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Representing 1/3 of the remaining operation AEM-7 fleet, #946 rolls under the Pennsy signals at Levittown, PA. After logging millions of miles up and down the Northeast Corridor, this motor's days are rapidly coming to an end, and could very possible be in the single digits.
Images accepted by my representing agency Arcangel. www.arcangel.com Available for use through Rights Managed licenses. See more of my work at Arcangel:
Despite the popular belief that most naturists are generously proportioned Germans we had very few guests from Germany last year so we were pleased to welcome Sylvie & Susanne who clearly break the urban myth. They were great company and really helped contribute to the community spirit on-site by helping out with many of the daily meal time chores. Perhaps we should have given them a discount ;-)
Today as I'm walking down the catwalk, I'm representing Neve's Fallen Lingerie. Ladies, soo many colors, sooo many options of sections to turn sheer or solid. I assure you, there will be no disappointment. I'm working the runway for you, showing off the Fallen lingerie, which btw comes with wings, front and back. Ladies, if you're liking what you see, make sure you head down to Fetish Fair 2018 and stop by the Neve booth!!!! As always happy shopping ladies! ☺
Info
• Items with (♥) is what's being featured
• Neve's Fallen can be purchased @ Fetish Fair 2018
• Blogspot
Body/Face/Nails/Jewelry
• Catwa • Catya Bento Face
• Maitreya • Bento Hands, Feet, and Body
• Empire • Square Nails • Long
• Slipper • Morning Josie Bento Rings
Skin
• Fiore • Stacy • Applier (Catwa) • SPF25
Hair
• Tram • G1204 Hair • HUD C
♥ Neve ♥
• Fallen • Mesh (Freya, HG, Isis, Maitreya, PHY) • Newness
Shoes
• N-Core • Ciara
Grangemouth represents INEOS’ largest manufacturing site by volume of products. It is also home to Petroineos, Scotland’s only crude oil refinery and produces the bulk of fuels used in Scotland. products are used extensively in the petrochemical industry and transformed into bottles and pipes, cabling and insulation, food packaging and are used in the pharmaceutical industry
La familia Cleridae Latreille, 1802 está representada por unas 400 especies.
Los cléridos, al igual que otras familias de coleópteros, constituyen un grupo zoológico del que se dispone de muy escasa información a nivel ibérico.
Los hábitos de los integrantes ibéricos de esta familia son muy variados con cinco patrones de comportamiento:
"ESPECIES" ARBORÍCOLAS, NECRÓFILAS, PARÁSITOS DE NIDOS DE INSECTOS, ESPECIES SINANTRÓPICAS y las ESPECIES FLORÍCOLAS
En este grupo se incluyen, las especies del género Trichodes, Tilloidea transversalis y Opetiopalpus scutellaris. Todos ellos se localizan en las inflorescencias de diversas plantas, principalmente umbelíferas y carduáceas, donde depredan sobre diversas especies de insectos visitadores de flores, además de alimentarse de polen
Cañizo (1956) indica que en la península Ibérica Trichodes ammios y T. flavocinctus parasitan ootecas de la langosta mediterránea (Docios-taurus maroccanus), responsable, en su fase gregaria, del desarrollo de plagas. Los porcentajes de parasitación fluctúan entre el 8% y el 40%, con un evidente efecto beneficioso, siendo uno de los factores que determinan la disgregarización de la langosta.
Todos los insectos florícolas, y los cléridos entre ellos, son eficaces polinizadores, que contribuyen a aumentar la la polinización cruzada en las plantas.
Insectos de Madrid
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
These images represent a sample of galaxy clusters that are part of the largest and most complete study to learn what triggers stars to form in the universe’s biggest galaxies. Clusters of galaxies are the largest objects in the universe held together by gravity and contain huge amounts of hot gas seen in X-rays. This research, made using Chandra and other telescopes, showed that the conditions for stellar conception in these exceptionally massive galaxies have not changed over the last 10 billion years. In these images, X-rays from Chandra are shown along with optical data from Hubble.
Credit: X-ray: NASA/CXC/MIT/M. Calzadilla el al.; Optical: NASA/ESA/STScI; Image Processing: NASA/CXC/SAO/N. Wolk & J. Major
#NASAMarshall #NASA #astrophysics #NASAChandra #NASA #galaxy #NASAWebb #Hubble #NASAHubble
Only when the last tree has withered, the last fish has been caught, and the last river has been poisoned, will you realize you cannot eat money."
- Cree
(Photoshopped from 4 different shots)
Representing Moving People's Megadecker. Finished in the usual Cherry enamels - the black being an absolute pig to do. This is the result of no less than SEVEN attempts to get a smooth, solid black!!!
The MP prototype can be seen at www.flickr.com/photos/37632849@N04/8161986570/in/faves-79...
Greg Mitchell Photography and Tactile Photo are exclusively represented by Hammond Art Consuting Services: for consultation, design, delivery and installation on commercial, healthcare and hospitality projects, please contact Alan Hammond at (916) 205-3925 or visit their website at www.hammondartconsulting.com
The rectangular panel represents the entire decorated area of a floor and was found together with another mosaic (now in the Baltimore Museum of Art) in an olive grove at Daphne-Harbiye in 1937. In Roman times, Daphne was a popular holiday resort, used by the wealthy citizens and residents of Antioch as a place of rest and refuge from the heat and noise of the city. American excavations at Daphne in the late 1930s uncovered the remains of several well-appointed houses and villas, including the one that contained this mosaic. At its center is a panel (emblema) with the bust of a woman, decked out with a wreath of flowers around her head and a floral garland over her left shoulder.
Traditionally identified as Spring, the figure is probably the representation of a more generic personification of abundance and good living, well suited to the luxurious atmosphere created at Daphne by its rich patrons.
Imperial Roman, 2nd century CE.
Met Museum, New York (38.11.12)
Hot Dog Party
In Hot Dog Party, an image of rapid apocalypse is represented by a bacchanalia, an ultimate celebration of body and soul, when its participants seem to think that they are going to die the day after tomorrow.
As we come to the close of this tumultuous century it is clearer than ever that the human kind is in peril.
Our old values seem shaky and inadequate.
We try to catch the last chance of a total and final festival, as there is going to be no tomorrow.
So, today should be the fiesta. And every day is like the last day.
May be that is why every third American is overweight?
Jaisini's portrayal of the last bacchanalia is glorious and monumental, as a praise to the human flesh that is so eager to satisfy itself, as long as it exists.
The overtone of apocalypse is given by a presence of an idol and a devil, as the silent witnesses of all orgies at all times.
And, no matter for how long the Darvian evolution will go on, the human body is all the same, with its insatiable hunger, its uncertainty in the future.
Perhaps we need to seek the answers from those like Jaisini, who had retreated into a private recess of fantasy and imagination, to approach a more vivid reality.
A line connects all the picture's elements into a unity without central powers.
All the images are autonomous and equal.
The energy is everywhere, but there behind the canvas, exists the hidden central power of the artist, creator.
The work illustrates our human attachment to bodily pleasures, and the fear of physical termination. The fiesta is a way to catch a peak of eternity.
This phenomenon became an attitude of the everyday life, when each of us striving to stop the time and to gratify the body by any means, at any price.
The quest for eternal enjoyment in the outside, physical world brings the emptiness in the inside world, and therefore the man's quest is never completed. It is a closed circle.
The only reality is the individual existence of the self. Jaisini uses the motif of fiesta to portray the all human problem of temptations, pleasures and miseries of the sense world. Meanwhile, the voice of inner soul, or God, is the artist's power that is unseen.
The driving force of our existence is this warring of the high and law that invariably goes on inside us.
Each participant of the "Hot Dog Party" is absorbed in his own realm of pleasure. The orgy is at a stage of lost control. Even Beelzebub wants to drink more and his eye is popping out for more wine and anticipation moistens his jaws. Down under a man puts an earthworm in his mouth.
A bare thigh of a woman in the black stockings is almost of the same color as the tablecloth that covers the rest of her body. Three emptied bottles stay on the table's edge. A yellow back light creates a serene, separate segment of a still life. The two turndown bottles may symbolize "vanitas" as does an overturn cup in the Holland still life. One of those bottles is pointed towards the inside of spread legs which belong to another young woman who lies on the table and bends sensually.
Next, the figure is of a ballerina extending her leg all the way to the turndown bottles. Her underwear shows the red marks.
A female figure at the left lower side is painted in an intense color of gold, yellow ochre. She widely spreads her legs and examines herself.
Next is a strange flaming creature that lies on a burning charcoal being deadly drunk and unconscious. A couple of cowboys sing while eating and drinking, as in a moment of their personal glory. Above them there is a red fat body of a person whose sex is defined by a sausage on a plate, covered by his heavy stomach. He is ready to swallow a
second sausage that he observes passionately. In turn an old goddess watches him. In this part of the painting the color contrast is rendered by an image of ghostly, pale man who looks avariciously at a young woman who sits on the table's edge and drinks wine directly from a bottle.
Her body is in purple color with red reflects. The light on her face and the highlights on her hair waves are yellow the shadow is deep.
"Hot Dog Party" is painted in a challenging color range. It demonstrates the artist's great mastery and command over color.
The red dominates the painting. It is refined and elaborated with a variety of correlating colors. The color formula of the work is fabulously laconic, but rich. Some amount of yellow light is spread around.
The white tablecloth bears pinkish casts and hints of surrounding color.
Just enough of some blue and green to ignite the painting with a gemlike color game.
Wayne Eager's work is represented in major public collections including Artbank; National Gallery of Australia; Museum of Contemporary Art, Sydney; Shepparton Art Gallery and the Museum and Art Gallery of the Northern Territory.
Esta mujer Tauro está representada por las astas del toro.Su pecho y el cuerpo lo forman las astas y se corona con otra.Tauro simboliza el empuje,arranque y decisión,por eso no se me ocurría mejor modo de señalarlo que de esta manera.
Esta mujer Tauro está representada por las astas del toro.Su pecho y el cuerpo lo forman las astas y se corona con otra.Tauro simboliza el empuje,arranque y decisión,por eso no se me ocurrría mejor modo de señalarlo que de esta manera.
Características de Tauro
Fechas Tauro 21/4 - 21/5
Cómo es un Tauro
Un tauro es paciente, persistente, decidido y fiable. A un tauro le encanta sentirse seguro, tiene buen corazón y es muy cariñoso. Les gusta la estabilidad, las cosas naturales, el placer y la comodidad. Los tauro disfrutan con tiempo para reflexionar y les encanta sentirse atraído hacía alguien.
