibly point-blank”.

 

Minutes later a disheveled, soaking wet African-American man named Raymond Crump was arrested near the murder scene. No gun was ever found and Crump was never linked to any gun of the type used to murder Mary Meyer. Newspaper reports described her former husband only as either an author or government official and did not mention Kennedy, although many journalists apparently were aware of Meyer's past marriage to a high ranking CIA official and her friendship with Kennedy.

 

When Crump came to trial, judge Howard Corcoran ruled Mary Meyer's private life could not be disclosed in the courtroom. Corcoran had recently been appointed by president Lyndon Baines Johnson. Mary’s background was also kept from Dovey Roundtree, Crump's lawyer, who later recalled she could find out almost nothing about the murder victim: "It was as if she existed only on the towpath on the day she was murdered." Crump was acquitted of all charges on 29 July 1965 and the murder remains unsolved (Crump went on to what has been described as a "horrific" life of crime).

 

Diary

In March 1976 James Truitt told the National Enquirer Meyer was having an affair with Kennedy when he was assassinated. Truitt said Meyer had told his wife Ann she was keeping a diary (which some sources have described as a sketchbook with some written text) and had asked her to retrieve it "if anything ever happened" to her. Ann Truitt, who was living in Tokyo when Meyer was murdered, called both James Angleton and Mary's brother in law Ben Bradlee at home and asked him if he had found the diary. Bradley later said, "We didn't start looking until the next morning, when Tony [Mary's sister] and I walked around the corner a few blocks to Mary's house. It was locked, as we had expected, but when we got inside, we found Jim Angleton, and to our complete surprise he told us he, too, was looking for Mary's diary."

 

Angleton said he knew about Mary's intimate friendship with Kennedy and was looking for the diary and anything else which might have information about the affair. Later at Mary's art studio by the Bradlee home Ben and Antoinette again found Angleton, trying to pick a padlock. After he left, Antoinette found the diary and many letters in a metal box. These were given to Angleton, who later claimed he burned the diary, in which he said Mary Meyer wrote she and Kennedy had taken LSD before "they made love." However, Bradlee wrote they later learned Angleton had not burned the diary: Bradlee's wife Tony got it back from Angleton and burned the document herself while Ann Truitt watched. Those who did read the diary reportedly said it confirmed Meyer's intimate friendship with Kennedy but gave no suggestion it contained any information about his assassination.

 

Cord Meyer's later statements about the murder

Cord Meyer left the CIA in 1977. In his autobiography Facing Reality: From World Federalism to the CIA he wrote, "I was satisfied by the conclusions of the police investigation that Mary had been the victim of a sexually motivated assault by a single individual and that she had been killed in her struggle to escape." However his former personal assistant Carol Delaney later claimed, "Mr. Meyer didn't for a minute think that Ray Crump had murdered his wife or that it had been an attempted rape. But, being an Agency man, he couldn't very well accuse the CIA of the crime, although the murder had all the markings of an in-house rubout."

 

In February 2001 writer C. David Heymann asked Cord Meyer about Mary Pinchot Meyer's murder and he replied, "My father died of a heart attack the same year Mary was killed. It was a bad time." When asked who had murdered Mary Pinchot Meyer the retired CIA official, six weeks before his own death from lymphoma, reportedly "hissed" back, "The same sons of bitches that killed John F. Kennedy."

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C & O Canal from Chain Bridge at the base of the Palisades

...this insane maniac jumps in the water dish and decides to spray me! House Finch relates his encounter with the "Insane Maniac." Insane Maniac has no comment.

ITM1692074

  

Technology company

From Wikipedia, the free encyclopedia

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A technology company (or tech company) is an electronics-based technological company, including, for example, business relating to digital electronics, software, and internet-related services, such as e-commerce services.[1][2][3]

 

Details

According to Fortune, as of 2020, the ten largest technology companies by revenue are: Apple Inc., Samsung, Foxconn, Alphabet Inc., Microsoft, Huawei, Dell Technologies, Hitachi, IBM, and Sony.[4] Amazon has higher revenue than Apple, but is classified by Fortune in the retail sector.[5] The most profitable listed in 2020 are Apple Inc., Microsoft, Alphabet Inc., Intel, Meta Platforms, Samsung, and Tencent.[4]

 

Apple Inc., Alphabet Inc. (owner of Google), Meta Platforms (owner of Facebook), Microsoft, and Amazon.com, Inc. are often referred to as the Big Five multinational technology companies based in the United States. These five technology companies dominate major functions, e-commerce channels, and information of the entire Internet ecosystem. As of 2017, the Big Five had a combined valuation of over $3.3 trillion and make up more than 40 percent of the value of the Nasdaq-100 index.[6]

 

Many large tech companies have a reputation for innovation, spending large sums of money annually on research and development. According to PwC's 2017 Global Innovation 1000 ranking, tech companies made up nine of the 20 most innovative companies in the world, with the top R&D spender (as measured by expenditure) being Amazon, followed by Alphabet Inc., and then Intel.[7]

 

As a result of numerous influential tech companies and tech startups opening offices in proximity to one another, a number of technology districts have developed in various areas across the globe.[8] These include: Silicon Valley in the San Francisco Bay Area, Silicon Wadi in Israel, Silicon Docks in Dublin, Silicon Hills in Austin, Tech City in London; Digital Media City in Seoul, Zhongguancun in Beijing, Cyberjaya in Malaysia and Cyberabad in Hyderabad.

 

A startup or start-up is a company or project undertaken by an entrepreneur to seek, develop, and validate a scalable business model.[1][2] While entrepreneurship refers to all new businesses, including self-employment and businesses that never intend to become registered, startups refer to new businesses that intend to grow large beyond the solo founder.[3] At the beginning, startups face high uncertainty[4] and have high rates of failure, but a minority of them do go on to be successful and influential.[5]

 

Actions

Startups typically begin by a founder (solo-founder) or co-founders who have a way to solve a problem. The founder of a startup will begin market validation by problem interview, solution interview, and building a minimum viable product (MVP), i.e. a prototype, to develop and validate their business models. The startup process can take a long period of time (by some estimates, three years or longer), and hence sustaining effort is required. Over the long term, sustaining effort is especially challenging because of the high failure rates and uncertain outcomes.[6] Having a business plan in place outlines what to do and how to plan and achieve an idea in the future. Typically, these plans outline the first 3 to 5 years of your business strategy. [7]

 

Design principles

Models behind startups presenting as ventures are usually associated with design science. Design science uses design principles considered to be a coherent set of normative ideas and propositions to design and construct the company's backbone.[8] For example, one of the initial design principles is "affordable loss".[9]

 

Heuristics and biases in startup actions

Because of the lack of information, high uncertainty, the need to make decisions quickly, founders of startups use many heuristics and exhibit biases in their startup actions. Biases and heuristics are parts of our cognitive toolboxes in the decision-making process. They help us decide quickly as possible under uncertainty but sometimes become erroneous and fallacious.[10]

 

Entrepreneurs often become overconfident about their startups and their influence on an outcome (case of the illusion of control). Entrepreneurs tend to believe they have more degree of control over events, discounting the role of luck. Below are some of the most critical decision biases of entrepreneurs to start up a new business.[10]

 

Overconfidence: Perceive a subjective certainty higher than the objective accuracy.

Illusion of control: Overemphasize how much skills, instead of chance, improve performance.

The law of small numbers: Reach conclusions about a larger population using a limited sample.

Availability bias: Make judgments about the probability of events based on how easy it is to think of examples.

Escalation of commitment: Persist unduly with unsuccessful initiatives or courses of action.

Startups use several action principles to generate evidence as quickly as possible to reduce the downside effect of decision biases such as an escalation of commitment, overconfidence, and the illusion of control.

 

Mentoring

Many entrepreneurs seek feedback from mentors in creating their startups. Mentors guide founders and impart entrepreneurial skills and may increase the self-efficacy of nascent entrepreneurs.[11] Mentoring offers direction for entrepreneurs to enhance their knowledge of how to sustain their assets relating to their status and identity and strengthen their real-time skills.[12]

 

Principles

There are many principles in creating a startup. Some of the principles are listed below.

 

Lean startup

Lean startup is a clear set of principles to create and design startups under limited resources and tremendous uncertainty to build their ventures more flexibly and at a lower cost. It is based on the idea that entrepreneurs can make their implicit assumptions about how their venture works explicit and empirically testing it.[13] The empirical test is to de/validate these assumptions and to get an engaged understanding of the business model of the new ventures, and in doing so, the new ventures are created iteratively in a build–measure–learn loop. Hence, lean startup is a set of principles for entrepreneurial learning and business model design. More precisely, it is a set of design principles aimed for iteratively experiential learning under uncertainty in an engaged empirical manner. Typically, lean startup focuses on a few lean principles:

 

find a problem worth solving, then define a solution

engage early adopters for market validation

continually test with smaller, faster iterations

build a function, measure customer response, and verify/refute the idea

evidence-based decisions on when to "pivot" by changing your plan's course

maximize the efforts for speed, learning, and focus

Market validation

A key principle of startup is to validate the market need before providing a customer-centric product or service to avoid business ideas with weak demand.[14] Market validation can be done in a number of ways, including surveys, cold calling, email responses, word of mouth or through sample research.[15]

 

Design thinking

Design thinking is used to understand the customers' need in an engaged manner. Design thinking and customer development can be biased because they do not remove the risk of bias because the same biases will manifest themselves in the sources of information, the type of information sought, and the interpretation of that information.[16] Encouraging people to “consider the opposite” of whatever decision they are about to make tends to reduce biases such as overconfidence, the hindsight bias, and anchoring (Larrick, 2004; Mussweiler, Strack, & Pfeiffer, 2000).

 

Decision-making under uncertainty

In startups, many decisions are made under uncertainty,[4] and hence a key principle for startups is to be agile and flexible. Founders can embed options to design startups in flexible manners, so that the startups can change easily in future.

 

Uncertainty can vary within-person (I feel more uncertain this year than last year) and between-person (he feels more uncertain than she does). A study found that when entrepreneurs feel more uncertain, they identify more opportunities (within-person difference), but entrepreneurs who perceive more uncertainties than others do not identify more opportunities than others do (no between-person difference).[4]

 

Partnering

Startups may form partnerships with other firms to enable their business model to operate.[17] To become attractive to other businesses, startups need to align their internal features, such as management style and products with the market situation. In their 2013 study, Kask and Linton develop two ideal profiles, or also known as configurations or archetypes, for startups that are commercializing inventions. The inheritor profile calls for a management style that is not too entrepreneurial (more conservative) and the startup should have an incremental invention (building on a previous standard). This profile is set out to be more successful (in finding a business partner) in a market that has a dominant design (a clear standard is applied in this market). In contrast to this profile is the originator which has a management style that is highly entrepreneurial and in which a radical invention or a disruptive innovation (totally new standard) is being developed. This profile is set out to be more successful (in finding a business partner) in a market that does not have a dominant design (established standard). New startups should align themselves to one of the profiles when commercializing an invention to be able to find and be attractive to a business partner. By finding a business partner, a startup has greater chances of becoming successful.[18]

 

Startups usually need many different partners to realize their business idea. The commercialization process is often a bumpy road with iterations and new insights during the process. Hasche and Linton (2018)[19] argue that startups can learn from their relationships with other firms, and even if the relationship ends, the startup will have gained valuable knowledge about how it should move on going forward. When a relationship is failing for a startup it needs to make changes. Three types of changes can be identified according to Hasche and Linton (2018):[19]

 

Change of business concept for the start up

Change of collaboration constellation (change several relationships)

Change of characteristic of business relationship (with the partner, e.g. from a transactional relationship to more of a collaborative type of relationship)

Entrepreneurial learning

See also: Validated learning

Startups need to learn at a huge speed before running out of resources. Proactive actions (experimentation, searching, etc.) enhance a founder's learning to start a company.[20] To learn effectively, founders often formulate falsifiable hypotheses, build a minimum viable product (MVP), and conduct A/B testing.

 

Business Model Design

With the key learnings from market validation, design thinking, and lean startup, founders can design a business model. However it's important not to dive into business models too early before there is sufficient learning on market validation. Paul Graham said "What I tell founders is not to sweat the business model too much at first. The most important task at first is to build something people want. If you don’t do that, it won’t matter how clever your business model is."[21]

 

Founders/entrepreneurs

Main article: Organizational founder

Founders or co-founders are people involved in the initial launch of startup companies. Anyone can be a co-founder, and an existing company can also be a co-founder, but the most common co-founders are founder-CEOs, engineers, hackers, web developers, web designers and others involved in the ground level of a new, often venture. The founder that is responsible for the overall strategy of the startup plays the role of founder-CEOs, much like CEOs in established firms. Startup studios provide an opportunity for founders and team members to grow along with the business they help to build. In order to create forward momentum, founders must ensure that they provide opportunities for their team members to grow and evolve within the company.[22]

 

The language of securities regulation in the United States considers co-founders to be "promoters" under Regulation D. The U.S. Securities and Exchange Commission definition of "Promoter" includes: (i) Any person who, acting alone or in conjunction with one or more other persons, directly or indirectly takes initiative in founding and organizing the business or enterprise of an issuer;[23] However, not every promoter is a co-founder. In fact, there is no formal, legal definition of what makes somebody a co-founder.[24][25] The right to call oneself a co-founder can be established through an agreement with one's fellow co-founders or with permission of the board of directors, investors, or shareholders of a startup company. When there is no definitive agreement (like shareholders' agreement), disputes about who the co-founders are, can arise.

 

Self-efficacy

Self-efficacy refers to the confidence an individual has to create a new business or startup. It has a strong relation with startup actions.[26] Entrepreneurs' sense of self-efficacy can play a major role in how they approach goals, tasks, and challenges. Entrepreneurs with high self-efficacy—that is, those who believe they can perform well—are more likely to view difficult tasks as something to be mastered rather than something to be avoided.

 

Stress

Startups are pressure cookers. Don’t let the casual dress and playful office environment fool you. New enterprises operate under do-or-die conditions. If you do not roll out a useable product or service in a timely fashion, the company will fail. Bye-bye paycheck, hello eviction.

 

Iman Jalali, chief of staff at ContextMedia[27][unreliable source?]

Entrepreneurs often feel stressed. They have internal and external pressures. Internally, they need to meet deadlines to develop the prototypes and get the product or service ready for market. Externally they are expected to meet milestones of investors and other stakeholders to ensure continued resources from them on the startups.[28] Coping with stress is critical to entrepreneurs because of the stressful nature of start up a new firm under uncertainty. Coping with stress unsuccessfully could lead to emotional exhaustion, and the founders may close or exit the startups.