Características de Tauro
Tauro puede ser celoso y posesivo y tiene tendencia a ser inflexible y resentido. A veces los Tauro pecan de ser codiciosos y de permitírselo todo. No les gustan las interrupciones ni las prisas. Tampoco les gustan las cosas sintéticas o falsas. No les gusta sentirse presionados y no soportan estar demasiado tiempo en casa.
Descripción de Tauro
Un Tauro suele ser práctico, decidido y tener una gran fuerza de voluntad. Los tauro son personas estables y conservadores, y seguirán de forma leal un líder en el que tienen confianza. Les encanta la paz y tranquilidad y son muy respetuosos con las leyes y las reglas. Respetan los valores materiales y evitan las deudas. Son un poco reacios al cambio.
Son más prácticos que intelectuales, y como les gusta la continuidad y la rutina, suelen ser de ideas fijas. Los Tauro son prudentes, estables y tienen un gran sentido de la justicia. No suelen hundirse ante las dificultades sino que siguen adelante hasta salir.
A veces los Tauro pueden ser demasiado rígidos, argumentativos, egocentrísticos y tercos.
A los tauros les gustan las cosas bellas y suelen ser aficionados al arte y la música. Algunos tauros tienen una fe religiosa poco convencional y muy fuerte. Les encantan los placeres de la vida, el lujo y la buena comida y bebida. De hecho los tauro deben esforzarse para no dejarse llevar por la tentación de satisfacer en exceso estos gustos.
Tauro en el amor y las relaciones personales
Los tauro son amigos fieles y generosos. Tienen una gran capacidad para ser cariñosos aunque rara vez hagan amigos con personas fuera de su entorno social. Evitan los conflictos y los disgustos y prefieren el buen humor y la estabilidad. No obstante, si pierden los nervios son capaces de tener un genio tan furioso que sorprende a todos.
Los tauro son sensuales pero prácticos, y en este sentido son parejas fieles y considerados. Son buenos padres y no existen demasiado de su pareja ni tampoco de sus hijos. Tienen bastante amor propio y tienden a ser posesivos pero si su pareja intenta hacer las paces y comprenderles, hacen un esfuerzo para olvidar su enfado.
En el trabajo los tauros son trabajadores y no se les caen los anillos con ningún tipo de trabajo manual. Son fiables, prácticos, metódicos y ambiciosos. Asumen autoridad sobre los demás, y rinden más en puestos rutinarios de confianza y responsabilidad.
Son creativos y emprendedores. Pueden triunfar en profesiones como la banca, la arquitectura, la construcción, la administración, la agricultura, la medicina, la química y la industria.
También triunfan en la educación, las artes y la cocina. Pueden ser excelentes músicos y artistas.
This image perfectly represents the problems I have with 35mm film. The biggest issue for me is that it takes me so long to finish a roll. I am too methodical for 35mm anymore. I loaded this roll into my pinhole camera in August of 2022, shot 2/3 of the roll on a trip to Victoria, BC then promptly forgot about it. I set the camera aside, played with other pinhole cameras and then when I got the itch to shoot my 35mm pinhole again it was late March of 2024 and by this point I had forgotten there was even film in the camera still. I remembered quickly enough when I popped the lid of the camera and saw a roll inside rapidly soaking up all the light I was pouring into the camera. Thankfully this was not my first time inadvertently exposing a loaded roll of film and my reflexes kicked in and a dark bathroom got me the rest of the way to making sure I didn't spoil this roll. Even seeing the film once I had rewound it gave me no clue as to what I had been shooting with it when first loaded. It was not until I saw the developed negatives and realized this was a leftover roll from that Victoria trip that the pieces all came together in my memory. I guess if I am being fair, the length of time it takes me to get through a roll of 35mm is not the only issue at play here. There is also the fact that I have so many pinhole cameras that this one was able to sit out of rotation for way too long. And the fact that I really should be better about putting sticky notes on my cameras noting the film type loaded. But hey...
As far as what is going on in this image, I was using the Reality So Subtle 35R pinhole camera. It has two pinholes, one on the front of the camera and another on the back of the camera. You can expose your film either normally on the emulsion side, or through the reverse side of the film creating a redscale effect. Or, as in what I did here, you can make two exposures one via the front and then turn the camera around and make a second via the rear pinhole overlapping the normal and redscale images into a double exposure. Kind of fun and I kind of like kind of fun stuff. What else am I going to do while waiting for a drawbridge to raise?
Reality So Subtle 35R
Silberra Color 50
"Each friend represents a world in us, a world possibly not born until they arrive, and it is only by this meeting that a new world is born."
- Anais Nin
Explore 04/21/11 #233. Thank you so much for your nice comments - they mean a lot to me!
2021 represents a significant milestone in the history of the Phoenix Railway-Photographic Circle with the celebration of our 50th anniversary. Phoenix was set up in spring 1971 and was created to promote an alternative approach to railway photography. Why not take a look at the PRPC web site at www.phoenix-rpc.co.uk/index.html.
Photograph courtesy of Nigel Capelle
Red represents joy and festivity...
But sometimes, red can evoke sadness.
Because it was the color of blood shed for my mother's tongue.
Victory can make us happy.
But it is painful, too.
Because it took away so many of our lives as the price.
Captured on International Mother Language Day, 2008 from "Shaheed Minar". A child with a bouquet in front of the sea of flowers dedicated to the martyrs of 21st February, 1952.
The Hubble Legacy Field represents the largest, most comprehensive "history book" of galaxies in the universe.
The image, a combination of nearly 7,500 separate Hubble exposures, represents 16 years of observations gathered together into a unified whole, giving the image its uneven shape. It includes Hubble deep-field surveys, such as the 2012 eXtreme Deep Field (XDF) and the 2004 Hubble Ultra Deep Field (HUDF), as well as the 2003 Great Observatories Origins Deep Survey (GOODS).
The wavelength range stretches from ultraviolet to near-infrared light.
The image presents a wide portrait of the distant universe and contains roughly 265,000 galaxies. They stretch back through 13.3 billion years of time to just 500 million years after the universe's birth in the Big Bang. The tiny, faint, most distant galaxies in the image are similar to the seedling villages from which today's great galaxy star-cities grew. The faintest and farthest galaxies are just one ten-billionth the brightness of what the human eye can see.
The wider view contains 100 times as many galaxies as in the Hubble Ultra Deep Field. The new portrait, a mosaic of multiple snapshots, covers almost the width of the full Moon. Lying in this region is the XDF, which penetrated deeper into space than this legacy field view. However, the XDF field covers less than one-tenth of the full Moon's diameter.
The Hubble Legacy Field is located in the constellation Fornax.
Credit: NASA, ESA, and G. Illingworth (University of California, Santa Cruz; UCO/Lick Observatory)
For more information, visit: hubblesite.org/contents/news-releases/2019/news-2019-17.html
I pieced the label into the front of the quilt because I really liked the idea of the cool label (which represents opening a can of whoop arse on trudy).
Now, seeing it in the photo, I'm not sure. What do you think??? I need to decide quickly which way to go. The label is staying. Thanks for all of the input!
Blogged here.
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Trudy's Arse Kicking Quilt collaborative
I couldn't make this quilt alone. More than 58 quilters from three countries donated more than 200 blocks to make this quilt come together. The quilt is a blanket of prayers that will be given to a 32 year old friend who was just diagnosed with stage 4 colo-rectal cancer last month and started chemo two weeks ago today.
You can read my 'call for help' to make this quilt here.
“The most important thing is to enjoy your life—to be happy—it's all that matters.”
― Audrey Hepburn
112 Pictures in 2012~ #69 ~ Represent the title of a film in your image
Explored~ thanks you to all who visit xx
okay I know happiness is spelled wrong and it's driving me crazy~ but that's the name of the movie
Taxonomía: El bigotudo (Panurus biarmicus) es el único representante en nuestro país de la familia Timaliidae. Su nombre común es consecuencia de la peculiar coloración facial de esta especie.
Identificación: Esta especie suele medir unos 16 cm y puede pesar hasta 15 gramos.
Es fácilmente identificable por su larga cola y por el curioso diseño de sus alas. Los machos adultos presentan una cabeza y parte del pecho de tonos grisáceos, con dos grandes rayas triangulares que empiezan entre el ojo y el pico y bajan hasta ambos lados de la barbilla. Su cuerpo es de color canela con tonos naranjas, y en las coberteras primarias observamos dibujos negros con bordes blancos. Las infracoberteras caudales en los machos también son negras. Su pico es de tonos naranjas, y el iris amarillento.
Las hembras son más discretas, sin bigotes negros, la cabeza tiene también tonos marrones y puede tener algunas manchas oscuras en el píleo. El iris suele ser amarillento.
Los juveniles tienen una coloración general es más amarillenta, y en el dorso se pueden observar también algunas franjas oscuras (sus alas son también más negras). No presentan bigotes.
En ambos sexos las patas son oscuras, prácticamente negras. Su cola es proporcionalmente larga.
Plumaje: 10 primarias, 6 secundarias, 3 terciarias y 12 rectrices. Realiza una muda posnupcial completa.
Variaciones geográficas: En España encontramos la subespecie Panurus biarmicus biarmicus.
Especies similares: Es una especie muy particular, por lo que no existen en nuestro país otras especies similares.
The Sphinx itself, it seems, symbolized the pharaoh presenting offerings to the sun god in the court of the temple.” Hawass concurs, saying the Sphinx represents Khafre as Horus, the Egyptians’ revered royal falcon god, “who is giving offerings with his two paws to his father, Khufu, incarnated as the sun god, Ra, who rises and sets in that temple.”
Taken @Cairo, Egypt
atelier ying, nyc
The M5 represented Leica's most ambitious foray at the time of its introduction. Size, heft and weight compensated for the forward thinking of its philosophy at that time.
Later on, when Leica was criticized, in view of the smaller and more compact trends in Camera making, The M5 was viewed as too much material, too much of everything, an eyesore and prodigal son of the line.
As Leica's design has been minimalist, to allow the materials to express themselves, my redesign emphasizes this relation but in a different way.
The traditional black leatherette skin of the camera is replaced with thin sheets of slate. The interior enclosure of the very small gallery space for this camera is lined instead with rich alligator skin. The floor is black onyx. The ceiling tiles and pattern of the stone floor are asymmetrical, along with the display table, all with the objective to allow the M5 to express, as material.