 

Emotional exhaustion

Sustaining effort is required as the startup process can take a long period of time, by one estimate, three years or longer (Carter et al., 1996; Reynolds & Miller, 1992). Sustaining effort over the long term is especially challenging because of the high failure rates and uncertain outcomes.[28]

 

Founder identity and culture

Some startup founders have a more casual or offbeat attitude in their dress, office space and marketing, as compared to executives in established corporations. For example, startup founders in the 2010s wore hoodies, sneakers and other casual clothes to business meetings. Their offices may have recreational facilities in them, such as pool tables, ping pong tables, football tables and pinball machines, which are used to create a fun work environment, stimulate team development and team spirit, and encourage creativity. Some of the casual approaches, such as the use of "flat" organizational structures, in which regular employees can talk with the founders and chief executive officers informally, are done to promote efficiency in the workplace, which is needed to get their business off the ground.[29]

 

In a 1960 study, Douglas McGregor stressed that punishments and rewards for uniformity in the workplace are not necessary because some people are born with the motivation to work without incentives.[30] Some startups do not use a strict command and control hierarchical structure, with executives, managers, supervisors and employees. Some startups offer employees incentives such as stock options, to increase their "buy in" from the start up (as these employees stand to gain if the company does well). This removal of stressors allows the workers and researchers in the startup to focus less on the work environment around them, and more on achieving the task at hand, giving them the potential to achieve something great for both themselves and their company.

 

Failure

The failure rate of startup companies is very high. A 2014 article in Fortune estimated that 90% of startups ultimately fail. In a sample of 101 unsuccessful startups, companies reported that experiencing one or more of five common factors were the reason for failure; lack of consumer interest in the product or service (42% of failures), funding or cash problems (29%), personnel or staffing problems (23%), competition from rival companies (19%) and problems with pricing of the product or service (18%).[5] In cases of funding problems it can leave employees without paychecks. Sometimes these companies are purchased by other companies if they are deemed to be viable, but oftentimes they leave employees with very little recourse to recoup lost income for worked time.[31] More than one-third of founders believe that running out of money led to failure. Second to that, founders attribute their failure to a lack of financing or investor interest. These common mistakes and missteps that happen early in the startup journey can result in failure, but there are precautions entrepreneurs can take to help mitigate risk. For example, startup studios offer a buffer against many of the obstacles that solo entrepreneurs face, such as funding and insufficient team structure, making them a good resource for startups in their earliest phases.[32]

 

Re-starters

Failed entrepreneurs, or restarters, who after some time restart in the same sector with more or less the same activities, have an increased chance of becoming a better entrepreneur.[33] However, some studies indicate that restarters are more heavily discouraged in Europe than in the US.[34]

 

Training

See also: Entrepreneurship education

Many institutions and universities provide training on startups. In the context of universities, some of the courses are entrepreneurship courses that also deal with the topic of startups, while other courses are specifically dedicated to startups. Startup courses are found both in traditional economic or business disciplines as well as the side of information technology disciplines. As startups are often focused on software, they are also occasionally taught while focusing on software development alongside the business aspects of a startup.[35]

 

“The best way of learning about anything is by doing.” – Richard Branson

 

Founders go through a lot to set up a startup. A startup requires patience and resilience, and training programs need to have both the business components and the psychological components.[36] Entrepreneurship education is effective in increasing the entrepreneurial attitudes and perceived behavioral control,[37] helping people and their businesses grow.[36] Most of startup training falls into the mode of experiential learning (Cooper et al., 2004; Pittaway and Cope, 2007), in which students are exposed to a large extent to a real-life entrepreneurship context as new venture teams (Wu et al., 2009).[13] An example of group-based experiential startup training is the Lean LaunchPad initiative that applies the principles of customer development (Blank and Dorf, 2012) and Lean Startup (Ries, 2011) to technology-based startup projects.

 

As startups are typically thought to operate under a notable lack of resources,[38] have little or no operating history,[39] and to consist of individuals with little practical experience,[40][41] it is possible to simulate startups in a classroom setting with reasonable accuracy. In fact, it is not uncommon for students to actually participate in real startups during and after their studies. Similarly, university courses teaching software startup themes often have students found mock-up startups during the courses and encourage them to make them into real startups should they wish to do so.[35] Such mock-up startups, however, may not be enough to accurately simulate real-world startup practice if the challenges typically faced by startups (e.g. lack of funding to keep operating) are not present in the course setting.[42]

 

To date, much of the entrepreneurship training is yet personalized to match the participants and the training.

 

Ecosystem

 

A startup ecosystem can contribute to local entrepreneurial culture.

The size and maturity of the startup ecosystem is where a startup is launched and where it grows to have an effect on the volume and success of the startups. The startup ecosystem consists of the individuals (entrepreneurs, venture capitalists, angel investors, mentors, advisors); institutions and organizations (top research universities and institutes, business schools and entrepreneurship programs and centres operated by universities and colleges, non-profit entrepreneurship support organizations, government entrepreneurship programs and services, Chambers of commerce) business incubators and business accelerators and top-performing entrepreneurial firms and startups. A region with all of these elements is considered to be a "strong" startup ecosystem.

 

One of the most famous startup ecosystems is Silicon Valley in California, where major computer and internet firms and top universities such as Stanford University create a stimulating startup environment. Boston (where Massachusetts Institute of Technology is located) and Berlin, home of WISTA (a top research area), also have numerous creative industries, leading entrepreneurs and startup firms. Basically, attempts are being made worldwide, for example in Israel with its Silicon Wadi, in France with the Inovallée or in Italy in Trieste with the AREA Science Park, to network basic research, universities and technology parks in order to create a startup-friendly ecosystem.

 

Although there are startups created in all types of businesses, and all over the world, some locations and business sectors are particularly associated with startup companies. The internet bubble of the late 1990s was associated with huge numbers of internet startup companies, some selling the technology to provide internet access, others using the internet to provide services. Most of this startup activity was located in the most well-known startup ecosystem - Silicon Valley, an area of northern California renowned for the high level of startup company activity:

 

The spark that set off the explosive boom of "Silicon startups" in Stanford Industrial Park was a personal dispute in 1957 between employees of Shockley Semiconductor and the company’s namesake and founder, Nobel laureate and co-inventor of the transistor William Shockley... (His employees) formed Fairchild Semiconductor immediately following their departure... After several years, Fairchild gained its footing, becoming a formidable presence in this sector. Its founders began leaving to start companies based on their own latest ideas and were followed on this path by their own former leading employees... The process gained momentum and what had once begun in a Stanford’s research park became a veritable startup avalanche... Thus, over the course of just 20 years, a mere eight of Shockley’s former employees gave forth 65 new enterprises, which then went on to do the same...[43]

 

Startup advocates are also trying to build a community of tech startups in New York City with organizations like NY Tech Meet Up[44] and Built in NYC.[45] In the early 2000s, the patent assets of failed startup companies were being purchased by people known as patent trolls, who assert those patents against companies that might be infringing the technology covered by the patents.[46]

 

Investing

 

Diagram of the typical financing cycle for a startup company

Startup investing is the action of making an investment in an early-stage company. Beyond founders' own contributions, some startups raise additional investment at some or several stages of their growth. Not all startups trying to raise investments are successful in their fundraising.

 

In the United States, the solicitation of funds became easier for startups as result of the JOBS Act.[47][48][49][50] Prior to the advent of equity crowdfunding, a form of online investing that has been legalized in several nations, startups did not advertise themselves to the general public as investment opportunities until and unless they first obtained approval from regulators for an initial public offering (IPO) that typically involved a listing of the startup's securities on a stock exchange. Today, there are many alternative forms of IPO commonly employed by startups and startup promoters that do not include an exchange listing, so they may avoid certain regulatory compliance obligations, including mandatory periodic disclosures of financial information and factual discussion of business conditions by management that investors and potential investors routinely receive from registered public companies.[51]

 

Investors are generally most attracted to those new companies distinguished by their strong co-founding team, a balanced "risk/reward" profile (in which high risk due to the untested, disruptive innovations is balanced out by high potential returns) and "scalability" (the likelihood that a startup can expand its operations by serving more markets or more customers).[citation needed] Attractive startups generally have lower "bootstrapping" (self-funding of startups by the founders) costs, higher risk, and higher potential return on investment. Successful startups are typically more scalable than an established business, in the sense that the startup has the potential to grow rapidly with a limited investment of capital, labor or land.[52] Timing has often been the single most important factor for biggest startup successes,[53] while at the same time it's identified to be one of the hardest things to master by many serial entrepreneurs and investors.[54]

 

Startups have several options for funding. Revenue-based financing lenders can help startup companies by providing non-dilutive growth capital in exchange for a percentage of monthly revenue.[55] Venture capital firms and angel investors may help startup companies begin operations, exchanging seed money for an equity stake in the firm. Venture capitalists and angel investors provide financing to a range of startups (a portfolio), with the expectation that a very small number of the startups will become viable and make money. In practice though, many startups are initially funded by the founders themselves using "bootstrapping", in which loans or monetary gifts from friends and family are combined with savings and credit card debt to finance the venture. Factoring is another option, though it is not unique to startups. Other funding opportunities include various forms of crowdfunding, for example equity crowdfunding,[56] in which the startup seeks funding from a large number of individuals, typically by pitching their idea on the Internet.

 

Startups can receive funding via more involved stakeholders, such as startup studios. Startup studios provide funding to support the business through a successful launch, but they also provide extensive operational support, such as HR, finance and accounting, marketing, and product development, to increase the probability of success and propel growth. [57]

 

Necessity of funding

While some (would-be) entrepreneurs believe that they can't start a company without funding from VC, Angel, etc. that is not the case.[58] In fact, many entrepreneurs have founded successful businesses for almost no capital, including the founders of MailChimp, Shopify, and ShutterStock.[59]

 

Valuations

If a company's value is based on its technology, it is often equally important for the business owners to obtain intellectual property protection for their idea. The newsmagazine The Economist estimated that up to 75% of the value of US public companies is now based on their intellectual property (up from 40% in 1980).[60] Often, 100% of a small startup company's value is based on its intellectual property. As such, it is important for technology-oriented startup companies to develop a sound strategy for protecting their intellectual capital as early as possible.[61] Startup companies, particularly those associated with new technology, sometimes produce huge returns to their creators and investors—a recent example of such is Google, whose creators became billionaires through their stock ownership and options.

 

Investing rounds

When investing in a startup, there are different types of stages in which the investor can participate. The first round is called seed round. The seed round generally is when the startup is still in the very early phase of execution when their product is still in the prototype phase. There is likely no performance data or positive financials as of yet. Therefore, investors rely on strength of the idea and the team in place. At this level, family friends and angel investors will be the ones participating. At this stage the level of risk and payoff are at their greatest. The next round is called Series A. At this point the company already has traction and may be making revenue. In Series A rounds venture capital firms will be participating alongside angels or super angel investors. The next rounds are Series B, C, and D. These three rounds are the ones leading towards the Initial Public Offering (IPO). Venture capital firms and private equity firms will be participating.[62] Series B: Companies are generating consistent revenue but must scale to meet growing demand. Series C & D: Companies with strong financial performance looking to expand to new markets, develop new products, make an acquisition, and/or preparing for IPO.

 

History of startup investing

After the Great Depression, which was blamed in part on a rise in speculative investments in unregulated small companies, startup investing was primarily a word of mouth activity reserved for the friends and family of a startup's co-founders, business angels, and Venture Capital funds. In the United States, this has been the case ever since the implementation of the Securities Act of 1933. Many nations implemented similar legislation to prohibit general solicitation and general advertising of unregistered securities, including shares offered by startup companies. In 2005, a new Accelerator investment model was introduced by Y Combinator that combined fixed terms investment model with fixed period intense bootcamp style training program, to streamline the seed/early-stage investment process with training to be more systematic.

 

Following Y Combinator, many accelerators with similar models have emerged around the world. The accelerator model has since become very common and widely spread and they are key organizations of any Startup ecosystem. Title II of the Jumpstart Our Business Startups Act (JOBS Act), first implemented on 23 September 2013, granted startups in and startup co-founders or promoters in US. the right to generally solicit and advertise publicly using any method of communication on the condition that only accredited investors are allowed to purchase the securities.[63][64][65] However the regulations affecting equity crowdfunding in different countries vary a lot with different levels and models of freedom and restrictions. In many countries there are no limitations restricting general public from investing to startups, while there can still be other types of restrictions in place, like limiting the amount that companies can seek from investors. Due to positive development and growth of crowdfunding,[66] many countries are actively updating their regulation in regards to crowdfunding.

 

Investing online

The first known investment-based crowdfunding platform for startups was launched in Feb. 2010 by Grow VC,[67] followed by the first US. based company ProFounder launching model for startups to raise investments directly on the site,[68] but ProFounder later decided to shut down its business due regulatory reasons preventing them from continuing,[69] having launched their model for US. markets prior to JOBS Act. With the positive progress of the JOBS Act for crowd investing in US., equity crowdfunding platforms like SeedInvest and CircleUp started to emerge in 2011 and platforms such as investiere, Companisto and Seedrs in Europe and OurCrowd in Israel. The idea of these platforms is to streamline the process and resolve the two main points that were taking place in the market. The first problem was for startups to be able to access capital and to decrease the amount of time that it takes to close a round of financing. The second problem was intended to increase the amount of deal flow for the investor and to also centralize the process.[70][71]

 

Internal startups

Internal startups are a form of corporate entrepreneurship.[72] Large or well-established companies often try to promote innovation by setting up "internal startups", new business divisions that operate at arm's length from the rest of the company. Examples include Bell Labs, a research unit within the Bell System and Target Corporation (which began as an internal startup of the Dayton's department store chain) and threedegrees, a product developed by an internal startup of Microsoft.[73] To accommodate startups internally, companies, such as Google has made strides to make purchased startups and their workers feel at home in their offices, even letting them bring their dogs to work.[74]

 

Unicorns

See also: List of unicorn startup companies

Some startups become big and they become unicorns, i.e. privately held startup companies valued at over US$1 billion. The term was coined in 2013 by venture capitalist Aileen Lee, choosing the mythical animal to represent the statistical rarity of such successful ventures. According to TechCrunch, there were 452 unicorns as of May 2019, and most of the unicorns are in the USA, followed by China. The unicorns are concentrated in a few countries. The unicorn leaders are the U.S. with 196 companies, China with 165, India with 107[75] and the U.K. with 16.[76] The largest unicorns included Ant Financial, ByteDance, DiDi, Uber, Xiaomi, and Airbnb. When the value of a company is over US$10 billion, the company will be called as a Decacorn. When the company is valued over US$100 billion, Hectocorn will be used.

 

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A recent ponderance of mine (about a year old) has been that genes store fractal memories, both relating to evolution re all the steps back to our genetic ancestors origins and also re experiences. It seems to me that fractals are a type of language and everything, material and immaterial can be represented by them in 'form'. I think that it is these fractal memories stored in the genes that direct evolution. I think it could also explain things of a pseudoscientific nature such as alleged 'past life' memories and transplant memories etc.

Meanwhile re 'evidence of fractal memory' in animals

Bees create hives which are mathematically correct structures and 'fractals'. I am suggesting that the knowledge of the mathematical requirements of building the hive is stored in their genes as 'fractal memory'. If not 'genetic memory' then how does this knowledge pass from parent to offspring?