Following my sketch, there is a womblike, lozenge-like alcove area for a 5-seat cigar bar. The bar top and seats are lined with alligator skin. The scroll-like opening is a display alcove for M5 lenses, for viewing. Note that the bar area and the camera display area are separated, so the bar customers can meditate on the lenses alone. The gallery is expressly for experiencing the M5.
Design, concepts, text and drawing are copyright 2014 by David Lo.
1903
This mercantile building represents one of the finest complete works of art nouveau in Ljubljana. The year on the facade tells us that it was built in 1903, on the site of two smaller suburban buildings that had been severely damaged in the earthquake. Ljubljana merchant Felix Urbanc combined three lots and in July 1902 submitted an application to the city authorities for planning permission to build a three-storey retail building.
He entrusted the plans to the Graz architect Friedrich Sigmund, and in the opinion of some art historians, this was supposedly the architect's highest-quality work. The concept of the store as a single sales premises, which was linked via a monumental staircase to a walk-through sales gallery, was reminiscent of the department stores of that time in Paris, Vienna or Budapest. In his plans, Sigmund also supposedly drew from some Budapest department store.
The Urbanc Building has a ground plan in the form of an irregular pentangle. The main facade, which is just 5.5 metres wide, faces Prešeren Square, and in so doing softens the otherwise acute-angled corner between Miklošičeva and Trubarjeva streets, and forms the facade of the square; after the earthquake this evolved from a suburban crossroads into a new urban space, and in the words of architect Maks Fabiani it became "in many respects the centre of the city". The interior houses a five-cornered sales hall, which extends over two floors designed as a gallery space. The gallery is reached by a fabulously designed three-sectioned staircase, which lies on an axis with the entrance and begins with a rounded landing, which divides elegantly into two staircase wings that then wind in a narrow arc up to one and the other side of the gallery. The staircase is supported by two types of pillar, and above the arch between them stands the statue of a woman personifying crafts.
At the beginning of autumn this year, this retail building became Galerija Emporium and shine in all its grandeur.
Motacilla cinerea
La lavandera cascadeña (Motacilla cinerea) es un ave del orden Passeriformes, y de la familia Motacillidae, entre la cual es la especie más esbelta, y con la característica cola más larga.
Descripción
Es un ave de unos 19 cm de longitud, de coloración gris verdosa en el dorso, y amarilla en obispillo y partes inferiores. La cola está siempre en movimiento, y al volar muestra una barra blanca en el ala. Los machos se diferencian de las hembras en la presencia en ellos de una mancha negra en la garganta durante el periodo de reproducción.2
Distribución y hábitat
Ocupa el norte de África y gran parte de Europa, y se extiende por Asia hasta Japón, estando representada por varias subespecies. La población española peninsular nidifica en las zonas montañosas, mientras que acude de invernada a las llanuras cerealistas y campiñas, procedente del centro y norte de Europa, y pasa en la península unos seis meses, llegando de agosto a noviembre, y retornando a sus áreas de procedencia entre febrero y abril.
Subespecies
Se reconocen las siguientes subespecies:
•M. cinerea canariensis Hartert, 1901, en las Islas Canarias, donde se conoce como alpispa.7
•M. cinerea cinerea, en el Norte de África y Eurasia.
•M. cinerea patriciae Vaurie, 1957, en Azores.
•M. cinerea schmitzi Tschusi, 1900, en Madeira.
Comportamiento
Normalmente solitaria, se posa cerca del agua moviendo continuamente la cola. En el suelo se desplaza dando rápidos saltos, echando la cabeza hacia delante. Los vuelos son también rápidos, a menudo con fuertes quiebros, para los que se ayuda de la larga cola.
Construye sus nidos en rocas cercanas a ríos y arroyos, ya que está muy ligada al agua, donde obtiene la mayoría de los dípteros de los que se alimenta. En invierno, con el aumento de la población por los individuos migradores, puede anidar incluso en ciudades. Realiza dos puestas anuales, de 4 a 6 huevos, incubados sobre todo por la hembra. El macho se ocupa de la alimentación de los pollos.
En cuanto a sus patrones sociales, las parejas se muestran territoriales en la época reproductora. En invierno forman grupos pequeños, pudiendo llegar a constituir dormideros en algunas localidades.
Representing BR’s smart and business-like Inter-City brand of the 1970s and ‘80s, Gateshead-allocated 47518 was captured speeding south along the East Coast Main Line between Brookman’s Park and Potter's Bar in the summer of 1979. The passenger accommodation is all air-conditioned Mk 2s apart from a pair of Mk 1 catering vehicles near the centre. New to York Depot as D1101 in 1966, the locomotive worked mainly from Eastern and North Eastern Region sheds before a spell in Scotland from 1988 to 1991, prior to withdrawal at the end of that year. It was scrapped in 1994.
Daffodils represent beauty and could apply to unanswered love or of dedication to just one person. To the rest of us in means spring has awakened.
Their botanical name is narcissus from an ancient Greek tale. A man called Narcissus who loved to look at himself in a pool of water fell in and drowned. From his grave supposed a flower grew and it was Narcissus more commonly known as daffodil.
Thank you for comments, fav's and visitations. It's genuinely appreciated.
Catholic Church of Morón. Located north of the city of Morón, it represents one of the most representative heritage symbols of this city's architecture.
Historical background
In the year 1763 , a hermitage that was the first religious temple of Morón was made, was of rustic construction of wood and straw (guano cana), in the place known as the Old Site. In the year 1775 , said hermitage was transferred by arrangement of the clergy, for a slightly wider Church, which was lined with guano board and roof, which had as dimensions: 8 rods long, 5 rods and 3 quarts of wide and 4 rods and half high. This work was manufactured by Mr. José Antonio Companioni, along with neighbors who helped her, on the land where the Martyrs Monument is located, in the Agramonte Park , land that said man donated.
The bell tower was built about 12 yards from the Church, where the current one is today. It was made up of 8 vertical jiqui horcones, 2 in each corner of the square it formed and 12 horizontal pieces of pecan wood to form the 3 floors it had, with a height of 36 feet. The bell tower was devoid of a roof. To climb from one floor to another he had a hard and sturdy ladder, on his last floor he had 2 bells.
In 1852 , by the Royal Certificate it was elevated to the category of Parish. On February 16, 1855 , the illustrious bishop Dr. Don Francisco Félix Fleix y Solans arrived in Pastoral on a Pastoral visit, appointing Don Antonio José López as the first pastor, who decreed a meeting made up of the coadjutor pastor José Julián Cegarra, as Secretary and vowels Don José Guillermo Pardo, Don Macario Machado Alfonso, Don Rafael Cañizares and Don Manuel Rodríguez Gómez, this board had to work for the construction of a masonry and tile house for the Catholic Temple.
The construction of the Church began on March 24 , 1861 , the first stone being laid that day. It was inaugurated on February 2, 1863, celebrating such an event with a sumptuous party attended by countless people from neighboring Parties and the city of Camaguey .
Historical evolution
At the beginning of the Ten Years War, it was occupied for the headquarters of the Spanish troops, which enabled it with loopholes as a fortification of defense until 1872, which was handed over to the parish priest Martin Velázquez, who ordered it to be repaired and repainted the lord. Ramón Lara master mason of the city of Sancti Spíritus .
In the War of Independence developed in Cuba it was occupied again by the Spanish troops. In 1898 , in order to be able to communicate the Spanish garrison of Morón with Turiguanó and Ciego de Ávila , the Engineer Commander Lord Gago, destroyed the dome of the Church tower and on the bell tower raised a tower with battlements and in the cusp placed a heliograph apparatus to communicate with the other troops since the church was in the Trocha de Júcaro to Morón , and was the only high place in the city. The church is preserved in that way, this being the only crenellated tower of all the churches in the country.
In February 1904 a group of people who constituted the Dramatic Association of Morón met that their first agreement was to initiate literary lyrical functions, to collect funds for a public clock which was installed in the church tower by Mr. José Rodríguez Castrillón, assisted by Mr. Fidel Rodríguez González. Its inauguration took place on June 14, 1911 .
In February 1917 , when the civil war of the Chambelona the Church was occupied as a barracks by the militiamen who organized themselves in this population. At the end of the year 1932 and beginning the year 1933 , the Church building was expanded by adding 11 meters and 50 cm, when the extension was made, an urn was built for the Virgen de la Candelaria in the center and an urn on the sides For two more saints. A Spanish painter made the religious paintings, all lined with a few concrete rounds, the other altars were also fixed.
In 1965 the main altar was reformed by placing a crucified Christ in the center and the urn of the Virgen de la Candelaria on the right side. The altar table that was previously attached to the wall moved forward allowing the priest to officiate behind the altar.
404 represents the batch of five E400's that Newport bought in 2012, the last double deckers purchased new by the undertaking. Since then, Newport has tapped into the ex London secondhand market for it's double deck purchases.
Operator: Newport Bus
Registration: SN62 AOX
Fleet number: 404
Chassis & Body: Alexander Dennis Enviro 400
Seating: H41/31F
Date new: November 2012
Location: Duffryn Drive, Newport
Date: Tuesday 12 September 2017
Representing Herakles with kantharos, Dionysos, and a satyr treading grapes
Attributed to the Eucharides Painter, ca. 500-490 BCE.
Used as a funerary urn. Found on Samothrace.
www.beazley.ox.ac.uk/record/C2C2DF60-4488-4F09-85FC-16D5E344FE07 (?)
On display at the special exhibit "Samothrace. The mysteries of the Great Gods" at the Acropolis Museum, Athens, Greece, June 30-September 30, 2015 (extended to January 10, 2016).
"Σαμοθράκη. Τα μυστήρια των Μεγάλων Θεών"
Looking south towards Pernštýnské Square.
"Pardubice (Czech pronunciation: [ˈpardubɪtsɛ]; German: Pardubitz) is a city in the Czech Republic. It has about 92,000 inhabitants. It is the capital city of the Pardubice Region and lies on the Elbe River. The historic centre is well preserved and is protected as an urban monument reservation.
Pardubice is known as the centre of industry, which represents an oil refinery or an electronic equipment plant. The city is well known for its sport events, which include the Velká pardubická steeplechase in horse racing, the Golden Helmet of Pardubice in motorcycle racing, and the Czech Open international chess and games festival.
The name Pardubice is derived from the personal Polish name Porydęb. It was the name of the leader of the monks who came here from Poland. For the first time the name was recorded in the form of Pordobice.
Pardubice is located about 90 kilometres (56 mi) east of Prague. The city lies at the confluence of the Elbe and Chrudimka rivers. There are several fishponds, artificial lakes and oxbow lakes of the Elbe in the municipal territory.
Pardubice is located in the East Elbe Table, in the eastern part of the Polabí lowland. The highest point is the hill Stropinský vrch at 258 m (846 ft) above sea level, located on the southeastern municipal border.
The first written mention of Pardubice is from 1295, when Pope Boniface VIII took over the protection of the local Church of Saint Bartholomew with the order of Canons Regular of the Penitence of the Blessed Martyrs. In the first half of the 14th century, the settlement was acquired by a noble family, later known as Lords of Pardubice. In 1340, when Pardubice was inherited by Arnošt of Pardubice, it was first referred to as a city.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Sheldon Jackson Museum, Sitka, Alaska
I think the design on the wooden object is a whale. The notch behind the head represents the blow hole. The whale's lower jaw is apparent just below the whale's nose, as it were.
I wish I knew what the beaded design represents. I will resist the temptation to call the appendages at the top of the head horns unless I find a credible source that supports the idea.
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This is a wonderful and rare opportunity to enjoy art for art's sake here. The overwhelming number of objects at the Sheldon Jackson Museum, my excitement at seeing them and our limited time made me forget all about my practice of photographing the label of every item after taking a photo of it.
Unfortunately, Alaska State Museum's online object catalog is not working. It's possible that some of the objects I photographed were featured as one of the museum's artifacts of the month, in which case I might be able to retrieve information about the piece from that section of the museum's web site. I might also be able to retrieve general information about the object type to which the piece pertains.
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The Sheldon Jackson Museum collections include objects from each of the Native groups in Alaska: Tlingit, Haida, Tsimshian, Aleut, Alutiiq, Yup’ik, Inupiat and Athabascan.
The collections strongly reflect the collecting done by founder, Sheldon Jackson, from 1887 through about 1898 during his tenure as General Agent of Education for Alaska.
Other objects were subsequently added to the collection, but in 1984 when the museum was purchased by the State of Alaska, the decision was made to add only Alaska Native materials made prior to the early 1930s.
The Yup’ik and Inupiat objects are the most widely represented and have the broadest selection of materials but in no way provide a comprehensive picture of the cultures.
The collection of objects from Southeast Alaska is rich in objects made for sale around the late 1800s and into the early 1900s. Spruce root baskets, engraved silver objects, and bead work are important representatives of traditional skills and materials being used to make items for sale.
However, there is only a smattering of stone tools, fishing and hunting equipment and clothing in the collection. Many everyday utilitarian objects are missing.
Sheldon Jackson only traveled deep into the interior once in his career in Alaska. He or his representative collected only a dozen Athabascan objects during that time. Athabascan objects have been added but well over half of the 106 Athabascan objects came to the museum after 1960.
Aleut and Alutiiq materials are even more rare. By the time Jackson and his teachers began collecting in the Aleutian Islands and Prince William Sound, those cultures had been impacted by Western cultures for nearly 150 years.
Museums in St. Petersburg, Russia and Finland are rich in material culture from those areas. Jackson was able to purchase made-for-sale grass baskets, gut bags and model baidarkas, but little else in the way of materials representing the people of the Aleutians.
To better represent the cultures of Alaska, the Museum is seeking items relating to certain areas and subjects. The following is a partial list:
Tlingit spoon bag, spoon mold, digging stick, bentwood box with woven cover and other utilitarian objects.
Aleut/Alutiiq clothing, kayak bailer, wood carvings and utilitarian objects.
Athabascan masks and utilitarian objects.
Any objects collected by Sheldon Jackson.
Cultybraggan represents one of the most complete PoW camps remaining in the UK, with the many Nissen huts there having changed little since their original construction. Built in 1941, PoW camp No 21 at Cultybraggan was designed to hold some 4,000 Category A prisoners. Considered to be the toughest, most committed and fanatical Nazi PoWs, many had been captured from the SS and the Afrika Corps. It is open to the public.
Fotografada no Zoológico de Brasília, Brasil.
Texto, em português, da WIKIPÉDIA, a Enciclopédia livre.
globotv.globo.com/rede-globo/globo-reporter/v/acompanhe-o...
Harpias
As harpias (em grego, ἅρπυιαι) são criaturas da mitologia grega, frequentemente representadas como aves de rapina com rosto de mulher e seios1 . Na história de Jasão, as harpias foram enviadas para punir o cego rei trácio Fineu, roubando-lhe a comida em todas as refeições . Os argonautas Zetes e Calais, filhos de Bóreas e Orítia, libertaram Fineu das hárpias, que, em agradecimento, mostrou a Jasão e os argonautas o caminho para passar pelas Simplégades. Eneias e seus companheiros, depois da queda de Troia, na viagem em direção à Itália, pararam na ilha das Harpias; mataram animais dos rebanhos delas, as atacaram quando elas roubaram as carnes, e ouviram de uma das Harpias terríveis profecias a respeito do restante de sua viagem.
Segundo Hesíodo, as harpias eram irmãs de Íris, filhas de Taumante e a oceânide Electra, e seus nomes eram Aelo (a borrasca), Celeno (a obscura) e Ocípete (a rápida no vôo). Higino lista os filhos de Taumante e Electra como Íris e as hárpias, Celeno, Ocípete e Aelo5 , mas, logo depois, dá as hárpias como filhas de Taumante e Oxomene
A harpia (Harpia harpyja), também chamada gavião-real, gavião-de-penacho, uiruuetê, uiraçu, uraçu, cutucurim e uiraçu-verdadeiro, é a mais pesada e uma das maiores aves de rapina do mundo, com envergadura de 2,5 metros e peso de até 10 quilogramas.
Etimologia
"Harpia" é uma referência ao ser da mitologia grega. Por causa do tamanho e ferocidade do animal, os primeiros exploradores europeus da América Central nomearam estas águias em função das monstruosas meio-mulheres/meio-águias da mitologia grega clássica. "Gavião-de-penacho" e "gavião-real" são referências ao penacho na cabeça característico da espécie, com um formato semelhante ao de uma coroa. "Uiruuetê" é um termo tupi que contém o termo e'tê, "verdadeiro". "Uiraçu" veio do termo tupi para "ave grande"
Descrição
Ambos os sexos têm uma crista de penas largas que levantam quando ouvem algum ruído. Como as corujas, elas têm um disco facial de penas menores que pode focar ondas sonoras para melhorar suas capacidades auditivas. A harpia possui, como principais características físicas, olhos pequenos, um longo topete, a crista com duas penas maiores e uma cauda com três faixas cinzentas, que pode medir até 2/3 do comprimento da asa.
Esta ave da família Accipitridae possui asas largas e redondas, pernas curtas e grossas, e dedos extremamente fortes, com enormes garras, capazes até de levantar um carneiro do chão. Sua cabeça é cinza, o papo e a nuca, negros, e o peito, a barriga e a parte de dentro das asas, brancos. Tem entre 50 a 90 centímetros de altura, uma envergadura de até 2,5 metros e um peso variando entre 4 e 5,5 quilogramas quando macho e entre 6 e 9 quilogramas quando fêmea.
As harpias são predadores tremendamente eficazes, com garras mais compridas do que as de um urso-cinzento. É uma águia adaptada ao voo acrobático em ambientes florestais de espaços fechados. Elas se aproximam morfologicamente (não se sabe se filogeneticamente) de várias outras aves de rapina tropicais de grande tamanho adaptadas à caça de grandes animais arborícolas como macacos, preguiças, lêmures etc., tais como a águia-coroada africana, a águia-das-filipinas e a águia-da-nova-guiné. Todas essas são chamadas de "águias-pega-macaco" em suas localidades de origem devido ao grande porte, que coloca animais maiores, como macacos, em seu cardápio.
O habitat principal são as florestas tropicais e a espécie se dispersa geograficamente do México à Bolívia, na Argentina e em grande parte do Brasil, notadamente no Amazonas, vivendo em árvores altas, dentro de vasta mata, onde constrói seus ninhos. Habitava as matas brasileiras de forma abrangente. Hoje, pode ser encontrado na Amazônia e visto raramente na Mata Atlântica. Na região amazônica da Guiana, onde foi bem estudado, verificou-se que é um predador sobretudo de mamíferos.
É pássaro nacional e está desenhada no brasão do Panamá. Está desenhada no brasão de armas do estado do Paraná, no Brasil. É o símbolo do Museu Nacional, no Rio de Janeiro. É também símbolo e estampa o escudo da tropa de elite da Polícia Federal do Brasil, o Comando de Operações Táticas. Faz parte do símbolo do 4º Batalhão de Aviação do Exército Brasileiro. Denomina um esquadrão da Força Aérea Brasileira, o 7º/8º Esquadrão Harpia. É o designativo das aeronaves do Núcleo de Operações e Transporte Aéreo da Polícia Militar do Estado do Espírito Santo. É o animal em que foi baseada o personagem Fawkes, a fênix, do filme Harry Potter e a Câmara Secreta. É capaz de exercer uma pressão de 42 kgf/cm² (4,1 MPa ou 530 lbf/in²) com suas garras.
Pode erguer mais de 3/4 de seu peso. As garras da harpia são tão fortes que são capazes de esmigalhar um crânio humano. É a águia mais pesada da atualidade e a águia-das-filipinas é a única águia viva que se compara a ela em tamanho. Entretanto, a extinta águia-de-haast da Nova Zelândia era aproximadamente 50% maior do que ela. Dá nome ao projeto de inteligência artificial mantido pelo Serviço Federal de Processamento de Dados. Em 15 de janeiro de 2009, nasceu um filhote de harpia no Refúgio Biológico de Itaipu. Com 100 gramas de massa, é o primeiro filhote a nascer com sucesso em cativeiro no sul do Brasil.6
Hábitos
É rápida e possante em suas investidas. É tão forte fisicamente que consegue erguer um carneiro sem maiores dificuldades. Ela voa alternando rápidas batidas de asa com planeio. Tem um assobio longo e estridente e, nas horas quentes do dia, costuma voar em círculos sobre florestas e campos próximos. As harpias conservam energia se empoleirando silenciosamente, vendo e ouvindo por longos períodos de tempo. Elas caçam com curtas e rápidas investidas. As fêmeas, maiores, caçam presas mais pesadas do que os menores, mais ágeis e rápidos machos. Estas técnicas complementares podem aumentar as chances de sucesso na obtenção de comida. Grandes presas, como preguiças e macacos, costumam ser consumidas parcialmente até poderem ser transportadas para o ninho.