Most animals have innate knowledge...how does 'innate' work if not via the genes? Innate knowledge must surely be stored as memory in the genes? My uneducated explanation (and please excuse if me if this is old news and I'm stating the obvious) is that evolution starts with the simplest fractal and as things became more complex, so did fractals. I beleive all living things have stored within their genes the genetic fractal memory of every earlier fractal development that their species went through. I believe all things can in the end be presented in fractals. It's a language if you like. Everything in this universe, material and not can be represented in form by a fractal. Thus fractal memory is 'everything' memory. Events etc. Memory of our genetic ancestors. I think that the fractal gene memory that I speak of here is what prompts evolutionary change. Ie. The genes are aware of the events of the hosts life and make changes accordingly for the benefit of the offspring. Note the 'awareness' is not conscious awareness as we understand it but the same type of 'automatic' functioning we see in robots which make 'corrections' to their behaviour when they bump into things.

We 'humans' have problems seeing events in terms of maths or 'fractals' because of our 'perception' but in reality it is just 'maths', so not all that bizarre that the gene which is a fine tuned computer can make adjustments in it's 'output' based on the 'input' . Think of this entire world as a digital programme and it all makes sense. Evolution is a software update and nothing more than that.Memory of our genetic ancestors. We discuss a model of memory for visual form which treats the memory 'trace' as a set of procedures for reconstructing earlier visual experience. The

procedures, Barnsley's Iterated Function System (IFS), construct an image from a collection of operators (affine transformations). From this perspective, remembering and imagining are processes whose dynamics are captured by

the iterative rules. Changes in memory for visual experience are described as changes in the parameters and weights of the reconstruction operators. The model is used to discuss known phenomena and effects in the empirical literature on memory for visual form. Fractals, as all present know, are irregular geometric objects that yield detail at all scales. Unlike Euclidean, differentiable, objects that smooth out when zoomed into, fractals continue to reveal features as more closely regarded. Fractals also have "self-similarity"

which, in one meaning refers to the presence of parts that resemble the whole, or to the continual repetition of a feature. Benoit Mandelbrot (1983) not only invented the term fractal, but advanced the position that fractal geometry is the geometry of nature. Eliot Porter, the nature photographer,

upon reading Gleick's (1988) account of Mandelbrot's work, realized he had been taking pictures of fractals in nature for decades. To promote the point, he collaborated with Gleick on a collection of photographs for a book titled Nature's Chaos (Porter & Gleick, 1990). The slides shown here are

samples from that book. From a Darwinian perspective, we propose that our sensory receptors evolved in the presence of fractal objects, bathed in and powerfully shaped by them. It makes sense to us, then, that fractal geometry should be adopted in the study of perception and memory for

visual form (cf. Gilden, Schmuckler, & Clayton, 1993). Yet contemporary psychophysical studies of perception are dominated by Euclidean measures, and modern theories of visual form, such as Biederman's (1987) object recognition theory, have Euclidean objects (spheres, cubes, etc.) as

primitives ("geons"). A general model. We first present a general, abstract, model of memory for visual form from this perspective, and then consider a more specific version (see figure 1). We assume, first, that memory is not a passive list of attributes, but rather is a set of mental procedures. These

procedures, when activated, allow a reconstruction of a semblance of the original experience. There are two classes of memory dynamics; those involved in remembering and imagining, and those involved in forgetting. These are very different procedures. The first is initiated by some query of

memory, arising internally or externally. It is relatively fast and interacts with ongoing cognitive demands and simultaneous visual experience. The second process, altering memory, is the result of subsequent experience. It acts to alter procedure parameters.

It has been demonstrated that higher order recurrent neural networks exhibit an underlying fractal attractor as an artifact of their dynamics. These fractal attractors offer a very efficient mechanism to encode visual memories in a neural substrate, since even a simple twelve weight network can encode a very large set of different images. The main problem in this memory model, which so far has remained unaddressed, is how to train the networks to learn these different attractors. Following other neural training methods this paper proposes a gradient descent method to learn the attractors. The method is based on an error function which examines the effects of the current network transform on the desired fractal attractor. It is tested across a bank of different target fractal attractors and at different noise levels. The results show positive performance across three error measures.

 

www.vanderbilt.edu/AnS/psychology/cogsci/clayton/papers/C...

Tom J Newell’s elephant, entitled The Beat Goes On, references imagery relating to Lizzie, the elephant employed to work at Sheffield Steel Works during World War One. Tom elephant weaves abstract shapes and patterns representing steel, with iconography of Indian elephant and culture. He also used to his design as an opportunity to reference the travelling circus from which Lizzie originated.

 

Designed by: Tom J Newell

Tom J Newell is an artist, illustrator, record collector and turntable tinkering DJ who has worked and exhibited internationally with his intricately hand drawn black and white artworks. Tom is head designer at Twisted Burger Company, paints murals for The Kraken Rum, plays records at his weekly SHOWBOAT event at Picture House Social, and is sponsored by Posca Pens and Pink Pig Sketchbooks.

 

Sponsored by: Crystal Peaks Shopping Mall

Auction Price: £6500

 

Summer 2016, a herd of elephant sculptures descended on Sheffield for the biggest public art event the city has ever seen!

58 elephant sculptures, each uniquely decorated by artists, descended on Sheffield’s parks and open spaces, creating one of the biggest mass participation arts events the city has ever seen. Did you find them all?

The trail of elephants celebrates Sheffield’s creativity with over 75% of artists from the city. Some well-known names include Pete McKee, James Green, Jonathan Wilkinson and Lydia Monks – each of which has put their own creative mark on a 1.6m tall fibreglass elephant sculpture. They are all very difference, take a selfie with your favourite as they will be on display until the end of September.

International artist Mark Alexander, who is currently working with Rembrandt for an exhibition in Berlin, flew to Sheffield especially to paint his elephant and international players from the World Snooker Championship signed SnookHerd, an elephant celebrating the heritage of snooker in Sheffield.

The Arctic Monkeys, famous for their love of their home city, added their signatures to their own personalised sculpture which pays homage to the striking sound wave cover of the band’s 2013 album “AM”.

By supporting the Herd of Sheffield you are investing in the future of Sheffield Children’s Hospital. Every penny raised will go towards our Artfelt programme, which transforms the hospital’s walls and spaces with bright art, helping children recover in an environment tailored to them. The programme also puts on workshops for youngsters to provide distraction during anxious moments – such as before an operation, and to breakup long stays on the wards.

This exciting Wild in Art event brought to you by The Children’s Hospital Charity will:

Unite our city – bringing businesses, communities, artists, individuals and schools together to create a FREE sculpture trail which is accessible to all.

Attract more visitors – both nationally and regionally as well as encouraging thousands of people to become a tourist in their own city.

Invest in the future – with a city wide education programme that can be used for years to come and by funding a life-saving piece of medical equipment at Sheffield Children’s Hospital from the Herd auction at the end of the trail.

Showcase our city – celebrating Sheffield’s heritage and cementing our status as a vibrant and culturally exciting city through this world-class initiative.

 

The Herd of Sheffield Farewell Weekend was held on 14-16 October and was your chance to say a last goodbye to all 58 large elephant sculptures as they gather in one place for a final send-off at Meadowhall.

This special event gave visitors a chance to see the entire herd in all its glory – from the signed Arctic Monkeys’ ‘AM’ elephant, right through to ‘SnookHerd’, autographed by a host of international snooker players including current world champion Mark Selby.

Please note that the Little Herd elephants will not be on display as they will be returned to their school for pupils to enjoy.

Meadowhall, along with its joint owners, British Land are very proud to be supporting The Children’s Hospital Charity as host sponsors for the Herd of Sheffield Farewell Weekend.

 

Auction: Hundreds of elephant enthusiasts gathered at the Crucible on 20 October for the Herd of Sheffield Auction, which raised a total of £410,600 for The Children’s Hospital Charity.

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

Please relate to this thread for test details:

www.rangefinderforum.com/forums/showthread.php?t=45878

 

BTW this is one of my favourite roses: a David Austin rose "Abraham Darby". This one is from the first spring flowering, so it is quite pink, while later during the season the reflowerings are more salmon-apricot. The scent is a gorgeous mix of old rose and mixed fruit.

The KOM League

Flash Report

To end 2020

and

Kickoff 2021

 

If interested, this report is accessible at: www.flickr.com/photos/60428361@N07/50766767243/

Even if you are not interested, it is still there. It is the reader’s choice to either partake or reject. Sure hope a few do the former.

____________________________________________________________________________

Annual Christmas call

 

Each year, approximately two or three days prior to Christmas, a cheerful voice announces that he is calling to tell his old friend Merry Christmas. The caller is Billy Bagwell of Homer, Louisiana and each time he relates that God is blessing him and that he loves my wife and I. This year a little more was elicited from him in the conversation. He is undergoing treatment for cancer and all is not as well as he would like. His parting comment was “John, I hope that I will be here next year to wish you a Merry Christmas.” I too, hope that is the case realizing that can go both ways.

 

Bagwell and his wife Joyce attended every KOM league reunion and was always the hit of the event when his did his pantomime of the man whose suit didn’t fit. It was such a humorous act that even those with hearing loss would laugh without being able to hear his words.

 

Bagwell has been mentioned numerous times in these reports. Since this report is far too voluminous I’m sharing this link to indicate is extensive minor league career after he had served in WW II. digital.la84.org/digital/collection/p17103coll3/id/12518/...

 

Another Christmas call used to come each afternoon on the 25th of December. It originated in Springfield, Missouri and was from the all-time home run hitter in KOM league history, Don Ervin. He was a native of Kansas City and did his heavy clouting for the 1952 Miami, Oklahoma Eagles. In recent years correspondence has been established with his daughter. This was a recent e-mail from her. “Merry Christmas. It’s been almost 3 years since my dad passed. Thank you for the pictures you send out. They are uplifting in times of sadness.”

 

There were many family members, of deceased KOM leaguers, who sent along Christmas greetings and a few former members of the league who sent greetings on their own behalf.

_______________________________________________________

One game shortstop.

 

In the final week of the 1946 season the St. Louis Cardinals sent a World War II veteran to Carthage, Missouri John James Meyer played in one game. It was the 114th contest of the season and he went 0-4 at the plate. The next spring he reported to the Cardinal training camp at Albany, Georgia but wasn’t on the bus to Carthage when the team headed north. That concluded his professional baseball days.

 

However, Meyer left a lasting memory of his very short time with Carthage. On the last day of the season he signed a baseball and that, along with one box score, are the only remaining pieces of evidence that he played professional baseball. Thanks to the late Oscar “Pappy” Walterman that baseball remains in my possession in a place that will not be revealed due to security reasons. Well, a little exaggeration isn’t all that bad, is it?

 

John James Meyer.https://www.tributearchive.com/obituaries/18444007/ John-James-Meyer/Jeromesville/Ohio/Fickes-Funeral-Home

 

John J. Meyer went to be with his Lord and Savior Jesus Christ on September 24, 2020 surrounded by his devoted family. Born May 25, 1925 in Stryker, Ohio, he was the only child of Carl and Miriam (Koehl) Meyer. In 1937, the family moved to England Station in rural Ashland County where they had purchased a farm. John attended a one-room schoolhouse until the eighth grade and graduated from Ashland High School in 1943. Upon graduation, he enlisted in the US Navy where he received his commission in 1944 after attending Oberlin College and Illinois State University in Normal, Illinois. On November 24, 1945, John married Nona Harriet Powers in San Francisco, CA where he was stationed during World War II. Upon his discharge in 1946, John and Nona returned to the family farm in England Station where they raised their family of six sons and two daughters. John and Nona also opened their home to several foster children throughout the years.

 

John made a life and a living primarily on the family farm. During his lifetime he sold seed corn and was a dairy and grain farmer. John learned to fix anything and always had a spare part or tool and some words of wisdom when anyone needed them. He farmed in some capacity into his nineties. He also was a Broker/Realtor at his son’s real estate company, JC Meyer Realtors. He earned many awards as a Realtor including Salesman of the Year and the coveted Realtor of the Year from the Ashland Board of Realtors.

 

Having a strong sense of community, he served as a 4-H advisor for 25 years, a Montgomery Township Trustee for 20 years, an Ashland County Fair Board Director for over 30 years, and held many positions, including Board President, with the Ashland Board of Realtors. He was a long-time member of the Ashland Dickey Church of the Brethren and was a proud World War II Veteran.

 

John was preceded in death by his son John (JC) in 2002 and his wife Nona in 2009. He is survived by his children and their spouses: Chris and Sharon Meyer (Ashland), Rex Meyer (Ashland), Paul and Kris Meyer (Gold Hill, Oregon), Mary and Rolly Cox (Ashland), Dewey and Karen Meyer (Polk), Ann Davis (Olivesburg), Dan and Terri Meyer (Ashland) and daughter-in-law Sue Meyer (Jeromesville). He will also be deeply missed by 17 grandchildren, 27 great-grandchildren and 5 great great-grandchildren. A loving dad and grandpa, he enjoyed keeping up with the goings-on of his large family and his kitchen table became the family meeting place.

 

A Celebration of Life memorial service will be held on Sunday, October 11, 2020 at 1 PM at the Ashland Dickey Church of the Brethren with Pastor Jeff Messner officiating. The family will greet guests at the church one hour prior to the service and again after the service at the family farm. At the church, the sanctuary will be reserved for the family, but guests can watch the service in the downstairs hall or can listen to the service in their vehicles in the church parking lot. Burial will immediately follow the service in the Dickey Church Cemetery and then all are welcome to return to the family farm for a meal and further visitation with the family. Memorial contributions, if one wishes to do so, can be made to the Ashland Dickey Church of the Brethren 1509 Township Road 655 Ashland, OH 44805.

 

Ed comment:

 

With the passing of John Meyer only three members of the 1946 Carthage Cardinals remain, to my knowledge. They are former big league hurler Cloyd Victor Boyer, long-term Pennsylvania State Representative William Eckensberger Jr. and Thomas Wardner Crossley from Hilliards, Ohio who now resides in Florida. For those who fact check these reports be aware that Crossley’s Sporting News player card had his middle name as Warden, as did I, until some further research was undertaken. Crossley was released by the Cardinals at the end of 1946 and he signed with the St. Louis Browns and was with their Pittsburg, Kansas KOM league affiliate in 1947.

 

One player from the 1946 Carthage club was never located. That was Louis Robert Cloutier from Windsor, Ontario who also lived in Hull, Quebec, Canada.

____________________________________________________________________________

Robert Mack Ehrlich

www.legacy.com/obituaries/spokesman/obituary.aspx?n=rober... Photo is included in this link.

 

EHRLICH, Robert M. (Age 94) On August 31, Heaven's gates opened to welcome Robert Mack Ehrlich. Bob was born September 19, 1925 In Topeka, Kansas to parents, John Henry Ehrlich and Idamac Warner Ehrlich. He joined brother, John and sister, Mary.