Reprodução
As harpias, como as águias em geral, são monogâmicas, unindo-se por toda a vida. Elas fazem ninhos em árvores muito altas, com galhos bem separados, de até 40 metros de altura. O casal dá uma cria a cada dois ou três anos. O período reprodutivo vai de junho a novembro e o período de incubação é de 2 meses. As fêmeas depositam um ovo ou dois, mas, caso ambos os ovos sejam incubados com sucesso, em condições naturais somente o primogênito sobrevive, já que o filhote maior invariavelmente matará o menor (este "cainismo" é comum a várias espécies de águia, e permite estratégias de conservação baseadas na remoção do filhote menor do ninho para criação artificial).
O filhote testa suas asas com seis meses. No entanto, fica sob os cuidados dos pais, sendo alimentado, por outros seis a dez meses, mantendo, assim, uma longa dependência. A maturidade sexual é atingida aos quatro ou cinco anos e o indivíduo pode retornar ao mesmo ninho em que nasceu.
Perigos à sua sobrevivência
Destruição de seu habitat, uma vez que necessita de grandes áreas para viver. Atualmente, a harpia encontra-se praticamente restrita à floresta amazônica.
É ameaçada pela caça predatória, por ser considerada perigosa para as criações de animais domésticos.
De acordo com a ONG estadunidense Peregrine Fund, que se dedica à proteção internacional de aves de rapina diurnas, a harpia é uma espécie "dependente de conservação", na medida em que o declínio da espécie em toda a sua área de ocorrência, produzido principalmente pelo desmatamento, exige políticas ativas de conservação e/ou reprodução em cativeiro, que impeçam que a ave se torne uma espécie imediatamente ameaçada de extinção. O Peregrine Fund realizou, aliás, algumas experiências bem-sucedidas de criação em cativeiro e libertação de harpia em uma reserva florestal no Panamá.
A text, in english, from Wikipedia, the free Encyclopedia.
Harpy Eagle
The Harpy Eagle (Harpia harpyja) is a Neotropical species of eagle. It is sometimes known as the American Harpy Eagle to distinguish it from the Papuan Eagle which is sometimes known as the New Guinea Harpy Eagle or Papuan Harpy Eagle. It is the largest and most powerful raptor found in the Americas, and among the largest extant species of eagles in the world. It usually inhabits tropical lowland rainforests in the upper (emergent) canopy layer. Destruction of its natural habitat has seen it vanish from many parts of its former range, and it is nearly extirpated in Central America. In Brazil, the Harpy Eagle is also known as Royal-Hawk (in Portuguese: Gavião-Real).
Taxonomy
The Harpy Eagle was first described by Linnaeus in his Systema Naturae in 1758 as Vultur harpyja, after the mythological beast harpy. The only member of the genus Harpia, the Harpy Eagle is most closely related to the Crested Eagle (Morphnus guianensis) and the New Guinea Harpy Eagle (Harpyopsis novaeguineae), the three composing the subfamily Harpiinae within the large family Accipitridae. Previously thought to be related, the Philippine Eagle has been shown by analysis of DNA to belong elsewhere in the raptor family as it is related to the Circaetinae.
Its name refers to the Harpies of Ancient Greek mythology. These were wind spirits that took the dead to Hades, and were said to have a body like an eagle and the face of a human.
Description
The upper side of the Harpy Eagle is covered with slate black feathers, and the underside is mostly white, except for the feathered tarsi, which are striped black. There is a broad black band across the upper breast, separating the gray head from the white belly. The head is pale grey, and is crowned with a double crest. The upper side of the tail is black with three gray bands, while the underside of it is black with three white bands. The iris is gray or brown or red, the cere and bill are black or blackish and the tarsi and toes are yellow. The plumage of male and female is identical. The tarsus is up to 13 cm (5.1 in) long.
Female Harpy Eagles typically weigh 6 to 9 kg (13 to 20 lb). One source states that adult females can scale up to 10 kg (22 lb). An exceptionally large captive female, "Jezebel", weighed 12.3 kg (27 lb). Being captive, this large female may not be representative of the weight possible in wild Harpy Eagles due to differences in the food availability. The male, in comparison, is much smaller and weighs only about 4 to 4.8 kg (8.8 to 11 lb). Harpy Eagles are 86.5–107 cm (2 ft 10 in–3 ft 6 in) long and have a wingspan of 176 to 224 cm (5 ft 9 in to 7 ft 4 in). Among the standard measurements, the wing chord measures 54–63 cm (1 ft 9 in–2 ft 1 in), the tail measures 37–42 cm (1 ft 3 in–1 ft 5 in), the tarsus is 11.4–13 cm (4.5–5.1 in) long and the exposed culmen from the cere is 4.2 to 6.5 cm (1.7 to 2.6 in).
It is sometimes cited as the largest eagle alongside the Philippine Eagle, that is somewhat longer on average and the Steller's Sea Eagle, that is slightly heavier on average. The wingspan of the Harpy Eagle is relatively small, an adaptation that increases maneuverability in forested habitats and is shared by other raptors in similar habitats. The wingspan of the Harpy Eagle is surpassed by several large eagles who live in more open habitats, such as those in the Haliaeetus and Aquila genera. The extinct Haast's Eagle was significantly larger than all extant eagles, including the Harpy.
This species is largely silent away from the nest. There, the adults give a penetrating, weak, melancholy scream, with the incubating male's call described as "whispy screaming or wailing".[19] The females calls while incubating are similar but are lower pitched. While approaching the nest with food, the male calls out "rapid chirps, goose-like calls, and occasional sharp screams". Vocalization in both parents decreases as the nestlings age, while the nestlings become more vocal. The nestlings call Chi-chi-chi...chi-chi-chi-chi, seemingly in alarm in respond to rain or direct sunlight. When humans approach the nest, the nestlings have been described as uttering croaks, quacks and whistles.
Distribution and habitat
Rare throughout its range, the Harpy Eagle is found from Mexico (almost extinct), through Central America and into South America to as far south as Argentina. The eagle is most common in Brazil, where it is found across the entire national territory. With the exception of some areas of Panama, the species is almost extinct in Central America, subsequent to the logging of much of the rainforest there. The Harpy Eagle inhabits tropical lowland rainforests and may occur within such areas from the canopy to the emergent vegetation. They typically occur below an elevation of 900 m (3,000 ft) but have been recorded at elevations of up to 2,000 m (6,600 ft). Within the rainforest, they hunt in the canopy or sometimes on the ground, and perch on emergent trees looking for prey. They do not generally occur in disturbed areas but will regularly visit semi-open forest/pasture mosaic, mainly in hunting forays. Harpies, however, can be found flying over forest borders in a variety of habitats, such as cerrados, caatingas, buriti palm stands, cultivated fields and cities. They have been found in areas where high-grade forestry is practiced.
Behavior
Feeding
The Harpy Eagle is an actively hunting carnivore and is an apex predator, meaning that adults are at the top of a food chain and have no natural predators. Its main prey are tree-dwelling mammals and a majority of the diet has been shown to focus on sloths and monkeys. Research conducted by Aguiar-Silva between 2003 and 2005 in a nesting site in Parintins, Amazonas, Brazil, collected remains from prey offered to the nestling and after sorting them, concluded that, in terms of individuals preyed upon, the harpy's prey basis was composed in 79% by sloths from two species: Bradypus variegatus amounting to 39% of the individual prey base, and Choloepus didactylus to 40%; various monkeys amounted to 11.6% of the same prey base. In a similar research venture in Panama, where a couple of captive-bred subadults was released, 52% of the male's captures and 54% of the female's were of two sloth species (Bradypus variegatus and Choloepus hoffmanni). At one Venezuelan nest, all remains found around the nest site were comprised by sloths. Monkeys regularly taken can include capuchin monkeys, saki monkeys, howler monkeys, titi monkeys, squirrel monkeys and spider monkeys. Smaller monkeys, such as tamarins and marmosets, are seemingly ignored as prey by this species. At several nest in Guyana, monkeys made up approximately 37% of the prey remains found at the nests. Similarly, cebid monkeys made up 35% of the remains found at 10 nest in Amazonian Ecuador. Other partially arboreal mammals are also predated given the opportunity, including porcupines, squirrels, opossums, anteaters, and even relatively large carnivores such as kinkajous, coatis and tayras. In the Pantanal, a pair of nesting eagles preyed largely on the porcupine Coendou prehensilis and on the agouti Dasyprocta azarae. The eagle may also attack bird species such as macaws: At the Parintins research site, the Red-and-green Macaw made up for 0.4% of the prey base, with other birds amounting to 4.6%. Other parrots, including the large Hyacinth Macaw, have also been predated, as well as cracids such as curassows and seriemas. Additional prey items reported include reptiles such as iguanas, tejus and snakes. Snakes of up to 5 cm (2.0 in) in diameter have been observed to be cut in half, then the pieces are swallowed whole. On occasion, larger prey such as capybaras, peccaries and deer are taken and they are usually taken to a stump or low branch and partially eaten, since they are too heavy to be carried whole to the nest. Red brocket deer, a species commonly weighing over 30 kg (66 lb), have been reportedly predated and, in such cases, the eagle may have to tear it into pieces or feed on at the killing site rather than fly with as it would be too heavy. The Harpy have been recorded as taking domestic livestock, including chickens, lambs, goats and young pigs, but this is extremely rare under normal circumstances. They control population of mesopredators such as capuchin monkeys which prey extensively on bird's eggs and which (if not naturally controlled) may cause local extinctions of sensitive species.
The Harpy Eagle routinely takes prey weighing more than 7 kg (15 lb). The harpy eagle possess the largest talons of any living eagle. The Harpy's feet are extremely powerful and can exert a pressure of 42 kgf/cm² (4.1 MPa or 530 lbf/in2 or 400 N/cm2) with its talons. The Harpy Eagle has been recorded as lifting prey up to equal their own body weight. That allows the bird to snatch a live sloth from tree branches, as well as other huge prey items. Males usually take relatively smaller prey, with a typical range of 0.5 to 2.5 kg (1.1 to 5.5 lb) or about half their own weight. The larger females take larger prey, with a minimum recorded prey weight of around 2.7 kg (6.0 lb). Adult female Harpys regularly grab large male howler or spider monkeys or mature sloths weighing 6 to 9 kg (13 to 20 lb) in flight and fly off without landing, an enormous feat of strength. Prey items taken to the nest by the parents are normally medium-sized, having been recorded from 1 to 4 kg (2.2 to 8.8 lb). The prey brought to the nest by males averaged 1.5 kg (3.3 lb), while the prey brought to the nest by females averaged 3.2 kg (7.1 lb).
Sometimes, Harpy Eagles are "sit-and-wait" predators (common in forest-dwelling raptors).[9] In Harpies, this consists of perching and watching for long time intervals from a high perch near an opening, a river or salt-lick (where many mammals go to feed for nutrients). The more common hunting technique of the species is perch-hunting, which consists of scanning around for prey activity while briefly perched between short flights from tree to tree. When prey is spotted, the eagle quickly dives and grabs the prey.[9] On occasion, Harpy Eagles may also hunt by flying within or above the canopy. They have also been observed tail-chasing, a predation style common to hawks that hunt birds, the Accipiters. This comprises the eagle pursuing another bird in flight, rapidly dodging among trees and branches, which requires both speed and agility.
Breeding
In ideal habitats, nests may be fairly close together. In some parts of Panama and Guyana, active nests were located 3 km (1.9 mi) away from one another, while they are within 5 km (3.1 mi) of each other in Venezuela. In Peru, the average distance between nests was 7.4 km (4.6 mi) and the average area occupied by each breeding pairs was estimated at 4,300 ha (11,000 acres). In less ideal areas, with fragemented forest, breeding territories were estimated at 25 km (16 mi). The female Harpy Eagle lays two white eggs in a large stick nest, which commonly measures 1.2 m (3.9 ft) deep and 1.5 m (4.9 ft) across and may be used over several years. Nests are located high up in a tree, usually in the main fork, at 16 to 43 m (52 to 141 ft), depending on the stature of the local trees. The harpy often builds its nest in the crown of the kapok tree, one of the tallest trees in South America. In many South American cultures it is considered bad luck to cut down the kapok tree, which may help safeguard the habitat of this stately eagle.[39] The bird also uses other huge trees to build its nest on, such as the Brazil nut tree. A nesting site found in the Brazilian Pantanal was built on a Cambará tree (Vochysia divergens).
There is no known display between pairs of eagles and they are believed to mate for life. A pair of Harpy Eagles usually only raise one chick every 2–3 years. After the first chick hatches, the second egg is ignored and normally fails to hatch unless the first egg perishes. The egg is incubated for around 56 days. When the chick is 36 days old, it can stand and walk awkwardly. The chick fledges at the age of 6 months, but the parents continue to feed it for another 6 to 10 months. The male captures much of the food for the incubating female and later the eaglet, but will also take an incubating shift while the female forages and also brings prey back to the nest. Breeding maturity is not reached until birds are 4 to 6 years of age. Adults can be aggressive toward humans who disturb the nesting site or appear to be a threat to its young.
Status and conservation
Although the Harpy Eagle still occurs over a considerable range, its distribution and populations have dwindled considerably. It is threatened primarily by habitat loss provoked by the expansion of logging, cattle ranching, agriculture and prospecting. Secondarily, it is threatened by being hunted as an actual threat to livestock and/or a supposed one to human life, due to its great size. Although not actually known to predate humans and only rarely a predator of domestic stock, the species' large size and nearly fearless behavior around humans reportedly make it an "irresistible target" for hunters. Such threats apply throughout its range, in large parts of which the bird has become a transient sight only: in Brazil, it was all but totally wiped out from the Atlantic rainforest and is only found in numbers in the most remote parts of the Amazon Basin; a Brazilian journalistic account of the mid-1990s already complained that at the time it was only found in numbers, in Brazilian territory, on the northern side of the Equator. Scientific 1990s records, however, suggest that the Harpy Atlantic Forest population may be migratory. Subsequent research in Brazil has established that, as of 2009, the Harpy Eagle, outside the Brazilian Amazon, is critically endangered in Espírito Santo, São Paulo and Paraná, endangered in Rio de Janeiro, and probably extirpated in Rio Grande do Sul and Minas Gerais – the actual size of their total population in Brazil is unknown.
Globally, The Harpy Eagle is considered Near Threatened by IUCN[1] and threatened with extinction by CITES (appendix I). The Peregrine Fund until recently considered it a "conservation-dependent species", meaning it depends on a dedicated effort for captive breeding and release to the wild as well as habitat protection in order to prevent it from reaching endangered status but now has accepted the Near Threatened status. The Harpy Eagle is considered critically endangered in Mexico and Central America, where it has been extirpated in most of its former range: in Mexico, it used to be found as far North as Veracruz, but today probably occurs only in Chiapas in the Selva Zoque. It is considered as Near Threatened or Vulnerable in most of the South American portion of its range: at the Southern extreme of its range, in Argentina, it's found only in the Parana Valley forests at the province of Misiones. It has disappeared from El Salvador, and almost so from Costa Rica.
National initiatives
Various initiatives for restoration of the species are currently afoot in various countries: Since 2002, Peregrine Fund initiated a conservation and research program for the Harpy Eagle in the Darién Province, Panama. A similar—and grander, given the dimensions of the countries involved—research project is currently occurring in Brazil, at the National Institute of Amazonian Research, through which 45 known nesting locations (presently updated to 62, only three outside the Amazonian Basin and all three presently inactive) are being monitored by researchers and volunteers from local communities. A Harpy Eagle chick has been fitted with a radio transmitter that allows it to be tracked for more than three years via a satellite signal sent to INPE (Brazilian National Institute for Space Research). Also, a photographic recording of a nest site in the Carajás National Forest is presently being made by the photographer for the Brazilian edition of National Geographic Magazine João Marcos Rosa.
In Belize, there exists The Belize Harpy Eagle Restoration Project. It began in 2003 with the collaboration of Sharon Matola, Founder & Director of The Belize Zoo and The Peregrine Fund. The goal of this project was the reestablishment of the Harpy Eagle within Belize. The population of the eagle declined as a result of forest fragmentation, shooting, and nest destruction, resulting in near extirpation of the species. Captive bred Harpy Eagles were released in the Rio Bravo Conservation and Management Area in Belize, chosen for its quality forest habitat and linkages with Guatemala and Mexico. Habitat linkage with Guatemala and Mexico were important for conservation of quality habitat and the Harpy Eagle on a regional level. As of November 2009, fourteen Harpy Eagles have been released and are monitored by the Peregrine Fund, through satellite telemetry.
In January 2009, a chick from the all but extirpated population in the Brazilian state of Paraná was hatched in captivity at the preserve kept at the vicinity of the Itaipu dam by the Brazilian/Paraguayan state-owned company Itaipu Binacional. In September 2009, an adult female, after being kept captive for twelve years in a private reservation, was fitted with a radiotransmitter before being restored to the wild in the vicinity of the Pau Brasil National Park (formerly Monte Pascoal NP), in the State of Bahia.
In December 2009, a 15th Harpy Eagle was released into the Rio Bravo Conservation and Management Area in Belize. The release was set to tie in with the United Nations Climate Change Conference 2009, in Copenhagen. The 15th eagle, nicknamed "Hope," by the Peregrine officials in Panama, was the "poster child" for forest conservation in Belize, a developing country, and the importance of these activities in relation to global warming and climate change. The event received coverage from Belize's major media entities, and was supported and attended by the U.S. Ambassador to Belize, Vinai Thummalapally, and British High Commissioner to Belize, Pat Ashworth.
In Colombia, as of 2007, a couple of Harpies composed of an adult male and a subadult female confiscated from wildlife trafficking were restored to the wild and monitored in Paramillo National Park in Córdoba, another couple being kept in captivity at a research center for breeding and eventual release. A monitoring effort with the help of volunteers from local Native American communities is also afoot in Ecuador, including the joint sponsorship of various Spanish universities—this effort being similar to another one going on since 1996 in Peru, centered around a Native Community in the Tambopata Province, Madre de Dios Region. Another monitoring project, begun in 1992, was operating as of 2005 in the state of Bolívar, Venezuela.
Donald Trump was elected President in 2016 because he represented the antithesis our political system had become. People felt our elected representatives weren't representing our interests. And, despite Trump's shortcomings, he did. It was business not as usual. And, it was seismic.
Our political process is messy and often unfair. As America's demographics shift, from rural to urban and from white to multi-ethnic, our ability to adjust is slow. Adherents to the past drag their feet or worse, actively engage in voter suppression and gerrymandering to stop this change. But, the people want to shift the status quo. This is why Trump won and this is why Bernie Sanders is so popular. Both represent populist movements, a chance for the people to assert their will over a process that hasn't reflected Americans' concerns. Social media has given us the conduit to express our opinions. Yet, it, too, is messy and presents a false sense of the plurality. This "freedom" is new and rough. And, we aren't ready to adjust just yet. The chaos is everywhere. And, we feel uncomfortable and angry.
Presidential primaries have always been turbulent: a free-for-all mix of ideologies and potential fixes to what ails us with unsubstantiated claims on how we will afford them. The Democrat debates reflect this. Each candidate is vying for important air time. Moderators losing control. And, if candidates answer their questions, they immediately veer to other talking points they want to make. Or, they interrupt when they feel unfairly accused. Any semblance of order and clarity is lost amongst this cacophony. I get little from these slugfests other than a sense of who best could stand on the debate stage next to a Trump who revels in anarchy.
Our primary system needs to catch up to these changes. With the media focusing on early contests in Iowa and New Hampshire, both not very representative of the country as a whole, undo weight is placed on the winners of these contests. Caucuses skew the results even more.
Presidential primaries are a relatively new phenomena. Historically, insider powerbrokers decided who a party's nominee would be. That began to crumble after the violent 1968 Democratic Convention in Chicago. Hubert Humphrey was the nominee, even though he had not won a single primary. After that, primary results became binding, giving some power back to the people. The Democrat Party apparatus reasserted its power in the 1980s by instituting "Superdelegates," political insiders who did not come from primary outcomes. And, while there was major discord during the 2016 convention, they remain part of the process, albeit with some rule changes for 2020.