 

Bob's early years were full of baseball from the time he could lift a bat until June of 1943 when he joined the Marine Corps. He served in the Pacific and was in the battles of Pelelieu and Okinawa and the Army of Occupation in Japan. He was discharged in February 1946 and that was when he met his wife-to-be Eleanor Griswold --- they met at Washburn University, Topeka, Kansas. Bob and "El" were married on November 8, 1947 (missed 73 years by two months). In 1948 they moved to Idaho where Bob attended Farragut College and Technical Institute which was located in the former Navy Base. In 1950 Bob went back into the Marine Corps and served in Korea where he was a member of the "Frozen Chosin" and received two Purple Hearts. He was discharged in 1951.

 

They lived in Topeka where Bob served on the Police Department for five years. Their daughter, Vickie, was born in 1951, followed by Bob in 1953 and John in 1957. In 1958, back to the Northwest and Coeur d' Alene where Bob was in the Panhandle Health Dept. stationed in Grangeville and Coeur d'Alene. Son, Bill joined the family in 1966 and in 1972, they moved to Whatcom County, Washington where Bob had the dream job of his life farming. They had a red raspberry ranch and he also had a woodworking shop where he built beautiful furniture and did inlay work with exotic woods. Then back to Coeur d' Alene in 2008 to be closer to family. In addition to his parents, Bob was preceded in death by brother, John and daughter, Vickie. He is survived by wife, Eleanor; children, Bob (Karen), John (Dana), and Bill (Joyce); six grandchildren; seven great-grandchildren; and one great-great-grandchild. Due to declining health, Bob lived at Legends Assisted Living for the past five years and was loved and cared for there. Hospice of North Idaho was involved in his care for the last months and his family can never thank both Hospice and Legends enough for the loving care he received. In lieu of flowers, any contribution in Bob's memory can be made to Christ the King Lutheran Church Roof Fund or Hospice of North Idaho. A celebration of Bob's life will be held at 11:00 AM on Saturday, September 19, 2020 at Christ the King Lutheran Church, 1700 E. Pennsylvania Ave., Coeur d' Alene, ID 83814. The service will be streamed on ctkcda.com Yates Funeral Home is entrusted with final arrangements. Please visit Bob's online memorial and sign his guestbook at www.yatesfuneralhomes.com.

 

Ed comments:

 

Ehrlich pitched for the 1947 Independence, Kansas Yankees. His Sporting News player card shows his activity from 1947 to 1950 at which time he was back in the United States Marine Corps and was unfortunate to have been at the Battle of the Chosin Reservoir. digital.la84.org/digital/collection/p17103coll3/id/52252/... The Sporting News card provides a great hint as to how he wound up spending the bulk of his life in Spokane, Washington.

 

In 1947 Ehrlich filled out the Baseball Questionnaire which is found at this link. It requires a subscription to Ancestry.com to access it. www.ancestry.com/imageviewer/collections/61599/images/480... When his middle name was being transcribed for the Ancestry site someone interpreted “Mack” as “Nock.”

 

Ehrlich played American Legion baseball, in Topeka, with Lee and Stokes Dodson. All three of those guys went into the Marine Corps during WWII. Lee Dodson was in the KOM League, in 1946 and the next year the trio of the Dodson boys and Ehrlich were playing professional baseball in the New York Yankee chain. Lee was with the Kansas City Blues of the American Association and Stokes and Ehrlich were hurling for the Independence, Kansas Yankees of the KOM league.

 

This link is the obituary for Ehrlich that appeared in the Lynden, Washington Times. It is included as it has a photo of him during his Marine Corps days as well as how he appeared in his senior years. www.lyndentribune.com/community/obituaries/robert-ehrlich...

________________________________________________

James Laverne Qualls==1950 Independence, Kansas Yankees

www.wilsonsfuneralhome.net/obituary/james-qualls?lud=9610...

 

On Friday morning, December the 18th the following note was received from Sparta, Illinois.

“Hi John a note to let you know Jim passed away on Tuesday. He was 89 and would be 90 Jan. 31. We were married 68 years. Thanks for everything .....Marge.”

 

Ed comments:

 

Over the years a lot of correspondence went back and forth from the Qualls family and Yours truly. James was a teammate of Bill Virdon in 1950 at Independence, Kansas. They were both Yankee minor league property at the time. However, Virdon wound up with the St. Louis Cardinals and was a Rookie of the Year a hand full of years later. Over the years Qualls became a Cardinal fan due to his proximity to St. Louis and their far-flung radio and television outreach.

 

Knowing that the Virdons had long been in touch with this source, Marge asked for the Virdons e-mail address so she could send them e-mails. However, at about that time Shirley Virdon ceased e-mailing, as she had in the past, and thus the Qualls/Virdon connection wasn’t reestablished.

 

James L. Qualls of Sparta, Illinois

January 31, 1931 - December 15, 2020

SPARTA – James L. Qualls, 89, of Sparta, passed away at 3:05 pm, Tuesday, December 15, 2020, at Sparta Community Hospital, Sparta, Illinois.

 

James was born in Jacob, Illinois, on January 31, 1931, the son of Robert F. and Dara (Moschenrose) Qualls. He married Margie “Marge” Eaton on January 16, 1953, in Piggott, AR. James was a retired Prudential Insurance Agent. He was a member of Trinity Presbyterian Church in Sparta, IL. He was a 50-year member of Hope Lodge #162 A.F. & F.M., Sparta, and an Ainad Shriner, East St. Louis, IL. James was the Chartered President of the Trico Lions Club. He was an avid golfer and achieved 5 holes-in-one! James loved flying and was a licensed pilot, loved the St. Louis Cardinals and spent some time in the Yankee’s Minor League.

 

James is survived by his wife, Margie Qualls of Sparta, IL, brother, Jerry (Lois) Qualls of Goreville, IL, and lots of loving nieces and nephews.

 

James was preceded in death by his Parents and one Sister, Pat Arbeiter.

 

James’s wishes are to be cremated and a Graveside Service at Caledonia Cemetery, Sparta, IL, will be held at a later date. Memorials may be given to Sparta Food Pantry and can be mailed to Wilson’s Funeral Home, PO Box 217, Steeleville, IL 62288. To sign the guestbook visit www.wilsonsfuneralhome.net.

 

The following link shows the Sporting News players card that was maintained for Qualls.

digital.la84.org/digital/collection/p17103coll3/id/92250/...

 

Two years ago an article featuring Qualls appeared on the Internet. Most liked it was shared at that time since the person writing this report was mentioned in it. The writer of that newspaper story got one detail incorrect but it wasn’t enough to prevent me from sharing that link, one more time. countyjournal.org/james-qualls-reflects-on-his-days-in-pr...

______________________________________________________________________________

Robert James Rose--- Leamington, Ontario

 

Bob Rose played for the 1949 Pittsburg, Kansas Browns. I was never able to verify much about him until Dec. 3. 2020. The following is an interview with him on a legacy site for Korean War veterans. There are four links like this one.

koreanwarlegacy.org/interviews/robert-j-rose/

 

If anyone who is interested can’t pull up that entire interview, in narrative format, let me know and an attempt at a miracle will be undertaken to get it to you.

_____________________________________________________________________________

A long search comes to a conclusion.

 

Back in the days when KOM league reunions were an annual event there was always a name or two that was bandied about by former teammates of a player that hadn’t been located. One name always came up when speaking with Brandy Davis who played not only for the Bartlesville Pirates but also the Pirates whose home was Forbes Field in Pittsburgh, Pennsylvania during that era.

 

Each year Davis would ask if there was any trace of Bill Phillips who caught for the 1951 team of which Davis was a member. The years passed swiftly and in June of 2005 Davis departed this realm not knowing of his former teammate’s fate.

 

Over the next 15 years the search didn’t cease in locating Phillips or to learn of his fate. For all the years of searching the name of William Eugene Phillips born July 7, 1931 in Terre Haute, Indiana nothing appeared.

 

In looking at his Sporting News player card it showed that he had filled it out as Bill Eugene Phillips. digital.la84.org/digital/collection/p17103coll3/id/105253... That name was not found in Terre Haute but there was a reference to an obituary of a lady by the name of Jeanine Phillips. Following the “bouncing ball” quick fingers took me to her grave marker and there was the name of her husband. The first reaction was “Oh, no.” Then, looking closer the name “Bill Eugene Phillips” was on the marker, along with his birthdate but no death date. In reading her obituary I found Jeanine had been married to a Bill Eugene Phillips on February 27, 1954 and she passed away on May 2, 2008 and her husband survived her

images.findagrave.com/photos/2014/20/123850477_1390333718...

 

At this juncture it was pretty obvious Mr. Phillips is alive. A few clicks of the Internet searching for Bill Eugene Phillips turned up an address for him in Florida. That would be great news to share with his former 1951 Bartlesville teammate but there aren’t that many remaining who would recall the name. Brandy Davis and Ronnie Kline would have remembered him but they are no longer around. Phillips caught Kline, the future big leaguer, a number of times in 1951.

____________________________________________________________________________

Glen Gorbous’s amazing throw

 

John that is an unbelievable baseball throw. My brain cannot comprehend it. I thought I had a decent arm, but evidently not. I hope you had a good funeral for butterball and all who attended enjoyed. Wishing you and Noel a very blessed Christmas. Look forward to your great stories next year. Take care. Don Papst—Chanute, Kansas

 

Ed comment:

 

Well butterball was the theme of a note shared with a few people prior to Thanksgiving. If you missed it here it is. “Thanksgiving. We've been told that only six people are allowed to meet for Thanksgiving Day, but 30 people for a funeral. With this, I announce that we will be holding a funeral for our pet turkey named "Butterball" who will pass away on November 26, 2020. Refreshments provided. In lieu of flowers, please bring a side dish.”

 

On the subject of the throw by Glen Gorbous the Guinness Book of World Records at the time listed it at 445’ 10”.

 

From Portland Univ. Hall of Fame baseball coach regarding Gorbous

 

This note is relative to Glen Gorbous and his GREAT throwing arm. We were teammates in 1950 in The Arizona-Texas League. I coached Dale Murphy and I always compared his arm to Glen’s...both arms were unbelievable!. Howie Haak, Dodger scout, signed me in 1948...keep up the Great job! Kindest regards. Jack Dunn

 

A link to the Gorbous throw. albertadugoutstories.com/2017/08/02/alberta-kid-with-an-a... The throw was on August 1, 1957 when Gorbous was playing with the Omaha, Nebraska Cardinals.

____________________________________________________________________________

Recalling youthful days.

 

Enjoyed your news on the KOM players. Like many Carthage kids I still remember some of the 18 year old kids who played back in those days!! Have a great Christmas and stay safe. Merle Southern—Antarctic geologist among other things

 

Ed reply:

 

Thanks for the note. Those guys gave us a lot of lasting memories. Back then we thought they were older than they were.

____________________________________________________________________________

ACKKKKKK

 

An e-mail was received from a Kansas reader who had this reaction regarding a statement made in Nick Stefano’s about his love of two items of food. Although, I think he never ate them on the same plate that is the image the writer of the note had in mind when he wrote “Black licorice and ravioli ?!? ACKKKKKK !!!!!! Jeff Simpson

________________________________________________

Reaction to not having regular doses of FR

 

John, I know for sure I will be in the hospital within two weeks, all because of this new mysterious disease named appropriately, FR LOST-----so please do not cease completely, my old ticker can’t handle the shock. Casey--Always remember Once a Gorilla, Always a Gorilla------------1966 here!!!!

 

Ed comment:

 

Each time it is mentioned these Flash Reports have about run their course there are two, maybe three people who stir from their slumber and urge its continuance. Thus, I guess Casey, the Gorilla, is responsible for this attempt at informing and entertaining. The Gorilla is the mascot of the Pittsburg, Kansas State University. Usually, Casey spends the autumn of each year following the football team but in this past football season the Gorillas lost every game to the Chinese Covids.

________________________________________________

Former Dodger moves.

 

(We) just wanted to let you know that we have moved into a Senior apartment. Not much fun during this time of Covid. Mailing address is: 13801 East Yale Ave. apt 131, Aurora, Co

80014. Haven't lived in an apartment for over 50 years. The house is being sold to pay rent. Unbelievable how much it costs in Colorado. Have a wonderful Christmas season. Thank you for all you have done over the years. Take care. Pat Crandall—Wife of Harry Crandall 1950 Ponca City Dodgers

________________________________________________

News received on Christmas eve

 

John, it's with a heavy heart that I write to tell you that Dad passed away peacefully on Monday. His grandson Josh did a great job of taking care of Dad, although I have to admit Dad got a little combative at the end because frankly, he was ready to go and didn't want to be messed with.

 

One of my attempts to change his shirt ended with me being called a "Chicken Batter." Well, Mom and Dad only had me as a back-up scorekeeper, I'm sure. I was with him at the end, and for all the rude baseball catcalls, he went very peacefully. He was cremated in his best overalls with his Red Man and his harmonica in his pocket. No services, but he and Mom will be placed in the columbarium at Leavenworth National Cemetery in the spring. John, thanks for all your friendship with him and your hard work on the KOM league remembrance, that was a big part of Mom and Dad's later years. Here is the link to his obituary in The Star today, and please forgive me if I stated a few things not quite right:

 

www.legacy.com/us/obituaries/kansascity/name/warren-listo...

 

Warren T. Liston

 

October 31, 1926 - December 21, 2020

 

Kansas City, Kansas - Warren Thomas Liston, 94, of Kansas City, Kansas, died Monday, December 21, 2020, at the home. He was born in Kansas City, Kansas, on October 31, 1926, to Lloyd and Edna Liston. He graduated from Wyandotte High School and covered high school sports for the school's newspaper, The Pantograph, and also was a student sports reporter for The Kansas City Star. He was mobilized from the army's basic training at Camp Roberts, California, to the Philippines after the Japanese surrender and then was sent to Korea. After his military service, he attended Kansas City, Kansas, junior college and played on its baseball team.

 

He played for several teams in the Ban Johnson League and also played professional Class C and D baseball in the Kansas Oklahoma Missouri (KOM) league in Iola, Kansas; Miami, Enid and Blackwell, Oklahoma, and was active in the KOM's old-timers' reunion association. He coached several youth baseball teams and ended his baseball-playing career at the age of 61 in the Western Missouri Amateur Baseball Association. He was a reporter/photographer for The Kansas City Star's Kansas City, Kansas, office, covering local police news and sports, and later worked for The Kansas City Kansan newspaper. He married Delores Olive Sheppard in 1952 and the couple celebrated their 66th anniversary before her death in 2018. He was also predeceased by his parents; sisters Catherine, Barbara and Linda Kay; brothers Robert, Vernon, Jerry and Donnie. He is survived by his brother Richie of Kansas City, Kansas; brother Vance of Basehor, Kansas; eldest son Jeffrey and wife Jan of Boise, Idaho; daughter Jennifer and husband Greg Sherwood of Olathe, Kansas; son Dan and son Tom and his wife, Jeanne, all of the Sun Valley area, Idaho; son Alan and grandson Josh of Kansas City, Kansas, grandson Nick, and two great-grandsons. Cremation. Private services with inurnment in Leavenworth National Cemetery in the spring. The family suggests donations to The Hunger Coalition, 121 Honeysuckle St., Bellevue, ID, 83313, or thehungercoalition.org/act/donate/. Play ball!

 

Ed comment:

 

Warren Liston is a person who I could fill notebooks about. However, to those who knew him would quickly figure out any remarks made here would not do him justice. Thus, the only thing I’m going to share at this point is a note sent to Jack Morris of the Society of American Baseball Research—Necrology Section. “This one is a tough one to report. Warren was one of a kind. He and his wife would follow my travels anywhere I would appear in the Mid-America (KC metro) to talk about the KOM league. Wherever the appearance took place Warren would be in his overalls accompanied by his Red Man tobacco pouch and harmonica. He was a beat writer for the KC Star and when he left he still had a lot of typing paper remaining. He used that yellowed paper for his "Hunt and peck" messages to me, pounded out on a very old Underwood typewriter. Those letters were classic and were used in many of the paper newsletter I published for 17 years.”

 

Shortly after hearing of Liston’s death from his daughter this e-mail was received from Kansas City. It fits well with what is stated in the previous paragraph about the Liston’s attending any function dealing with the KOM league. “I am sure you know this John but just came in from getting today's KC Star and skimmed and saw obit for Warren Liston. Have not read entirely but see it says he was 94. He was in attendance that Saturday many years ago at the Red Bridge Library in KC. Mo when my son and I met you for the very first time. So sad to see.” Casey Casebolt

 

Also reading the Kansas City Star obituaries on Sunday, December 27, 2020 was former Kansas City A’s batboy from the mid-50’s, Jim Jay. He shared this comment “Saw in the STAR that Warren Liston at 94 passed away. He was a character and a good man. I liked the man.”

 

Shortly after hearing from Jim Jay a note was received from Bill Ashcraft who will be identified in this paragraph by the note he sent. What the note doesn’t reveal is he was one of the earliest Federal Narcotics agents, forerunner to the DEA, and his supervisor was my first cousin. I mention that since there is a reader of these reports who is the daughter of my first cousin which makes her my second cousin (dah). That is mentioned for it is essential to share material that keeps as many people as possible coming back each time these reports are prepared to see if there is anything, of interest, included. This is the note from Ashcraft. “John: You are probably aware of this but in the event you’re not: The KC Star’s 12-24-2020 edition reported that Warren Liston, a former KOMer had died on 12-21-2020. He was born in 1926 four years older than me. I only was with Iola for about 10 days in 1950 before being sent on to Ada (Ed note: Sooner State league) but Windy Johnson had me pitch relief in 3 games in a row and my arm was quite sore. I could never pitch even one inning without having a heckuva sore arm the next day.

 

At any rate Johnson had me come in in relief the first night I was in Iola, against Chanute. I could throw quite hard at the time and the first batter I faced was a big guy, whose identity I had no idea of, was a fellow named Newkirk and I threw him about 6 or 7 pitches, one quite close to his head and he glared at me before striking out on the next pitch over his head. The next batter was Sam ?, seems like it was Dixon (Ed note: It was), and he grounded out. When I got to the bench Warren Liston told me that the guy I had almost hit was somewhat hot headed and probably thought that I had intentionally thrown at him-so I had better watch out since I was due to bat. As it turned out we got a man on and Johnson pinch hit for me, thus averting retaliation. (Sorry to bore you with my inconsequential trivia--not about Liston of course). I only met him once but he seemed like a good guy.” Bill Ashcraft--Overland Park, Ks.

________________________________________________

Chanute player from 1950 passed away

 

Donald David Mitroff www.rosehills.com/obituaries/whittier-ca/donald-mitroff-7...

DECEMBER 17, 1928 – JANUARY 20, 2018

Donald David Mitroff - Was born on December 17, 1928 in Anaheim, CA and passed away on January 20, 2018 and is under the care of Rose Hills Memorial Park.

Ed comment:

There is nothing more frustrating, for the purposes of writing reports, than to find an obituary listed with very little information included. That is when this old guy has to “create stuff.”

 

Over the years the communication lines were open with the former infielder for the Chanute Athletics in 1950. He was with the club for a couple of weeks but loved his team and the town. This is his Sporting News player’s card. digital.la84.org/digital/collection/p17103coll3/id/152037... He was originally in the Pittsburgh Pirate organization in 1949 at Greenville, Alabama and then wound up with the Cleveland Indian organization to start the 1950 season at Daytona Beach. After 80 games in the Sunshine state he was off to play for Chanute, Kansas which was an unaffiliated club.

 

At this point I take exception to the obituary birth site listed at the start of this article. Mitroff was born on the date cited but in Lorain, Ohio not Anaheim, California. His Lorain address was 314 E.27th Street and he attended high school in Lorain and played basketball and football as well as baseball. He was a 6’ 185 athlete who was signed by the Pittsburgh Pirates following his graduation from Lorain High School. During his high school days he played amateur baseball for the National Tube Company that was located in his home town.

 

For the baseball scholars who search these reports for accuracy let it be known that when he filled out his Baseball Questionnaire on July 22, 1950 for the group in San Mateo, California he listed his birth year as 1930 for obvious reasons.

Anaheim was his place of residence for the many years we corresponded. Even for a fellow who had less than three weeks in the KOM league he loved reading about the exploits of the old league and he subscribed to the newsletters for the entirety of its existence.

________________________________________________

Richard Allen Hibbeler --November 6, 1928 - April 15, 2017

hutchensfuneralhomes.com/obituary/richard-allen-hibbeler/

 

Richard A. (Dick) Hibbeler, of Florissant Missouri, fortified with the Sacraments of Holy Mother Church, Saturday, April 15, 2017

Beloved husband of Frances M. Hibbeler; dear father and father-in-law of Rick (Valerie) Hibbeler, James (Dorothy) Hibbeler, Steve (Margaret) Hibbeler and Gregg (Carrie) Hibbeler; dear grandfather of Ryan (Holly, Kelly (Tanner) Julie (Chris), Jim, Susan (Jonathan), Michael, Christine (Jon), Andrea (Steve), Eric (Rachel), Leah, Peter, Emily, Katherine, Nicholas and Sarah; great-grandfather of 11; dear brother of Mary Jane (Tim) Sandt, and the late Donald, Charles and Kenneth Hibbeler; dear brother-in-law, uncle and friend.

 

Richard was a former standout amateur athlete who played football and basketball at North side Catholic/De Andreis High School in the 1940’s. He also played professional baseball in the old New York Giants minor league system. He signed his first professional contract at the age of sixteen and was inducted into the St. Louis Amateur Baseball Hall of Fame in 1991.

 

Richard retired from Southwestern Bell Telephone Company after 37 1/2 years, where he held a number of craft and supervisory positions. He was also active in the Fraternal Order of Eagles Alton Aerie #254 and participated in local community development affairs.

Memorials to St. Jude Children’s Research Hospital, 262 Danny Thomas Place Memphis, TN, 38105. Services will be private with his family.

________________________________________________

James Talmadge Hudson

 

www.tributearchive.com/obituaries/19250870/James-Talmadge...

 

James Talmadge Hudson, 92, died December 7, 2020. Born in Swifton, AR He was the son of the late Alvin Vohn and Lena Hancock Hudson. He was a World War II Marine Corps Veteran. Mr. Hudson was of the Lutheran faith. He enjoyed baseball and played professionally in the minor league for the New York Yankees.

 

Surviving is his wife, Carolyn Lane Hudson of Cheraw, SC, sons, James Hudson of Cheraw, SC , Mark Hudson of Palm Harbor, FL, four grandchildren and three great grandchildren.

There will be a private family visitation and service.

 

Note

 

James Hudson started with Independence, Kansas in 1948 and was then sent to Fond du Lac in the Wisconsin State league. When obtaining his release from the Yankee farm team he was signed by the New York Giants and sent to Chanute. His Sporting News player card didn’t reveal his Chanute playing days. digital.la84.org/digital/collection/p17103coll3/id/89996/... During the “revival” days of the KOM league Hudson drove to some of the KOM league cities Interestingly, he made the trip to Chanute but not Independence. He was a long term supporter of the KOM League Remembered newsletter that preceded the Flash Reports.

 

Ed comment:

 

This report carries the obituaries of Richard Hibbeler, James Hudson and Vincent Speranza who were all members of the 1948 Chanute Giants if but for fleeting moments. Of the young men who appeared on that New York Giant affiliated club, managed by Al Smith, who stopped Joe DiMaggio’s 56 game hitting streak, Daniel Dondero, Danny Bass, Richard Nolte, Anthony La Croix and Robert Harrison survive. In one of the best kept secrets one of those five guys later played in the major leagues. Yes, Robert Harrison made a quick pass through Chanute that season on his way to the Sooner State league.

________________________________________________

Vincent James Speranza

patch.com/connecticut/glastonbury/classifieds/announcemen...

 

Vincent “Gizzy” James Speranza died peacefully with his daughter by his side on January 19, 2019 at the age of 89. He had been under the care of Salmon Brook Center and Masonicare Hospice in Glastonbury, CT.

 

Gizzy is survived by his son James Anthony Speranza of Denmark, his daughter Lynn Michele “Shelly” Ruff and husband David of Fuquay Varina, N.C. and his granddaughter Sarah Speranza of Denmark along with several nieces and nephews. He is preceded in death by his parents Rocco and Nicholetta Speranza and siblings Carmelo Speranza, Lillian Speranza (Frascatore) and Fortunata Speranza (Caputo).

 

Gizzy was born on June 27, 1929 in Palmi, Italy to Rocco and Nicholetta Speranza. His family immigrated to Stamford, CT in 1930. He graduated from Stamford High School where he had been active in track, gymnastics and baseball. Gizzy’s love of baseball and natural ability as a pitcher led to his being drafted by the Brooklyn Dodgers AA team. His baseball career was cut short when he voluntarily joined the U.S. Air Force during the Korean War. He was stationed in Okinawa.

 

Gizzy loved to travel. He logged thousands of miles driving across the U.S. visiting National Parks even making it as far as Alaska. He made many stops along the way to visit family and friends. These visits were always filled with much joy, laughter and home-cooked meals. He also made many trips abroad. He enjoyed visiting his son and granddaughter in Denmark. He was also able to return to Italy to visit his birthplace and reconnect with family.

 

Over the years Gizzy had planted roots in Naples, FL and Fort Collins, CO, before settling in Glastonbury, CT in 2003 so he could live close to his daughter. Gizzy’s love of sports and health remained a priority for him. Wherever he resided he quickly joined the local gym and made many new life-long friends. His days were spent enjoying time with family and friends, caring for his “grand-dogs”, taking long walks around town, going to the gym and of course, satisfying his abundant appetite for good food and conversation.

 

Gizzy lived his life the way he wanted, carefree and happy and always tried to pass that attitude on to everyone he knew. He touched the lives of so many people in such positive ways, is greatly loved and will be momentously missed by all who knew him.

 

In lieu of flowers, please send donations to Masonicare of Connecticut.

 

I didn’t know about this when it happened. He had time with two KOM teams. When he was in the KOM league his birthplace was listed as Calibria, Italy and that he was from Stamford, Conn.

 

Ed comments:

 

Speranza made a number of stops in Kansas, Oklahoma and Texas during his career that is cited in the following link. digital.la84.org/digital/collection/p17103coll3/id/141700...

There is a possible conflict on his place of birth listed in his obituary and the one placed on his Sporting News player card. One shows he was from Palmi and the other has Calibria, Italy, I’m going to assume he was born in Palmi and moved 157 miles north to Calibria and from there his parents brought him to Stamford. CT.

_____________________________________________________________

Len Wiesner 1949 Independence Yankees

 

Wiesner, Leonard George, age 91, was baptized into the hope of Christ's resurrection, Saturday, December 5, 2020. www.schrader.com/obituary/leonard-wiesner

 

Leonard was the beloved husband of the late Elizabeth Wiesner (nee Gray), who preceded him in death in May 1988; the dear father of Barbara Wiesner, Mary (Rich) Eberhardt and Richard (Marie) Wiesner. He was also the loving grandfather (“G-Pa”) to Kaitlyn, William, Benjamin (Lisa) and Elizabeth Wiesner, Christopher (Amy) Eberhardt and Melissa Eberhardt; great grandfather to Jake and Ryan Eberhardt.

 

He was born and raised in St. Louis, a son of the late Joseph and Marie (nee Lindewirth) Wiesner. Beloved brother of the late Laverne (Ralph) Fioretti, late Joseph (Elaine) Wiesner, late Marian Duffy, late Loretta (Jake) Marquart, late Joni (Jim) Budde and Delores (Robert) Chapie. Dear uncle, cousin and friend.

 

After high school Leonard played professional baseball in the New York Yankees farm system, until serving in the United States Army during the Korean Conflict. He received his bachelor's degree from St. Louis University in 1958, and retired as an accountant after 30 years with Monsanto. He was an avid lifelong fan of the New York Yankees and St. Louis Cardinals. He also helped establish the original Metro Collegiate Baseball League in the 1980’s. In 1994, he was inducted into the St. Louis Amateur Baseball Hall of Fame.

 

Services: Funeral Mass at Christ, Prince of Peace Catholic Church, Manchester, Monday, December 14, 2020, 11:00 a.m. Interment Holy Cross Cemetery. In lieu of flowers, contributions may be made to Catholic Charities. Visitation at the church, Monday, 10-11 a.m. A service of the SCHRADER Funeral Home and Crematory. Friends may sign the family's on-line guestbook at Schrader.com.

 

Ed comment:

 

Wiesner spent a lot of time being injured during his days with the Independence Yankees in 1949 and Joplin Miners in 1950. In spite of that he was a very good hitter and loved remembering those days playing with Bob Wiesler, Mickey Mantle, Steve Kraly and Lou Skizas. Over the last few years, at this time, he would make his annual Christmas call to KOM league headquarters and ask “How many of us are still left?” Sadly, each year the number decreased and this year he missed his call by a couple of weeks.

________________________________________________________________________

Thank You John!!!

 

Thank You for all the KOM memories. I can’t imagine anyone doing more research than what you have done on anything It makes me wonder how many books all your reports would fill…..

Ed reply:

 

Books are easy to write. Selling them is the tough task. With my Flash Repots they would easily produce a half dozen good size books a year. The books may be good size but they wouldn’t be good sellers.

 

The stuff that might sell are the true stories that I know bur won’t reveal. Most of the old ball players who told them to me are now deceased but they have survivors who wouldn’t benefit one iota from them being printed. Bruce Orser in New York

____________________________________________________________________________

The Cherokee Kid returns

 

For those who subscribed to the paper newsletter that went all over everywhere and back for over a decade, the name of Billy Jack Cornsilk was very much in prominence. He came into this world in 1933 at Stilwell, Oklahoma and nineteen years later he was pitching for Boyd Bartley’s Ponca City Dodgers.

 

Cornsilk reunited with many of his former Ponca City teammates at the huge KOM league reunion, at Carthage, Mo. in 1998. That was the last time I ever saw him but he stayed in touch until recent years. For about a half-dozen years nothing was heard from him until the day after Christmas. When the telephone ran on that day I had a feeling a former ballplayer was calling even though I was addressed by a different first name. When that got sorted out Cornsilk said that he had recently moved to be near his son in the Sacramento area. That came about after he lost his wife.

 

When going through his “most treasured” belongings (I kid) he found a copy of the KOM League Remembered newsletter from a different century. He looked for a telephone number of the editor of that paper and fortunately he found that the person responsible for printing it hadn’t had a change of numbers. A very nice conversation ensued and now Cornsilk is on the distribution list of these reports as well as all the previous ones he can handle. He also asked for an update on the status of his former teammates and that has already been shared. He is well down memory lane, by now, as he goes over the names of those who still share this planet with him as well as most of his former teammates who don’t.

 

One of the most memorable stories of Cornsilk is when the paper newsletters were sent. Somehow, Furman Bisher, the legendary sports writer for the Atlanta Constitution-Journal, used Cornsilk’s name at the close of an article. That reference was noticed by a reader in the Atlanta area who was shocked to see Cornsilk mentioned. Immediately, he placed a call to Bisher and asked how he knew of Cornsilk. Bisher admitted he had only seen that name by reading a newsletter published by someone in Missouri. The caller, Ron Minnich, wanted to know if there was any way that person could be contacted and Bisher called Yours truly to see if it was okay to release the contact information. Of course, I was thrilled, for at that juncture the search was for former players was in high gear. So, Billy Cornsilk has been a valuable asset in keeping the KOM league memory alive and it is great he will be reading these reports once again.

 

For anyone wishing to know the stops on the baseball journey of Cornsilk this link provides it: digital.la84.org/digital/collection/p17103coll3/id/44591/...

______________________________________________________________________________

This is a two-prong report—this last for 2020 and the first for 2021 as the KOM League enters its 75th year of being in the hearts and minds of a few people.

 

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

This relates to the Shock of the New Challenge "GAMES" that ended on October 14, 2019!

 

It's October 15, and time to vote!!!

 

www.flickr.com/groups/shockofthenew/discuss/7215771082105...

There are many ways in which a why question can be answered. The word itself relates to a questioning, reasoning, exclamation. A pause in the life to point something out or draw attention to the extraordinary in some way.

 

Why can be both up and down. Why can evoke purpose, passion and spark ideas, new thoughts, new action.

 

But sometimes a why is confused. Sometimes a why is both hopeless and helpless. Sometimes the rest of the world looks on with a why so big it changes everything.

 

On Thursday 3rd September 2015, The Independent newspaper in the UK printed a full page colour photograph as it's lead story. The image was of a 3 year old Syrian refugee called Alan Kurdi, he was lying facedown at the edge of the Aegean sea whilst a Turkish Officer Sgt. Major Mehmet Ciplak was approaching him, about to discover Alan had drowned at sea along with his mother Rehanna and his 5 year old brother Ghalib.

 

Damian sent me the photo by messenger. He just wrote "I can't stop crying". As soon as I saw it, I had the same reaction. An utter despair of "He is a baby, he never asked for this, he is alone, where is his mum?" and then the comparisons, of all the children that represents for us personally. And the horror that confronts us all- he is a fellow human being and he reached 3 years old before his life was cut short because the water overpowered him. He was in the water because he hasn't been afforded the security of a safe place to call home because Syria is a warzone and so his family were forced to take steps to escape.

 

The BBC have written a very good article about the power of the photograph and why it cut through the world both vividly and viral. www.bbc.co.uk/news/world-europe-34150419

 

And so we are left to reconcile our own thoughts to this. I have read and heard so many different points of view but I am increasingly frustrated by those who claim to assert the position of ''we are full up''. Just because we are born into a lifestyle and a country does not mean that by default WE own it all. Equality for all will only exist when diversity and inclusive thinking exists across the masses and doing the right thing means stepping in and helping out before a baby washes up on the shores of Turkey.

 

As part of the article by the BBC, Will Wintercross (an award-winning war photographer for the Daily Telegraph) makes the comment:

 

"Pictures like this are taken all the time, but not necessarily filed all the time because they are so graphic," he says. "Most will hardly ever be seen by anyone."

 

"In Syria you see so much that's gory that you start to filter out what's not worth photographing ... You just know some pictures will never be used."

 

This really just underlines my own thoughts and feelings towards photography- it must be relevant and real. Whether that be joy, or sadness, pleasure or pain. I am sure there are 1000 Alan's whose deaths have all mattered and counted. When we see a neat little bar chart of filtered statistics we are unable to SEE the true horror existing in the lives of people on the same planet as us. These photos must be taken, no matter if no one has the courage to publish them, they need to represent, remember and announce to the world that this life happened.

 

I am using this self-portrait to enter the SNAP photo festival (#snapphotofest) competition.

www.snapphotofestival.com/

 

I feel that I have reached a place where I am ready to go beyond evoking a feeling and an idea, a smile or an emotion and I now want to take my photography to the level of making it matter. Because people matter. Because their lives matter. Because there is something within me that drives me harder, makes me think further and makes me question WHY to everything I see and I need to find a way of connecting the dots and organising my thoughts enough to make that move.

Nikon F100 Nikon AF Nikkor 70-210mm f/4 PanF DDX 1+4 12/18/2025

Visiting Dyce Military Cemetery Aberdeen Scotland today Sunday 13th Of January 2019, I found a number of hand painted stones placed on the Cross Of Sacrifice, it is the first time I have viewed any personal items reflecting thoughts of remembrance other than flowers or wreaths at a commonwealth grave cemetery.

 

Hand painted and personally placed on the Cross Of Sacrifice by unknowns who appreciate those who gave the ultimate sacrifice moved me , hence I captured a number of photo’s to archive the scene .

 

There are ten German graves in Dyce Cemetery. It is assumed that all of them relate to Luftwaffe personnel.

 

They are the crews of three aircraft which failed to make it back after missions over Aberdeen.

 

Aberdeen was the most frequently bombed city in Scotland. It was attacked 34 times and 178 people were killed.

 

The heaviest attack was on 21st April 1943. In a pre-planned air raid 25 Dornier 217s of the Kampf-Geschwader Group 2 swept into Aberdeen from the north of the city as dusk fell causing damage in the Woodside, Hilton, Cattofield, Kittybrewster and George Street areas.

 

The toll was heavy : 98 people were killed and a similar number seriously injured.

 

Dyce airport was a Royal Air Force station during the 1939-1945 War, and an extension on the western side of the old churchyard was chosen by the authorities for the burial of casualties from the air station.

 

Only airmen are buried in this reserved plot.

 

There is 1 Commonwealth burial of the 1914-18 war in the churchyard.

 

There are a further 45 of the 1939-45 war, 1 being an unidentified airman of the R.A.F. There are 11 Foreign National war burials and 4 non-war Service burials here.

 

The Cross of Sacrifice is a Commonwealth war memorial designed in 1918 by Sir Reginald Blomfield for the Imperial War Graves Commission (now the Commonwealth War Graves Commission). It is present in Commonwealth war cemeteries containing 40 or more graves. Its shape is an elongated Latin cross with proportions more typical of the Celtic cross, with the shaft and crossarm octagonal in section. It ranges in height from 18 to 24 feet (5.5 to 7.3 m).

 

A bronze longsword, blade down, is affixed to the front of the cross (and sometimes to the back as well). It is usually mounted on an octagonal base. It may be freestanding or incorporated into other cemetery features.

 

The Cross of Sacrifice is widely praised, widely imitated, and the archetypal British war memorial. It is the most imitated of Commonwealth war memorials, and duplicates and imitations have been used around the world.

  

The Imperial War Graves Commission

 

The First World War introduced killing on such a mass scale that few nations were prepared to cope with it. Millions of bodies were never recovered, or were recovered long after any identification could be made. Hundreds of thousands of bodies were buried on the battlefield where they lay. It was often impossible to dig trenches without unearthing remains, and artillery barrages often uncovered bodies and flung the disintegrating corpses into the air.

 

Many bodies were buried in French municipal cemeteries, but these rapidly filled to capacity. Due to the costs and sheer number of remains involved, Australia, Canada, India, Newfoundland, New Zealand, South Africa, and the United Kingdom barred repatriation of remains.

 

Fabian Ware, a director of the Rio Tinto mining company, toured some battlefields in as part of a British Red Cross mission in the fall of 1914.

 

Ware was greatly disturbed by status of British war graves, many of which were marked by deteriorating wooden crosses, haphazardly placed and with names and other identifying information written nearly illegibly in pencil. Ware petititoned the British government to establish an official agency to oversee the locating, recording, and marking of British war dead, and to acquire land for cemeteries. The Imperial War Office agreed, and created the Graves Registration Commission in March 1915. In May, the Graves Registration Commission ceased to operate an ambulance service for the British Red Cross, and in September was made an official arm of the military after being attached to the Royal Army Service Corps.

 

During its short existence, the Graves Registration Commission consolidated many British war dead cemeteries. Ware negotiated a treaty with the French government whereby the French would purchase space for British war cemeteries, and the British government assumed the cost of platting, creating, and maintaining the sites. Over the next few months, the Graves Registration Commission closed British war dead cemeteries with fewer than 50 bodies, disinterred the bodies, and reinterred them at the new burying grounds. The Graves Registration Commission became the Directorate of Graves Registration and Enquiries in February 1916.

 

As the war continued, there was a growing awareness in the British Army that a more permanent body needed be organized to care for British war graves after the war. In January 1916, the prime minister H. H. Asquith appointed a National Committee for the Care of Soldiers' Graves to take over this task. Edward, Prince of Wales agreed to serve as the committee's president. The committee's membership reflected all members of the British Commonwealth (with a special representative from India).

 

Over the next year, members of the National Committee for the Care of Soldiers' Graves began to feel that their organization was inadequate to the task, and that a more formal organization, with a broader mandate, should be created. The idea was broached at the first Imperial War Conference in March 1917, and on 21 May 1917 the Imperial War Graves Commission (IWGC) was chartered . Lord Derby was named its chair, and the Prince of Wales its president.

 

The same month he was appointed to the senior architects' committee, Blomfield accompanied Lutyens and Baker on a tour of French and Belgian battlefields.

 

Designing the Cross of Sacrifice

 

Kenyon, Baker, and Blomfield all submitted cross designs to the senior architects' committee. Kenyon submitted two draft designs, one for a Celtic cross and one for a medieval Christian cross (both typically found in old English cemeteries). Baker, who had advocated the cemetery theme of "crusade" since July 1917 and (according to Goebel, was "obsessed" with the idea), submitted the design of a stone Christian cross with a bronze longsword (called a Crusader's sword by Baker) on the front. His design, which he called the "Ypres cross", also included a bronze image of a naval sailing ship, emblematic of the Royal Navy's role in winning both the Crusades and the First World War.

 

Blomfield, on the other hand, took a different approach to the cross. He rejected Kenyon's design, arguing that "runic monuments or gothic crosses had nothing to do with the grim terrors of the trenches." Blomfield wanted a design that reflected the war, which had stripped away any notions about glory in combat and nobility in death on the battlefield. "What I wanted to do in designing this Cross was to make it as abstract and impersonal as I could, to free it from any association of any particular style, and, above all, to keep clear of any sentimentalism of the Gothic. This was a man's war far too terrible for any fripperies, and I hoped to get within range of the infinite in this symbol..." His design featured an elongated cross of abstract design, on the front of which was a bronze longsword, blade pointed downward. It was intended to be an overtly Christian symbol, in contrast to Lutyen's Stone of Remembrance (which was purposefully stripped of any such associations). Blomfield drew the inspiration for the sword from a sword which hung in his home in Rye.

 

The senior architects' committee quickly endorsed the Blomfield design. The committee considered adding text to the base or steps of the cross, but rejected this idea.

In order to ensure that the architects' ideas for Commonwealth cemeteries worked well in the field, the IWGC decided to fund the construction of three experimental cemeteries Le Tréport, Forceville, and Louvencourt. The goal was to determine how expensive the cemeteries were likely to be.

 

The model cemeteries were designed by Baker, Lutyens, and Blomfield, and began construction in May 1918. Due to problems with construction, none were complete until early 1920, six months later than planned. Each model cemetery had a chapel and shelter, but no Stone of Remembrance or Cross of Sacrifice. Nevertheless, even without these major additions, the cemeteries were too expensive.

 

The model cemeteries experiment changed the way the Stone of Remembrance was placed in cemeteries, and almost changed the design of the Cross of Sacrifice itself. To reduce costs, Blomfield offered to design a wide variation of Crosses, many of which were less costly than the original design. But the committee of senior architects rejected his offer. What became apparent with the experimental cemeteries is that a full-size Cross or Stone was appropriate only for the largest cemeteries. Mid-size and smaller cemeteries needed smaller memorials. Blomfield quickly designed two smaller-sized Crosses to accommodate this need. But Lutyens refused to allow anything but a full-sized War Stone (12 feet (3.7 m) in length and 5 feet (1.5 m) in height) to be used.

 

Subsequently, and partly as a cost-saving measure, no Stone of Remembrance was erected in a cemetery with fewer than 400 graves. Budgetary issues also led the committee to agree that shelters should be forgone in any cemetery with fewer than 200 graves.

 

The model cemeteries experiment also helped the architects decide where to place the Cross of Sacrifice. As early as 1917, Lutyens and Kenyon had agreed that the War Stone should be in the east, but facing west. (All graves were supposed to face east, facing the enemy, although many of the earliest cemeteries had graves facing in other [sometimes in many different] directions.)

 

The initial idea was to have the Cross of Sacrifice be in opposition to the Stone. In practice, however, the placement of the Cross of Sacrifice varied widely.

 

The model cemeteries experiment also had one other effect, and that was to make Blomfield's design for the cross the only one ever used by the IWGC. The original intent of the senior architects had been to allow each junior architect to design his own cross for his own cemetery. But Blomfield's design proved so wildly popular that the decision was made to implement it as a standard feature in all cemeteries.

 

The formal adoption of Blomfield's Cross of Sacrifice, and the concepts regarding its placement, position, and use, were outlined by Kenyon in a report, A Memorandum on the Cross as Central Monument, submitted in January 1919 as an addendum to his November 1918 main report.

 

About the Cross of Sacrifice

 

Cross of Sacrifice at Eindhoven, Netherlands.

According to Fabian Ware, the name "Cross of Sacrifice" arose spontaneously from an unknown source, and attached itself to the cross.

 

The Cross of Sacrifice is carved from white stone.[61][58] This is usually Portland stone,[62] but it is sometimes granite[63] or any type of white limestone commonly found in France or Belgium. In Italy, Chiampo Perla limestone was used.[65] The proportions of the cross, with short arms close to the top of the shaft are similar to some Celtic crosses, the crossarm being one-third the length of the shaft (as measured from the point where the shaft emerges from the base).

 

The cross consists of three pieces: The shaft, from base to crossarm; the crossarm; and the upper shaft, above the crossarm. The crossarm is fastened to the lower and upper shaft by two bronze dowels. A joggle (a portion of the shaft which extends into the base, acting as a joint) about 6 inches (15 cm) long extends into the base, where it is secured by another bronze dowel. The shaft and crossarm are both octagonal in shape, and the shaft tapers slightly as it rises to give the cross entasis.

 

On the large size version, there are three plain mouldings on the shaft near the base, often reduced to one in smaller sizes, and the three extremities of the cross finish at a plain moulding projecting sideways from the main element. The crossarms are sometimes irregular octagons in section, with four wide faces at front, back, top and bottom, and four shorter faces in between them.

A stylized bronze longsword, point down, is fastened to the front of the cross.[66] The cross is designed so that a second bronze sword may be fastened to the rear as well. The sword is positioned so that the crossguard on the sword matches where the cross' shaft and crossarm meet.

 

The Cross of Sacrifice originally came in four heights: 14 feet (4.3 m), 18 feet (5.5 m), 20 feet (6.1 m), and 24 feet (7.3 m).[43] Sizes up to 30 feet (9.1 m) are now permitted,[67] although sometimes even larger versions are allowed. As of 2012, the largest Cross of Sacrifice in the world was the 40-foot (12 m) high marker at the Halifax Memorial in Halifax.

 

The Halifax Memorial's Cross of Sacrifice

 

The shaft is fastened to an octagonal base. The size of the base varies, according to the height of the shaft, but the 24-foot (7.3 m) high cross has a base 15 feet 6 inches (4.72 m) in diameter.[69] This largest base weighs 2 short tons (1.8 t).[58] The base usually sits on three octagonal steps.[58] This can vary, however, depending on the height of the cross, its placement in the cemetery, and whether it is part of some other cemetery element.

 

The position of the Cross of Sacrifice in Commonwealth war cemeteries varies depending on a wide range of factors. Many cemeteries were laid out haphazardly during the war. The role of the junior designing architect was to determine the position of the Cross (and Stone of Remembrance) in relationship to the graves.[57] Most cemeteries had two axes—a main axis and an entrance axis, or a main/entrance axis and a lateral axis. An overriding guiding principle was that the War Stone should be the focus of the cemetery.

 

The Cross of Sacrifice, however, usually functioned as the primary orienting feature of the cemetery for visitors, due to its height. In hilly areas, the architect had to ensure that the cross was visible from the road or path. (This was far less important in flat areas, obviously.) When a road passed directly by the cemetery, the cross usually was placed near the road and the entrance to the cemetery associated with the cross. These design considerations meant that the Cross of Sacrifice could be placed in a wide variety of places. Sometimes it was situated next to the War Stone, and sometimes in opposition to it. In some cases, the Cross of Sacrifice was placed in a distant corner of the cemetery, so that its relationship to the Stone of Remembrance was not clear.

 

It was not necessary for the Cross of Sacrifice to stand alone, either. In some cases, it was incorporated into a wall or benches.

 

The placement of the Cross of Sacrifice affected other elements of the cemetery. The architect's choice of buildings to erect—double shelters, galleries, gateways, pergolas, sheltered alcoves, or single shelters—depended on the location of the War Stone, the Cross of Sacrifice, and the size of the cemetery.

 

The cross at Tyne Cot Cemetery near Ypres, Belgium, was incorporated into a pillbox.

 

A Cross of Sacrifice was erected in almost every Commonwealth war cemetery. Subsequent Commonwealth War Graves Commission policy has erected the cross Commonwealth war cemeteries with 40 or more graves.

 

There were only a handful of exceptions. No cross was erected in cemeteries which held a majority of Chinese or Indian graves.

 

In Turkey, no cross was erected in order to accommodate local Muslim feelings. Instead, a simple Latin cross was carved into a stone slab, which was placed at the rear of the cemetery. In Macedonia, a cairn was used in place of a cross to reflect the local custom.

 

In the several Commonwealth cemeteries in the mountains of Italy, Blomfield's design was replaced with a Latin cross made of rough square blocks of red or white stone.

 

It is unclear how much it cost to manufacture a Cross of Sacrifice. Generally speaking, however, the cost of building a cemetery was borne by each Commonwealth nation in proportion to number of their war dead in that cemetery.

 

While generally considered a beautiful design, the Cross of Sacrifice is not a robust one. The artwork is susceptible to toppling in high wind, as the shaft is held upright only by a 6-inch (15 cm) long piece of stone and a single bronze dowel. Should the stone joggle or dowel break, the shaft topples.

 

This problem quickly became apparent in Europe, where a large number of the crosses fell in high winds in the 1920s and 1930s. At one point, the Imperial War Graves Commission considered suing Blomfield for under-designing the artwork, but no lawsuit was ever filed.

 

Vandalism has also been a problem. Crosses of Sacrifice have been smashed or the bronze swords stolen, with the vandalism being particularly bad in the 1970s.

 

The Cross of Sacrifice is considered one of the great pieces of war-related art. Its enduring popularity, historian Allen Frantzen says, is because it is both simple and expressive, its abstraction reflecting the modernity people valued after the war.

 

Fabian Ware argued that its greatness was because its symbolism is so purposefully vague: To some, it is a Christian cross; to others, the stone is irrelevant and the sword itself is the cross; and to others, the artwork symbolizes those who sacrificed their lives to the sword.

 

The theme of sacrifice is commonly seen in the piece. Jeroen Geurst points out that Lutyens' War Stone unsettlingly brings to mind images of soldiers sacrificed on the altar of war, while Blomfield's cross speaks about self-sacrifice and the saving grace of Jesus Christ's sacrifice.

 

The sword has drawn praise as well. Frantzen notes that the sword can be both an offensive and defensive weapon, which mitigates against an interpretation of the Cross of Sacrifice as a glorification of war.

 

The sword also incorporates elements of chivalry, which was an important value to officers and men during the war.

 

Historian Mark Sheftall agrees that the sword evokes chivalric themes, and argues that by combining the religious and the chivalric with the classical Blomfield created "a single powerful image".But the military element has also been criticized. Geurst argues that one may interpret the sword as implying that the Great War was a religious crusade—which it most certainly was not.

 

The impact of the Cross of Sacrifice on war memorialization is difficult to underestimate. The IWGC considered the artwork a "mark of the symbolism of the present crusade". Cemetery historian Ken Worpole argues that the Cross of Sacrifice "became one of the most resonant and distinctive artefacts in British and Commonwealth war cemeteries, following the end of World War One."

 

First World War historian Bruce Scates observes that its symbolism was effective throughout the Commonwealth, despite widely disparate cultural and religious norms.

 

Historians agree it is the most widely imitated of Commonwealth war memorials,and Sheftall concludes that it has become the archetypal example of Great War commemoration in Britain.

Bartolomeo Pinelli (1771-1835) - Telemachus Relates His Adventures to the Goddess Calypso, from The Adventures of Telemachus, Book 1 (1815)

 

www.artic.edu/artworks/17971/telemachus-relates-his-adven...

Tom J Newell’s elephant, entitled The Beat Goes On, references imagery relating to Lizzie, the elephant employed to work at Sheffield Steel Works during World War One. Tom elephant weaves abstract shapes and patterns representing steel, with iconography of Indian elephant and culture. He also used to his design as an opportunity to reference the travelling circus from which Lizzie originated.

 

Designed by: Tom J Newell

Tom J Newell is an artist, illustrator, record collector and turntable tinkering DJ who has worked and exhibited internationally with his intricately hand drawn black and white artworks. Tom is head designer at Twisted Burger Company, paints murals for The Kraken Rum, plays records at his weekly SHOWBOAT event at Picture House Social, and is sponsored by Posca Pens and Pink Pig Sketchbooks.

 

Sponsored by: Crystal Peaks Shopping Mall

Auction Price: £6500

 

Summer 2016, a herd of elephant sculptures descended on Sheffield for the biggest public art event the city has ever seen!

58 elephant sculptures, each uniquely decorated by artists, descended on Sheffield’s parks and open spaces, creating one of the biggest mass participation arts events the city has ever seen. Did you find them all?

The trail of elephants celebrates Sheffield’s creativity with over 75% of artists from the city. Some well-known names include Pete McKee, James Green, Jonathan Wilkinson and Lydia Monks – each of which has put their own creative mark on a 1.6m tall fibreglass elephant sculpture. They are all very difference, take a selfie with your favourite as they will be on display until the end of September.

International artist Mark Alexander, who is currently working with Rembrandt for an exhibition in Berlin, flew to Sheffield especially to paint his elephant and international players from the World Snooker Championship signed SnookHerd, an elephant celebrating the heritage of snooker in Sheffield.

The Arctic Monkeys, famous for their love of their home city, added their signatures to their own personalised sculpture which pays homage to the striking sound wave cover of the band’s 2013 album “AM”.

By supporting the Herd of Sheffield you are investing in the future of Sheffield Children’s Hospital. Every penny raised will go towards our Artfelt programme, which transforms the hospital’s walls and spaces with bright art, helping children recover in an environment tailored to them. The programme also puts on workshops for youngsters to provide distraction during anxious moments – such as before an operation, and to breakup long stays on the wards.

This exciting Wild in Art event brought to you by The Children’s Hospital Charity will:

Unite our city – bringing businesses, communities, artists, individuals and schools together to create a FREE sculpture trail which is accessible to all.

Attract more visitors – both nationally and regionally as well as encouraging thousands of people to become a tourist in their own city.

Invest in the future – with a city wide education programme that can be used for years to come and by funding a life-saving piece of medical equipment at Sheffield Children’s Hospital from the Herd auction at the end of the trail.

Showcase our city – celebrating Sheffield’s heritage and cementing our status as a vibrant and culturally exciting city through this world-class initiative.

 

The Herd of Sheffield Farewell Weekend was held on 14-16 October and was your chance to say a last goodbye to all 58 large elephant sculptures as they gather in one place for a final send-off at Meadowhall.

This special event gave visitors a chance to see the entire herd in all its glory – from the signed Arctic Monkeys’ ‘AM’ elephant, right through to ‘SnookHerd’, autographed by a host of international snooker players including current world champion Mark Selby.

Please note that the Little Herd elephants will not be on display as they will be returned to their school for pupils to enjoy.

Meadowhall, along with its joint owners, British Land are very proud to be supporting The Children’s Hospital Charity as host sponsors for the Herd of Sheffield Farewell Weekend.

 

Auction: Hundreds of elephant enthusiasts gathered at the Crucible on 20 October for the Herd of Sheffield Auction, which raised a total of £410,600 for The Children’s Hospital Charity.

A signal is a mechanical or electrical device erected beside a railway line to pass information relating to the state of the line ahead to train/engine drivers. The driver interprets the signal's indication and acts accordingly. Typically, a signal might inform the driver of the speed at which the train may safely proceed or it may instruct the driver to stop.

 

One of the earliest forms of fixed railway signal is the semaphore ike these ones. These signals display their different indications to train drivers by changing the angle of inclination of a pivoted 'arm'. Semaphore signals were patented in the early 1840s by Joseph James Stevens, and soon became the most widely used form of mechanical signal. Designs have altered over the intervening years, and colour light signals have replaced semaphore signals in some countries, but in others they remain in use.

 

Engine sheds could be found in many towns and cities as well as in rural locations. They were built by the railway companies to provide accommodation for their locomotives that provided their local train services. Each engine shed would have an allocation of locomotives that would reflect the duties carried out by that depot. Most depots had a mixture of passenger, freight and shunting locomotives but some such as Mexborough had predominantly freight locomotives reflecting the industrial nature of that area in South Yorkshire. Others, such as Kings Cross engine shed in London, predominantly provided locomotives for passenger workings.

 

This view is on the Romney, Hythe & Dymchurch Railway (RH&DR) which is a 15 in (381 mm) gauge light railway in Kent, England, operating steam and internal combustion locomotives. The 13 3⁄4-mile (22.1 km) line runs from the Cinque Port of Hythe via Dymchurch, St. Mary's Bay, New Romney and Romney Sands to Dungeness, close to Dungeness nuclear power station and Dungeness Lighthouse.

 

This is at New Romney railway station which has always been the headquarters location of the railway.

 

There is a signal box for local train control, and also the main Control Centre for train operation across the whole railway. The latter is staffed by a Control Officer, who is in constant radio contact with all signal boxes, locomotives, and (where appropriate) station staff, travelling guards, and engineering teams.

 

This original engine shed is still in use, but was designed to accommodate only nine locomotives. In recent years it has been considerably extended, more than doubling the original size. This shed is now capable of housing all the railway's locomotives, as well as an engineering centre capable of work from minor running repairs to full locomotive overhauls, together with the necessary mess facilities for engineering staff. Also on the New Romney site are a separate locomotive erecting shop, and a paint shop where locomotives and other rolling stock can be re-liveried. Although there is a secondary engine shed at Hythe station, all locomotives are now based at New Romney locomotive shed.

 

en.wikipedia.org/wiki/Railway_signal

 

en.wikipedia.org/wiki/Railway_semaphore_signal

 

en.wikipedia.org/wiki/Motive_power_depot

 

en.wikipedia.org/wiki/Romney,_Hythe_and_Dymchurch_Railway

 

en.wikipedia.org/wiki/New_Romney_railway_station

 

For the best part of the last year, I have been posting shots of Kent churches on Twitter, to break up the torrent of horrible news relating to COVID, Brexit and our Dear Leader, and in doing so, I have discovered many churches I visited at the start of the project, needed to redone.

 

Goudhurst, is, apparently, the highest point in Kent, or so Jools tells me. I will just check that with Wikki: Hmm, it seems not. That is Betsom's Hill north of the M25 near to the border with London. Goudhurst is not even in the top ten.

 

I can confirm we approached the village along a long hill from a river valley, finally climbing up the narrow high street, getting round the parked cars and finding a space nearly big enough for the car near to the church.

 

On the other side of the road from the church, a series of very Kent houses and buildings, all decorated with pegtiles, in the Kent fashion, and to the south, the imposing structure of The Star and Eagle Hotel.

 

The church sits in it's large graveyard, pretty as a picture on a sunny summer's afternoon as on my first visit, but on a grey, late autumn afternoon, just as the light fades, it loses some of its charm.

 

The church itself is resplendent with it's honey-coloured stone, squat tower and spreading aisles on both sides.

 

There is a welcome notice on the door in the west end of the tower stating that the church is always open and all are indeed, welcome.

 

Its a fine touch.

 

Inside, it is light and spacious, so spacious to have to grand leather sofas in the nave, not sure if this is for glamping, or for some other reason, but they're doing no harm.

 

There are several fine wall monuments and brasses, and a wooden memorial to a couple set under a window from the 16th century.

 

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Seen from afar Goudhurst is Kent's answer to Rye - a small hilltop village over which broods the lovely church. Its west tower, dating from the seventeenth century, is rather low, but the honey-coloured sandstone is particularly beautiful here. We enter the church through the tower, and are impressed by the way in which the width and height of the nave and its aisles combine to make such a noble structure. There are two remarkably fine wooden effigies dating from the sixteenth century, carved and painted and set into a purpose-built bay window. Nearby, in the south chapel, the walls are crammed with monuments and there are three brasses, one of which is covered by a stone canopy - not particularly grand but unexpected and functional.

 

www.kentchurches.info/church.asp?p=Goudhurst

 

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GOUDHURST

LIES the next parish southward from Marden. The northern part of it, as far southward as the stream formerly called Risebridge river, which flows from Bedgebury to Hope mill, and a smaller part likewise on the other side of it, adjoining to the rivulet called the Bewle westward, is in the hundred of Marden, and lower division of the lath of Scray; the rest of the parish southward of the first-mentioned stream, is in the hundred of West, alias Little Barnefield, and lath of Aylesford, comprehending the whole of that hundred. So much of this parish as is within the borough of Faircrouch, is in the hundred of Cranbrook; as much as is in the boroughs of Pattenden, Lilsden, Combwell, and Chingley or Bromley, is in the same hundred of West, alias Little Barnefield; and the residue is in the hundred of Marden. It lies wholly within the district of the Weald, and in the division of West Kent.

 

The borsholders of the boroughs of Highamden, Pattenden, and Hilsden, in this parish, are chosen at the court-leet holden for the manor of East Farleigh, and the inhabitants owe no service but to that manor; only a constable for the hundred of West Barnefield may be chosen out of such parts of them as lay within it for that hundred. The manor of Maidstone likewise extends into this parish, over lands as far southward as Rise-bridge.

 

THE PARISH OF GOUDHURST is very pleasantly situated, being interspersed on every side with frequent hill and dale. The trees in it are oak, of a large size, and in great plenty throughout it, as well in the woods, as broad hedge-rows and shaves round the fields. The lands are in general very fertile; the soil, like the adjoining parishes, is mostly a deep stiff clay; being heavy tillage land, but it has the advantage of a great deal of rich marle at different places, and in some few parts sand, with which the roads are in general covered; and in the grounds near Finchcocks, there is a gravel-pit, which is the only one, I believe, in this part of the county. There is much more pasture than arable land in it, the former being mostly fatting lands, bullocks fatted on them weighing in general from 120 to 130 stone. It is well watered with several streams in different parts of it, all which uniting with the Teis, flow in one channel, along the western side of this parish, towards the Medway. The eastern and southern parts of it are much covered with thick coppice wood, mostly of oak. The turnpike road from Maidstone over Cocksheath through Marden, leads through the upper part of this parish southward, dividing into two branches at Winchethill; that to the left goes on to Comborne, and leaving the town of Goudhurst a little to the right, joins the Cranbrooke road a little beyond it. That to the right, having taken into it a branch of the Woodgate road from Tunbridge, near Broadford-bridge, goes on to the town of Goudhurst, and thence eastward to Cranbrooke and Tenterden; and the great high road from Lamberhurst through Stonecrouch to Hawkhurst, and into Sussex, south-east, goes along the southern bounds of this parish.

 

The parish is about eight miles long and four broad. There are about three hundred houses in it, and somewhat more than five inhabitants to a house. It is very healthy; sixty years of age being esteemed, if not the prime, at least the middle age of life; the inhabitants of these parts being in great measure untainted with the vices and dissipation too frequently practised above the hill.

 

There are two heaths or commons here; the one called Pyles-health, and the other Killdown, in West Barnefield hundred.

 

THE TOWN, or village of Goudhurst, stands in the hundred of Marden, about half a mile within the lower or southern bounds of it, on an hill, commanding an extensive view of the country all around it. It is not paved, but is built on the sides of five different roads which unite at a large pond in the middle of it. The houses are mostly large, antient and well-timbered, like the rest of those in this neighbourhood, one of them, called Brickwall, belongs to the Rev. Mr. Thomas Bathurst. Within memory there were many clothiers here, but there are none now. There is some little of the woolstapling business yet carried on.

 

On the summit of the hill, on which the town stands, is the church, a conspicuous object to the neighbouring country, and near it was the marketplace, which was pulled down about the year 1650, and the present small one built lower down, at the broad place in the town near the pond. The market was held on a Wednesday weekly, for cattle, provisions, &c. till within memory; it is now entirely disused, there is a fair held yearly in the town, upon the day of the assumption of our lady, being August 26, for cattle, hardware, toys, &c. This market and fair were granted in the year of king Richard II. to Joane, widow of Roger de Bedgebury, the possessors of which estate claim at this time the privilege of holding them, by a yearly rent to the manor of Marden.

 

At the hamlet of Stonecrouch is a post-office of very considerable account, its district extending to Goudhurst, Cranbrooke, Tenterden, Winchelsea, Rye, and Hastings, and all the intermediate and adjoining places, to which letters are directed by this Stonecrouch bag.

 

ALMOST adjoining to the town eastward, on the road leading to Tenterden, there is A HAMLET, called LITTLE GOUDHURST, in which there is an antient seat, called TAYWELL, which for many generations was possessed by a family of the name of Lake, who bore for their arms, Sable, a bend between six crosscroslets, fitchee, argent. In the north isle of this church, under which is a vault, in which this family lie buried, there is a marble, on which is a descent of them. The last of them, Thomas Lake, esq. barrister-at-law, resided here, but dying without issue male, his daughters and coheirs became possessed of it; one of whom married Maximilian Gott, esq. and the other Thomas Hussey, esq. whose son Edward Hussey, esq. of Scotney, now possesses the entire see of this estate, which is demised for a long term of years to Mr. Olive, who has almost rebuilt it, and resides in it.

 

AT A SMALL DISTANCE southward from the abovementioned seat, is another, called TRIGGS, which was for several descents the residence of the Stringers, a family of good account in the different parts of this county. John Stringer, esq. son of Edward Stringer, of Biddenden, by Phillis his wife, daughter of George Holland, gent. resided here in king Charles I.'s reign, and married Susanna, daughter of Stephen Streeter, of Goudhurst, by whom he had Stephen, of Goudhurst; John, gent. of Ashford, who left a daughter and heir Mary, married to Anthony Irby, esq. Edward and Thomas, both of Goudhurst; the latter left two sons. Thomas and Edward, and a daughter Catherine, who married William Belcher, M. D. by whom the had Stringer Belcher, and other children. The Stringers bore for their arms, Per chevron, or, and sable, in chief two eagles displayed of the second, in the base a fleur de lis of the first.

 

Stephen Stringer, the eldest son of John, resided at Triggs in the reign of king Charles II. and was succeeded in it by his second son Stephen Stringer, esq. who kept his shrievalty here in the 6th year of queen Anne. He died without male issue, leaving by Jane his wife, daughter of John Austen, esq. of Broadford, four daughters his coheirs, Jane, married to Thomas Weston, of Cranbrooke; Hannah to William Monk, of Buckingham. in Sussex, whose eldest daughter and coheir married Thomas Knight, esq. of Godmersham; Elizabeth married Edward Bathurst, esq. of Finchcocks, and Anne married John Kirril, esq. of Sevenoke. (fn. 1) This seat was afterwards alienated to Francis Austen, esq. of Sevenoke, whose son Francis Mottley Austen, esq. of Sevenoke, is the present owner of it.

 

THE MANOR OF MARDEN claims over the greatest part of this parish; part of it, being the dens beforementioned, are within the manor of East Farleigh, and the remaining part, called Wincehurst-den, is within the manor of Gillingham, near Chatham. Although that part of this parish which lies within the hundred of West Barnefield, being the most southern part of it, contains those places which are of, by far, the greatest note in it, yet, for the sake of regularity in my description, I shall begin with those in the hundred of Marden, partly already described, and having finished that, proceed next to the hundred of West Barnefield, and the matters worthy of notice in it.

 

BOKINFOLD is a manor of large extent, situated in the hundred of Marden, having formerly a large park and demesnes belonging to it, which extended into the parishes of Brenchley, Horsemonden, Yalding, Marden, and Goudhurst, the house of it being situated in that of Yalding, in the description of which parish the reader will find an ample account of the former state and possessors of it. (fn. 2) It will, therefore, be sufficient to mention here, in addition to it, that the whole of this manor coming at length into the possession of Sir Alexander Colepeper. He in the 3d year of queen Elizabeth levied a fine of it, and three years afterwards alienated that part of this manor, and all the demesnes of it which lay in Brenchley, Horsemonden, Yalding, and Marden, to Roger Revell, as has been mentioned under the parish of Yalding, and THE REMAINDER OF IT in this parish, held of the manor of Marden, to Sharpeigh, whose descendant Stephen Sharpeigh passed that part of it away in 1582, to Richard Reynolds, whose son and heir John Reynolds, about the 41st year of queen Elizabeth, conveyed it to Richard Eliot, and he, about the year 1601, alienated it to Thomas Girdler, who the next year sold it to John Reynolds, and he, in the 5th year of king James, transmitted it to John Beale, who, about 1609, passed it away to John Harleston, of Ickham, and he settled it by will on Richard Harleston, who in like manner devised it to his kinsman Richard Bishop, and he, soon after the death of king Charles I. sold it to Mr. Stephen Stringer, of Triggs, in Goudhurst, whose son, of the same name, was sheriff anno 6 queen Anne, and left five daughters his coheirs, of whom Elizabeth, the third, married Edward Bathurst, esq. of Finchcocks, and on the division of their inheritance, he, in her right, became possessed of this manor. He died in 1772, upon which this estate came to his son, the Rev. Thomas Bathurst, rector of Welwyn, in Hertfordshire, the present owner of it. A court baron is regularly held for this manor.

 

In 1641 the archbishop collated Richard Amhurst, clerk, to the free chapels of Bockinfold and Newsted annexed, in the archdeaconry of Canterbury, then vacant and of his patronage. (fn. 3)

 

COMBORNE is an estate, situated in the northernmost part of this parish, adjoining to Winchet-hill, in the hundred of Marden likewise; which place of Winchet-hill was antiently the original seat in this county, of the family of Roberts, of Glassenbury.

 

An ancestor of this family, William Rookherst, a gentleman of Scotland, left his native country, and came into England in the 3d year of king Henry I. and had afterwards the surname of Roberts, having purchased lands at Winchet-hill, on which he built himself a mansion, calling it Rookherst, after himself. This place came afterwards to be called Ladiesden Rokehurst, alias Curtesden, and continued the residence of this family till the reign of king Richard II. when Stephen Roberts, alias Rookherst, marrying Joane, the daughter and heir of William Tilley, of Glassenbury, removed thither, and the remains of their residence here are so totally effaced, as to be known only by the family evidences, and the report of the neighbourhood.

 

But their estate at Winchet-hill continued several generations afterwards in their descendants, till it was at length alienated to one of the family of Maplesden, of Marden, in whose descendants this estate, together with that of Comborne adjoining, continued down to Edward Maplesden; esq. of the Middle Temple, who died in 1755, s. p. and intestate. Upon which they descended to Alexander Courthope, esq. of Horsemonden, the son of his sister Catherine, and to Charles Booth, esq. the grandson of his sister Anne, as his coheirs in gavelkind, and on a partition of those estates between them, Winchet-hill was allotted to Charles Booth, esq. afterwards Sir Charles Booth, of Harrietsham-place, who died possessed of it, s. p. in 1795, and his devisees, for the purposes of his will, are now in the possession of it; but Comborne was allotted to Alexander Courthope, esq. since deceased, whose nephew John Cole, esq. now possesses it.

 

FINCHCOCKS is a feat in this parish, situated within the hundred of Marden, in that angle of it which extends south-westward below Hope mill, and is likewise within that manor. It was formerly of note for being the mansion of a family of the same surname, who were possessed of it as early as the 40th year of Henry III. They were succeeded in it by the family of Horden, of Horden, who became proprietors of it by purchase in the beginning of king Henry VI.'s reign, one of whom was Edward Horden, esq. clerk of the green cloth to king Edward VI. queen Mary, and queen Elizabeth, who had, for some considerable service to the crown, the augmentation of a regal diadem, added to his paternal coat by queen Elizabeth. He left two daughters his coheirs, Elizabeth, married to Mr. Paul Bathurst, of Bathurst-street, in Nordiam, and Mary to Mr. Delves, of Fletchings, who had Horden for his share of the inheritance, as the other had this of Finchcocks. He was descended from Laurence Bathurst, of Canterbury, who held lands there and in Cranbrooke, whose son of the same name, left three sons, of whom Edward, the eldest, was of Staplehurst, and was ancestor of the Bathursts, of Franks, in this county, now extinct, (fn. 4) of the earls Bathurst, and those of Clarenden-park, in Wiltshire, and Lydney, in Gloucestershire; Robert Bathurst, the second, was of Horsemonden; and John, the third son, was ancestor of the Bathursts, of Ockham, in Hampshire. Robert Bathurst, of Horsemonden above-mentioned, by his first wife had John, from whom came the Bathursts, of Lechlade, in Gloucestershire, and baronets; and Paul, who was of Nordiam, and afterwards possessor of Finchcocks, from whose great-grandson William, who was a merchant in London, descended the Bathursts, of Edmonton, in Middlesex. By his second wife he had John, who was of Goudhurst, ancestor of the Bathursts, of Richmond, in Yorkshire. In the descendants of Paul Bathurst before-mentioned, this seat continued down to Thomas Bathurst, esq. who by his will devised this seat and estate to his nephew Edward, only son of his younger brother William, of Wilmington, who leaving his residence there on having this seat devised to him, removed hither, and rebuilt this seat, at a great expence, in a most stately manner. He resided here till his death in 1772, having been twice married, and leaving several children by each of his wives. By his first wife Elizabeth, third daughter and coheir of Stephen Stringer, esq. of Triggs, he had three sons, Edward, who left a daughter Dorothy, now unmarried, and John and Thomas, both fellows of All Souls college, in Oxford, the latter of whom is now rector of Welwyn, in Hertfordshire. Before his death he conveyed this seat and estate by sale to his son by his second wife, Mr. Charles Bathurst, who on his decease in 1767, s. p. devised it by will to his brother, the Rev. Mr. Richard Bathurst, now of Rochester, the present possessor of it. This branch of the family of Bathurst. bore for their arms the same coat as those of Franks, in this county, and those of Cirencester, Lydney, and Clarendon, viz. Sable, two bars, ermine, in chief three crosses pattee, or, with a crescent for difference; but with a different crest, viz. Party per fess, and pale, a demi wolf argent, and sable, holding a regal crown, or; which I take to be that borne by Edward Horden, whose heir Paul Bathurst, their ancestor, married, and whose coat of arms they likewise quartered with their own.

 

¶AT NO GREAT DISTANCE from Finchcocks, in the same hundred, lies a capital messuage, called RISEDEN, alias GATEHOUSE, which formerly belonged to a family named Sabbe, one of whom, Simon Sabbe, sold it, before the middle of the last century, to Mr. Robert Bathurst, from whom it descended down, with an adjoining estate, called TRILLINGHERST, to another Robert Bathurst, who died in 1731, and lies buried in this church, whose daughter Mary sold them both to Sir Horace Mann, bart. the present possessor of them.

 

www.british-history.ac.uk/survey-kent/vol7/pp64-73

This relates to my concentration idea, because this photo shows the stretch marks on my mom's belly, yet she holds her belly in a loving matter. This is like step one for the changes and pain for the baby to come.