The Washington Post asked ten experts with various academic and political experience to recommend changes to the primary system. Recommendations range from small to institutional. Bob Kerrey, former governor and senator from Nebraska, suggests the Constitution be amended to break the "monopoly of the two-party system" on making the rules. Political parties are not part of our government. They're not mentioned in the Constitution. And, yet, we are beholden to their apparatuses to elect our chief executive. Kerrey suggests a ten member commission that would be tasked with making these rules. Alex Conant, former communications director of Marco Rubio's 2016 presidential campaign, thinks we should have even more debates. Alex, we're tired as it is. I don't think more is better. I'd rather have more one-on-ones: a chance to hear candidates speak unscripted but without all the noise (like the interviews CNN will conduct with each candidate as a prelude to Super Tuesday).
It's clear changes need to be made. Voters aren't getting all we could from our present system. It feels like anarchy at a time we want confidence in our process. Make it stop! And, if the Democrat National Committee and the Republican National Committee won't do it, the people will. Haven't you guys been listening?!
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The design of the Blackwood screwdock is a superb example of Victorian engineering, representing dry dock design at its best – good even by modern standards. Two primary elements of the design were unique: the use of power screws for lifting and trussed timber beams for the transverse girders. Another key feature of the design was the spacing of the screw jacks which kept down the loading on individual screws and beams. Planking laid athwart each beam abuts that on adjacent beams and created a continuous working platform.
It turns out that the screwdock concept and the shiplift system was a uniquely American invention of the early 19th century. Judging by the surviving descriptions and the remnants of the Barbados Screwdock, it was an invention that displayed all the elegant simplicity, practicality and ingenuity of the time and place of its inception.
The earliest screwdock, the earliest shiplift, was patented and constructed by Captain Jesse Hurd of Connecticut in New York in 1827 and incorporated as the “New York Screwdock Company” in 1828.
Two screwdocks were built shortly thereafter, one in Baltimore and one on the Kensington Reach of the Delaware River in Philadelphia.
The New York screwdock was suspended from eight screws of 41⁄2” (114 mm) diameter and apparently had a capacity of 200 tons. It was hand operated; it took about 30 men about half-
an-hour to raise such a vessel 10 feet (3 m).
The Baltimore screwdock was suspended from forty screws of about 5” (127 mm) diameter.
The Kensington Screwdock would seem to have been suspended from about 50 screws
The Barbados screwdock with a platform of 217’0” (66 m) by 45’6” (13.9m) is suspended from 62 screws of 41⁄2” (114 mm) diameter. The estimated capacity was around 1200 tons.
[hr]
The shiplift in Barbados uses screw jacks for lifting gear leading to an elegantly simple and durable system that remained in operation for nearly 100 years. It only became derelict when the owners were liquidated and the facility was abandoned. Currently [2010] moves are afoot to restore the facility with both historical preservation and a fully working dry dock being issues involved.
The “screwdock” as it is known locally was built on the south side of an area known as the “Careenage” at the mouth of the Constitution river in Bridgetown by John Blackwood (see locality plan, figure 1). Work was begun in 1889 and the lift was formally opened on 10th March, 1893 by Miss Hay, daughter of Sir James Hay, then Governor of Barbados.
Figure 1 Screwdock Locality
John Blackwood came out from Scotland in the early 1880’s as Assistant Engineer in the employ of Messrs Grant and Morrison. Within a few years Blackwood took over the business and ran it under his own name until his death in 1904. The business was then taken over by his brother-in-law, William McLaren who ran it until the formation of Central Foundry who took over the running of the dock together with John Blackwood’s workshops on the Pier Head.
In the early 1980’s the Central Foundry was in financial difficulty when their workshops and offices with all records, including those of the screwdock, were destroyed in a fire. The company was never able to recover from this blow. In 1984 the Central Foundry went into liquidation and the screwdock ceased operations. The screwdock has been derelict ever since. For some time thereafter, the site was under the jurisdiction of the Coast Guard which probably explains why there appears to be almost no vandalism of the site, only deterioration.
In its early history, Barbados was one of the major ports of the new world partly, in a world of sailing ships, because of its windward position with respect to the rest of the Caribbean. Even in the 19th century, it was still a very busy port, some 1500 vessel a year calling in the 1890’s. The decision to build a dry dock in Barbados was very much a response to this shipping activity – at the time Campbell’s dock in Bermuda of 380 ft (116m) was the only other significant dry dock in the region.
In November 1887 the Barbados Parliament passed an act to authorise the lease of Government lands for harbour improvements and the construction of a dry dock. A lease for the site of the screwdock in favour of John Blackwood was only signed in February of 1899. Under the terms of the lease a construction period of two years was allowed at a rental of £40 a year. Thereafter, once the dock became operational, the lease would run for 20 years at a rental of £276.4.0. The Government reserved the right to take over the dock on expiry of the lease at prime cost less a reasonable allowance for deterioration. The cost of removing and re-erecting Government buildings, water and gas mains were excluded from the prime costs. The Government also claimed priority for docking their own vessels.
In March of 1889 a Bill was passed to allow all construction materials, including timber, cement and machinery to be imported free of duty. Permission was also given for the free use of a diving bell, centrifugal pumps and the Priestman Dredger. The the lift was formally opened on 10th March 1893 by Miss Hay, daughter of Sir James Hay,then Governor of Barbados.
Figure 2 View of the Screwdock and the Careenage
Actual construction took far longer than the two years allowed – the whole construction period being about four years. One of the reasons given was the flooding of the works by exceptionally high tides. Since the retaining walls had not yet been built, portions of the embankments collapsed into the works. While this can only be part of the explanation for the extended delays, it does serve to suggest that the works, at least initially, were coffered and built in the dry.
The initial drive for the dock was a 100 hp steam engine with a coal burning locomotive type boiler although, for much of the time, squeeze-dried sugar cane was used as fuel. In 1953 the steam engine was replaced by a 130 hp electric motor. (HUTSON F. 1973; THRELFALL T. 1995)
Hutson (HUTSON F. 1973) gives the following docking charges as originally provided for in the lease and those ruling in 1972. These figures are in Barbadian dollars as of 1972:
18891972
Vessels not exceeding 100 register tons
For 1st day including lifting$50$150
For each subsequent day25¢ per ton60¢ per ton
Vessels exceeding 100 register tons
For 1st day including lifting50¢ per ton$1.50 per ton
For each subsequent day25¢ per ton65¢ per ton
Elsewhere Threlfall (THRELFALL T. 1995) gives charges as embodied in the original lease of 2s per ton for lifting and 6d per ton per day for dock occupation.
In 1968 a high pressure water jet was acquired to speed up the cleaning of marine fouling from ships hulls and for paint stripping (ST. PIERRE GILL, C.H. 2009).
By the 1970’s, the dock was still lifting over 10 000 tons of shipping per year (HUTSON F. 1973).
In 1977, in correspondence with Andrew Hutchison (HUTCHINSON A.P. 1977) at that time secretary, later president of the Barbados Association of Professional Engineers, he stated that the original drawings still existed but that they were “very worn and unsuitable for reproduction”.
By the start of the fourth quarter of the 20th century the operations of the Central Foundry and the screwdock were coming to an end. Peter Simpson was quoted as saying that the dock was “antiquated and not easy to work” (ST. PIERRE GILL, C.H. 2009). Although ship construction was changing from wood to steel, labour rates were increasing and Barbados had lost its pre-eminence as a shipping centre, institutional and financial matters seem to have been at the heart of the problem. In the late 1970’s there were also problems with the lease of the site. Central Foundry was not able to reach agreement with the Government on this matter.
Central Foundry had suffered a number of fires, the first in 1938 and then in 1948. They were able to recover from these but it was the third fire in 1981 that ravaged the works and destroyed all the records. The firm never really recovered. In 1984 it went into liquidation and the screwdock ceased operations. It has been derelict ever since (THRELFALL T. 1995).
Threlfall (THRELFALL T. 1995) makes the comment that “after carefully studying some ideas embodying hydraulics, Blackwood chose a system based upon screw-jacks”. Although this quote is not explicit, this does sound rather like the Hydraulic Lift Dock of Edwin Clark (CLARK E. 1866; MACKIE K.P. 2008) built in London in 1857 – the first shiplift ever built. Clark was Robert Stevenson’s house boffin on the design of the Britannia Bridge over the Menai Staits and later his resident engineer on the construction of the bridge. His experience on that bridge seems to have been a significant influence on his choice of design. Although du Platt-Taylor (DU PLAT-TAYLOR F.M. 1949) mentions having seen it in operation as a child, it seems it was decommissioned and demolished early in the 20th century.
Blackwood’s Screwdock some 30 years later is the second shiplift ever built and, although it is currently derelict, it can be restored. It is this statement that makes the restoration of the screwdock such an important and viable proposal.
The modern, Syncrolift© style of shiplifts using steel wire rope winches was only developed in about 1957 by Raymond Pearlson.
In his paper on the screwdock Frank Hutson (HUTSON F. 1973) remarks: “It has been said that a similar dock was supplied to some country in the Far East, but where it went to and whether it is still in operation is unknown, if in fact it ever existed”. This comment has since been picked up by other commentators on the screwdock with the site being given variously as Hong Kong or Singapore often in the positive and without Hutson’s proviso.
The mechanical equipment for the dock was provided by the Glasgow based engineering firm of Duncan Stewart. A rendition of the various Scottish engineering firms involved in supplying sugar mill machinery to Barbados was given by Peter Simpson (MACKIE K.P. 2009) during an interview for the December 2009 investigations. Of significance, the firm of Duncan Stewart was only a small player in this industry in Barbados at the time the screwdock was built.
Although industrial accidents are to be deplored, they are of considerable value in advancing the state of the art. Hutson (HUTSON F. 1973) records four such incidents:
1935: The schooner Eastern Star fell over on its side after being docked causing the death of two workmen and injury to others. She was afterwards righted and repaired.
1948: M.V. Willemstad, a heavy vessel, said to have been badly docked, caused three sections to break four days after being docked and said to have caused enormous overload on adjacent sections. By working around the clock, the sections were repaired and the situation saved.
WWII: H.M.S. Black Bear was a converted yacht with an excessively sloping bow. This was not properly supported and some adjacent sections were broken. These were repaired in time to prevent further damage.
1953: The auxiliary schooner Cachalot caught fire while on the dock. The cause was overhead welding which caused considerable damage to the engine room but there were no casualties.
Design Concept
The four diagrams, figures 11 to 14, placed at the end of this paper have been compiled from measurements made on site during the week 7th to 11th December 2009. They have been drawn to scale but only the dimensions shown are the dimensions actually measured. The rest have been inferred from various sources. The dimensions shown are given in SI metric measure although the dock was originally built to imperial measurement which is still in general use in Barbados. Measurements were made with linen tape, pocket tape and vernier caliper and, except where an original exact, rounded, imperial dimension could be inferred, are of limited accuracy.
This lift differs in concept from the earlier Clark system or the later Pearlson Syncrolift© system. Where the Clark system uses long stroke hydraulic cylinders as the lifting medium and the Pearlson system steel wire rope winches, the Blackwood uses long power screws. The practical capacity of individual screws is much less than hydraulic cylinders or winches so many more are needed and the main beams are much more closely spaced – so much so that, at least in the case of the Barbados screwdock, no intermediate grillage is needed between the beams.
Figure 4 Screwdock with Large Coaster (HUTCHINSON A.P. 1983)
The Blackwood has a very simple plan. It uses 31 screws down each side set at intervals of 7’0” (2133.6mm) and 31 sets of girders spanning between pairs of screws. Planking laid athwart the main beams provides a continuous working platform when all the beams are up.
The main rectangular plan of the dock, allowing for run-off of the retaining walls past the screws is 217’0” (66142 mm) and the clear space between copes is 45’6” (13868). A triangular space at the landward end of the pit extends its length by another 23’0” (7010 mm) to give a total length of 240’0” (73152 mm).
The civil engineering structures consist of coral block walling – a vertical retaining wall around the perimeter of the dock with rectangular, 2’0” (610 mm) wide by 2’6” (762 mm) deep vertical buttresses at 7’0” (2133.6) centres to carry the screw loads. Aside from the actual facing of the wall and the buttresses, the details of the wall construction are unknown.
The buttresses have a pair of 12” (305 mm) by 9” (228 mm) timbers placed over their tops, extending from the face of the copes to some distance behind the retaining wall face to receive the timber cope beams – a pair of 12” (305 mm) by 12” (305 mm) Greenheart baulks
The girders are constructed as trussed beams. The beam portion is formed from two 20” by 20” ( 508 by 508 mm) baulks of greenheart timber (given, in some references as “whalebone” greenheart) laid side by side, each end resting on a cast iron plates at the end of the screw rod. A cotter and washer system underneath these plates transfers the load to the screw rods. It has not been possible to examine the bottom of the plates but from photos it seems that the end of each screw rod is squared where it passes through the plate to prevent it from turning with the gear wheel and so failing to rise or fall as the wheel turns.
Figure 5 Last Remaining Trussed Beam showing Planking Athwart the Beam and Timber Keel Block.
Timber Cope Beams and Coral Buttresses can be seen in the background.
Four cast iron brackets, one on top of each end of each baulk, act as anchors for the 2” dia (51 mm) steel tie rods that dip down to about 12” (304 mm) below the soffit of the baulks. Cross pieces of 12” (305 mm) square timbers passing under the main baulks serve to transfer the load from the baulks to the tie rods.
Figure 6 Main Drive Train
The main drive, which has the option of a 1:1 or a 1:2 reduction gear box, is transmitted by shafts and bevel gears to the two main drive shafts – one on each side running down the full length of the cope. At each screw there is a worm floating on the shaft and a sliding dog clutch keyed to the shaft that can engage or disengage the worm. The worm in turn engages a worm wheel. The screw passes through this wheel. It has a bronze nut and thrust washer embedded axially in it to engage the screw and raise or lower it. Each gear set is mounted on a cast iron base plate set onto the timber cope beams exactly between the wall buttresses.
The screw itself was cut from 4” (101.6 mm) OD “bright” steel shafting. The thread appeared to be a 0°/52° buttress thread with a pitch of 1” (25 mm) although actual measurement seemed to suggest something more like 0°/62°.
Docking Operations
Some information on the practice of docking vessels on the screwdock was obtained from Mr Joe Weeks. For a period of 10 years in the 1960’s and 1970’s he had been Assistant Dockmaster (MACKIE K.P. 2009).
Other than a steel ring embedded in the concrete at the head of the dock, there is no sign that the dock was ever fitted with any dock furniture – fenders, bollards, fairleads, capstans etc. Weeks confirmed that the dock was operated so. On occasion, the vessel being dry docked would hang a few used tyres over the side or a few would be hung over the side of the dock.
Generally, six lines were used to bring the vessel into the dock and to position it. A head line was made fast to a ring set into the concrete at the head of the dock and the crew on board the vessel would warp the vessel into the dock either by hauling manually or, if available, by using an on-board capstan. Two breasting lines were used each side to position the vessel. A stern line was also used mainly, presumable, to warp the vessel out of the dock.
Mr Weeks confirmed that vessels (presumably he was referring to larger vessels such as coasters) were always brought to an even keel by flooding the forepeak tanks to avoid any sue load. As the vessel took the blocks, the water would be pumped out to lighten the vessel. This water had to be replaced on undocking as the vessel went into the water.
If a section was lowered to work on the keel, the screws to that section were marked so that the beams in the section could be brought back up to exactly the original height against the keel.
If the platform was lowered too far and sat on the bottom, the load would come off the cotters that secured it to the screws and they could and sometimes did work loose so that the beam end became effectively disconnected.
Joe Weeks reported that surge was not a problem. No docking operations, docking or undocking were done when there was rough weather at sea with a surge running up the Careenage. In fact the screw drive system does not permit of any penduluming of the platform which would bend the screw rods if it happened. If the surge got bad, the lift was kept up, clear of the water. In the event of hurricanes and severe storms, blocks of wood were inserted between the main girders and the cope beams and the lift tensioned against the blocks to fix it securely.
Joe did comment that normal surge had never delayed docking or undocking, only hurricanes and severe storms. The deck planking was laid tight to prevent barnacles and scrapings falling through.
Staffing levels were:
1 dockmaster
1 assistant dockmaster
6 permanent men on dockmaster’s staff including the 2 no divers. Divers only received extra pay while they were diving. At other times they assisted the rest of the staff.
8 – 12 casual workers to assist with the docking as needed.
All parties assisted with the scraping and painting of the vessels
A separate department employed an engineer foreman and 6 engineers to work on the ships. These men had nothing to do with the docking of vessels.
Weeks and Peter Simpson (MACKIE K.P. 2009) concurred that it was unsafe to walk along the dock in the region of the main load concentrations when a heavy vessel was being lifted. Under these conditions, the gears and worms would emit sparks and small chips of hot metal. These sparks and chips made it uncomfortable to be near the gears when this was happening.
Central foundry made all replacement screws, bronze nuts and cotter pins. Gear wheels and worm wheels were imported. At one stage both were supplied in the wrong grade of metal and were sent back.
Joe commented that at one time during his stint, there had been a proposal to scrap the drive shaft, worm and gear system and fit each screw with its own motor.
Peter Simpson confirmed that the overall condition of the dock had been allowed to deteriorate to a dangerous level some time before the fire and before the lift was abandoned. He had in fact put in a report on the condition that was also lost in the fire. He stated that before the fire a complete set of documents including drawings of the dock were held by Central Foundry.
Nothing has survived of the bilge support system except old photos. It would appear that it consisted of Morton type sliding bilge blocks riding on inclined baulks (see figure 8). Rollinson (ROLLINSON D. 1993) states that these baulks were attached to the main girders by a metal hinge structure at the inboard end. Thus, the inclination of these slides could be varied by changing the blocking that supported the centres and the outboard ends of these baulks. With high bilge vessels, this reduced the build-up of the bilge blocks. The inclination of the slides did make it easier to pull the blocks in against hull of the vessel.
Also representing the MCSm Mk2 is a revamped fire support unit for the Oberon Tvier Self Defense Force. The frame itself is unchanged from the version I posted several months ago, but the systems are (mostly) different.
Loadout: WWRaRaGB +SSR
Long Rifle w/ Targeting Sensor Pod, Shoulder-Mounted Shield, Multi-directional Vernier Pack.
Take Aim-Represent Heat
Created in Photoshop. I took the photo of the chimney today, and added the smoke. I wouldn't mind if it was a bit cooler right now!
TANK ENGINE FOR SOUTH AFRICA
THE locomotive illustrated above represents one of six tank engines recently constructed by Messrs. Beyer, Peacock, and Co., of Gorton, Manchester, for the Pretoria and Pietersburg Railway in the South African Republic.
The gauge of the railway is comparatively narrow, the rails being laid to the standard 3ft. 6in. gauge of South Africa, and as the ruling gradients are 1 in 50, with curves of 150 meters radius, while the gross loads specified to be hauled by these engines totalled out to 212 tons, exclusive of their own weight; while at the same time the maximum load per axle was limited to 12,000 kilos. (11 tons 16 cwt.) the problem was not an easy one to fulfil, more especially in view of the fact that the engines were required to carry 1540 gallons of water and three tons of coal. The coupled wheels were, further, specified to be not less than 1·15 metres (3ft. 9fin.) in diameter, so as to render the engines capable of running easily at a speed of 25 miles an hour. On examining the engraving and the statement of leading dimensions, along with the particulars given below, it will be seen that the problem has, nevertheless, been solved in an admirable manner, in combining lateral and vertical flexibility with a sufficiently long wheel base to ensure steadiness in running at the maximum speed required, the rigid wheel base being only l0 ft. 2in. long, while the total base is 28ft. 3in. The springs of the front bogie and first pair of coupled wheels are further compensated by beams, those of the driving and hind-coupled axles being compensated in like manner. The weight of the engines has also, it will be seen, been well distributed on the axles, the feedwater being accommodated in long side tanks, while the fuel is carried in a convenient position behind the footplate.
The Pretoria-Pietersburg Railway (PPR) was a private railway which operated between Pretoria West via Warmbad and Nylstroom to Pietersburg. It was constructed under a concession granted by the government of the Zuid-Afrikaansche Republiek (ZAR) to Hendrik Jacobus Schoeman on 30 October 1895. Construction commenced in 1897 and the railway was opened to traffic as far as Nylstroom by 1 July 1898. Potgietersrus was reached on 1 October 1898 and Pietersburg on 1 May 1899. The P&P Railway ordered one additional 2-6-4T locomotive from Beyer Peacock in 1900, under the BP works number 4127, following the loss at sea of locomotive Nr. 5.
Illustration by John Swain for "The Engineer" from May 05, 1899
For more information about this 2-6-4T steam locomotive, please visit this Wikipedia link: