“Lest we forget" – such a short phrase, but three very powerful words, it is adopted to capture the significance of remembering the soldiers fallen in war.

 

More than 100 Canadians are deemed to have participated in the Battle of Britain, and 23 lost their lives.

 

<<< Canadian Royal Air Force 2024 Centennial >>>

1 April 2024 marks 100 years of service for the RCAF as a distinct military element. To honour the RCAF's longstanding service to Canadians, the City of Ottawa Archives has created a display next to to the National War Memorial.

 

Rolleiflex Automat MX Zeiss Tessar 75mm f/3,5

Rollei-Gelb-Mittel (medium yellow) filter

Kodak TMAX 400 (EI 1600), XTOL (1:1) 20C, semi-stand development

1st minute continuous agitation

18 minutes stand-development with 1 agitation half-way.

CanoScan 9000F

  

The former YMCA Hostel is a prominent building in the Civic Centre of the town, and one of considerable architectural interest. Its primary significance, however, lies in its association with the YMCA and its use as a hostel. This underscores something of the nature of the town and its close association with the South Australian Railways. There is additional significance in the fact that Commissioner Webb had the railways provide the land for the hostel at the time of the railways' rejuvenation in the 1920s.

 

Peterborough, South Australia:

 

Peterborough was part of the Eldoratrilla Run from 1851 until the Hundred of Yongala was broken up for selection in 1871. Farm land was taken up in 1875 by a group of German settlers; Peter Doecke (after whom the town was named), Johann Koch, and Herman Rohde.

 

In 1880, while the railway was under construction from Port Pirie, Koch surveyed his land into town allotments and named it Petersburgh. The coast railway arrived from Port Pirie through Jamestown in February 1881, and the inland line from Burra through Terowie connected with it in May 1881, so within months of its foundation Petersburg - as the Post Office and South Australian Railways insisted on spelling it - became a major railway junction.

 

The town rose to prominence very quickly, and has remained the major population centre in the eastern half of the region. From its early development, Petersburg became a classic railway town in layout - like Gladstone and Quorn - with its main street parallel to the railway, and its principal hotels, banks, and commercial buildings clustered opposite the railway station. Petersburg's growth was assisted by the extension of the railway to Broken Hill in 1887, and by the construction of the Transcontinental Railway to Perth and the

Ghan line to Alice Springs in the early twentieth century, making it a strategic hub of the national railway network.

 

Under Railways Commissioner William Webb, a large railway maintenance workshop was built at Petersburg, and a suburb of railway workers housing went up at the western end of town, using innovative cast concrete construction techniques developed by Adelaide builder Walter Torode.

 

In 1918 the Nomenclature Committee renamed the town Peterborough, oblivious to the irony that its German founder had originally given it an English name, and it had only been

made to look German by a bureaucratic mis-spelling. During the 1930s depression, a gold crushing battery was built at Peterborough to encourage local mining. The town has lost most of its railway function since the 1970s, but remains an important regional centre.

 

Source: South Australian Heritage Register, Heritage Of the Upper North, Volume 6 - District Council of Peterborough, page 115.

A hundred years from now, historians - assuming that by then there are any still free to express their real opinion - will record the 6th of May 2023 as a day of shameful significance in British history. Not because of the costly coronation extravaganza for a flawed unelected king, but for the most sweeping and seemingly indiscriminate crackdown on the freedom to protest and report in almost a hundred years, all cheered on by a queue of historians and political commentators ever eager to heap eulogies on the British monarchy.

 

As dictators from the Middle East, including the bloodstained tyrant of Bahrain - King Khalifa - arrived in their private jumbo jets, the British military, which also backs these regimes to the hilt, put on an impressive display, to mark the joyous occasion.

 

King Charles should be fully aware of their crimes as he has met Middle Eastern autocrats over 95 times since the Arab spring in 2011, and is doubtless well briefed, as are obviously the editors of Britain's main newspapers but they preferred not to draw their readers' attention to the murderous record of the monarch's VIP guests.

 

www.dailymaverick.co.za/article/2021-02-24-charles-of-ara...

 

Instead they reminded us that there was "a time and place for everything" as hundreds, including many families with their children, wishing to protest were turned away from Trafalgar Square. With an equally self assured righteousness, media commentators dismissed sentimental and quaint concerns raised over freedom of speech, as the lead organiser and supporters of Republic UK as well as activists from Just Stop Oil and Animal Rising were arrested before they had even arrived at the coronation route.

 

Also caught up in the net was Rich Felgate, an award winning documentary film director, who was able to dramatically document his own arrest while he was filming a Just Stop Oil protester standing on the pavement in Whitehall. A police officer hesitated momentarily as Felgate told him that he was a journalist, but only seconds after a quick enquiry, the order for the man's detention seemed to have been confirmed (see short clip on the attached Twitter link and a separate link to a review of Felgate's film.)

 

twitter.com/richfelgate/status/1655199737471959041

 

www.theguardian.com/film/2023/feb/15/finite-the-climate-o...

 

Fortunately, a few hundred anti-monarch protesters managed to arrive at Trafalgar Square, some of them presumably because they weren't visibly carrying "Down with the Crown" placards or t-shirts. However, many were not certain where to meet when they saw that the area around the statue of Charles 1 on the south side, which had been designated for the Republican activists, was taken up by a giant wooden citadel-like structure with police officers on the top with video cameras (see my photo www.flickr.com/photos/alisdare/52880437864/in/dateposted-...).

 

Other protesters had been deterred from attending after it was revealed that the police would be using face-recognition software with at least some of their surveillance cameras. However, those that did turn up were not easily discouraged and soon after the demo started, chants of "Not My King" could be heard from the far side of the square.

 

Soon afterwards, loud speakers which had been positioned near to the anticipated location that the demonstrators would gather, began to blast out loud martial music to drown out the seditious slogans, while the wooden citadel-like structure erected on the south side of the square seemed to have been designed precisely so as to block all sight of them from both the royal gaze and television screens around the world.

 

Please let me know what photographs and coverage you have seen of the coronation protests in the mainstream media?

   

Kakadu National Park is a protected area in the Northern Territory of Australia, 171 km southeast of Darwin.

The park is located within the Alligator Rivers Region of the Northern Territory. It covers an area of 19,804 km2 (7,646 sq mi), extending nearly 200 kilometres from north to south and over 100 kilometres from east to west. It is the size of Slovenia, about one-third the size of Tasmania, or nearly half the size of Switzerland.

The park comprises several landforms – sandstone escarpment and plateaux, savannah woodlands, monsoon forests, tidal and freshwater rivers, wetlands and tidal deltas.

The name Kakadu may come from the mispronunciation of Gaagudju, which is the name of an Aboriginal language spoken in the northern part of the park. This name may derive from the Indonesian word kakatuwah, (via Dutch kaketoe and German Kakadu) subsequently Anglicised as "cockatoo”.

Aboriginal people have occupied the Kakadu area continuously for at least 40,000 years. Kakadu National Park is renowned for the richness of its Aboriginal cultural sites. There are more than 5,000 recorded art sites illustrating Aboriginal culture over thousands of years. The archaeological sites demonstrate Aboriginal occupation for up to 60,000 years.

The cultural and natural values of Kakadu National Park were recognised internationally when the park was placed on the UNESCO World Heritage List. This is an international register of properties that are recognised as having outstanding cultural or natural values of international significance. Kakadu was listed in three stages: stage 1 in 1981, stage 2 in 1987, and the entire park in 1992.

Approximately half of the land in Kakadu is Aboriginal land under the Aboriginal Land Rights (Northern Territory) Act 1976, and most of the remaining land is currently under claim by Aboriginal people. The areas of the park that are owned by Aboriginal people are leased by the traditional owners to the Director of National Parks to be managed as a national park. The remaining area is Commonwealth land vested under the Director of National Parks. All of Kakadu is declared a national park under the Environment Protection and Biodiversity Conservation Act 1999.

 

Oistins, Christ Church

Built: 1835

Historical Significance

Although the present church was built in 1935, it is the fourth on the site - the previous ones being destroyed by hurricane, fire or flood.

The first church was a wooden structure built in another location near to the coast of Dover, Christ Church around 1629. It was destroyed in 1669 by a flood. The second church which was destroyed by a hurricane in 1870, was constructed in the current location overlooking Oistins. A third church, built after 1786, also suffered the same fate in 1831. Construction of the fourth church began in 1835 with the corner stone being laid by the Bishop of the Diocese. Sadly, whilst preparations were in progress to celebrate the 100th anniversary of that building, a fire would cause its demise once again.

Today, the fifth building stands on that second site, proudly displaying three of the walls retained from the burnt church and its western tower.

The Christ Church Parish Church is best known for the famous Chase Vault, in which coffins mysteriously move around within the sealed vault!

 

See more about this journey

 

youtu.be/HDCPrwwrZGg

 

The state nature reserve of regional significance "Yuntolovsky" is located in the western part of the Primorsky district of St. Petersburg in the north-eastern part of the Lakhta-Olgino district. The territory is located in the western part of the Lakhtinskaya depression (lowland), within the southern taiga subzone, and is part of the landscape region of the Neva lowland of the Northwestern region of the Russian plain.

 

The boundaries of the "Yuntolovsky" reserve

The boundaries of the Yuntolovsky reserve, which have remained unchanged since its inception, include the Lakhtinsky spill, sections of the Chernaya, Kamenka, Yuntolovka, Glukharka rivers, as well as most of the Lakhtinsky swamp. Contrary to popular belief, there is no and never was a buffer zone around the reserve. On the northern and eastern sides of the reserve there are green spaces of common use - Yuntolovsky forest park and a park without a name.

 

The history of the formation of a specially protected natural area on the northern shore of the Neva Bay goes back to the first decades of the 20th century. In 1919, the largest naturalists of Petrograd came up with an initiative to create a "reserve of local nature" along the entire coast of the Neva Bay from Staraya Derevnya to Lisiy Nos. Scientists called the landscapes of the Lakhtinskaya lowland "beautiful and instructive pictures of the original vegetation of the local area", justifying the importance of the "immediate establishment" of the reserve. The value of the coastal areas was especially emphasized, serving as places of mass encampments of "various waterfowl and ankle birds during their spring and autumn currents." The plans were not given to come true - apparently, the project did not receive the support of the authorities. However, in the same 1919, on the banks of the Neva Bay, in the Stenbock-Fermor mansion, who owned the surrounding lands before the revolution, the Lakhtinskaya excursion station began to work. It was headed by the renowned polar explorer Professor P.V. Wittenburg. In the very first year of its work, the Museum of Nature of the northern coast of the Neva Bay was organized at the institution. The station, which operated until 1932, was a true center for research on the nature of the local area, many of which have not lost their scientific value to this day.

 

The plans to give the status of a protected area were implemented only in 1990.

 

Vegetation

Most of the reserve is occupied by sphagnum pine and birch forests, as well as transitional and lowland bogs. Less common are communities with black alder and other small-leaved species, shrub thickets. In total, about 380 species of higher vascular plants from 83 families have been identified on the territory. The marsh bush, which is included in the Red Book of Russia, deserves special mention. Here, on the northern coast of the Gulf of Finland, is the eastern limit of its distribution, in connection with which the issue of preserving the population of the species in the reserve is especially acute.

 

Fauna of birds

The avifauna of the Yuntolovsky reserve, despite the proximity of the city quarters, is extremely rich, diverse and even unique. More than 100 bird species nest here. About 50 more are found during migration, wintering and in summer. With varying degrees of regularity, chicks of 25 bird species included in the Red Book of St. etc.).

 

Birds of prey at the top of ecological pyramids are considered good indicators of environmental change. Their presence, and even more so a great species diversity, is an indicator of the normal functioning of ecological systems. In the Yuntolovsky Reserve, on a relatively small territory, 7 species of birds of prey were recorded at once for nesting: osprey, wasp eater, buzzard, goshawk, sparrowhawk, marsh harrier and hobbyist, 4 of which (osprey, wasp eater, goshawk and hobbyist) are included in the Red Book of St. Petersburg ...

 

Osprey breeds in the reserve. Until recently, this species was extremely rare throughout the North-West of Russia. Now its numbers are growing, but it is still considered rare. The osprey is included in the Red Data Books of St. Petersburg, the Leningrad Region and the Russian Federation. It is also protected in neighboring states - in Finland, Estonia and other countries of the Baltic region.

 

Previously, the Lakhtinsky Razliv played an important role in maintaining the bird fauna of the region, since, along with the shallow waters of the Gulf of Finland, it was a place for migratory camps and nesting sites for waterfowl and near-water birds. Unfortunately, as a result of large-scale logging in the adjacent territories, many bird families have disappeared in the reserve and adjacent territories

 

Fauna of mammals

Among the relatively large mammals in the reserve there are fox, muskrat, white hare and even roe deer. On the rivers, you can easily find huts, burrows, felled trees and other traces of the vital activity of the river beaver, which is rare in the city (it is also called European or common).

 

The history of the development of the Lakhtinskaya lowland

The surroundings of the Lakhtinsky Razliv were mastered by man since the time of Swedish rule: the lands along the banks of the Yuntolovka and Kamenka rivers were used as agricultural land. The drainage of the swamps, which began in the 19th century, as well as the construction of the railway, contributed to the settlement of the surrounding territories.

 

In the XX century, the nature of the Lakhtinskaya lowland has undergone unprecedented changes. In 1916, peat mining began on the Lakhtinsky peat bog, which is still reminiscent of the long watered quarries (checks) in the western part of the reserve. During the Great Patriotic War, Lakhta peat served as fuel for the besieged Leningrad. In 1962, soil was dredged from the bottom of the Lakhtinsky Razliv in order to reclaim new urban areas, which led to the deepening of the reservoir from 1 to 15-18 meters at the extraction sites (average depth 4.3 meters, in the central part - 8.3 m) and the destruction of part of the swamp. Peat mining and mining in Lakhta continued until the formation of the reserve in 1990.

 

Due to the construction of roads and the alluvial territory, the “mouth” of the Lakhtinsky flood has narrowed from 500 to 10 meters, the area of ​​shallow waters with thickets of reeds has been greatly reduced, as a result of which the number of birds stopping on migration has sharply decreased.

Rangoli I made on Diwali..! :o)

  

Rangoli is one of the most popular art forms in India. It is a form of sandpainting decoration that uses finely ground white powder and colours, and is used commonly outside homes in India.

 

Rangoli can be wall art as well as floor art. The term rangoli is derived from words rang (colour) and aavalli ('coloured creepers' or 'row of colours').

 

In Indian cultures, all guests and visitors occupy a very special place, and a rangoli is an expression of this warm hospitality. In particular, the Diwali festival is widely celebrated with rangoli, since at this time, people visit each other's homes to exchange greetings and sweets.

 

Rangoli also has a religious significance, enhancing the beauty of the surroundings and spreading joy and happiness all around.

 

~Wikipedia

 

Wishing you all a Happy Halloween!!

   

Kloster Knechtsteden ist eine ehemalige Prämonstratenserabtei aus dem frühen 12. Jahrhundert, die sich seit 1895 im Besitz des Spiritanerordens befindet. Sie liegt westlich von Dormagen zwischen Köln und Neuss. Die Baugeschichte und Architektur der Basilika und der gesamten Klosteranlage sind von besonderer kulturhistorischer Bedeutung.

 

Die Klosteranlage beherbergt heute eine Vielzahl verschiedenster Einrichtungen.

Mehr Info im Album

 

Knechtsteden Abbey is a former Premonstratensian abbey from the early 12th century, which has been owned by the Spiritan Order since 1895. It is located west of Dormagen between Cologne and Neuss. The building history and architecture of the basilica and the entire monastery complex are of particular cultural and historical significance.

 

Today, the monastery complex houses a variety of different facilities.

More info in the album

  

...here the commonplace has significance, the ordinary has mystery, the familiar is unfamiliar, and the finite has a semblance of the infinite.

 

I'm going to try and memorize those words so I can say them at dinner parties* and sound lofty.

 

* I don't go to dinner parties.

 

ADJ Lost in Mist - Tracks in Field - Pentax Large - _IMG3497

Tulips are a captivating subject, not only for their beauty but also for their rich history and cultural significance. Originating from a band stretching from Southern Europe to Central Asia, tulips were cultivated in Persia as early as the 10th century and became a symbol of the Ottoman Empire by the 15th century. The name 'tulip' is believed to be derived from a Persian word for turban, possibly due to its resemblance to the flower. In the 17th century, tulips sparked a period known as 'tulip mania' in the Netherlands, where they were highly sought after and even caused a financial frenzy. Today, tulips are celebrated for their vibrant colors and variety, with around 75 species and numerous hybrids known as botanical tulips. They are spring-blooming perennials that retreat underground during summer, only to emerge triumphantly with the first signs of spring. The Royal Horticultural Society provides detailed guidance on growing tulips, from choosing the right bulbs to planting and care, ensuring that these beloved flowers continue to thrive in gardens and bring joy to those who grow them.

 

These flowers are at the Collector Earl's Garden at Arundel Castle, West Sussex, England, which is a stunning example of landscape architecture, blending historical significance with natural beauty. Created as a tribute to Thomas Howard, the 14th Earl of Arundel, known for his passion for the arts and his collection of fine paintings, this garden is a masterpiece of design. Visitors can marvel at the green oak pavilions and the Oberon's Palace with its floating crown, both inspired by the drawings of the famous architect Inigo Jones. The garden also features water fountains and rills that reflect the nearby River Arun, adding a serene water element to the experience. The restoration of this garden from a car park back to its former glory is a testament to the enduring value of preserving historical landscapes for future generations to enjoy.

 

The grand building in the background is Arundel Cathedral, officially known as the Cathedral Church of Our Lady and St. Philip Howard, is a striking example of French Gothic architecture and a place of significant historical and spiritual importance. This cathedral was originally dedicated in 1873 and became the seat of the Bishop of Arundel and Brighton in 1965. The cathedral owes much to the Howard family, the Dukes of Norfolk, who have been prominent figures in English Catholic history. The building's design, by Joseph Hansom, is noted for its grandeur and elegance, reflecting the styles popular in the 1300s and 1400s, a period when the Howard family rose to prominence. Today, the cathedral not only serves as a place of worship but also as a community hub, hosting various events and services, including live-streamed masses for wider participation.

Astoria, Oregon

 

Designed as the ultimate heavy weather vessel, the Pilot Boat Peacock crossed the most dangerous river bar on the planet, the Columbia River Bar, more than 35,000 times during her 30-plus year career.

 

The Peacock was decommissioned and replaced by an integrated pilot boat/helicopter transportation system in 1999. Because of her historical significance, however, the Peacock was given to the Columbia River Maritime Museum by the Columbia River Bar Pilots Association for preservation and display.

 

The Columbia River Maritime Museum initiated a campaign to restore and exhibit the Peacock on the Museum campus, celebrating her important role in providing safe transportation of bar pilots to and from ships as they entered and exited the mouth of the Columbia River.

 

Weighing 220,000 pounds, the Peacock sits on eight steel pilings driven to bedrock more than 40 feet below ground. Two giant cranes — capable of lifting over 300 tons each — brought the Peacock out of the river and carried her to the permanent display structure at the east end of the Museum campus. Placement on the structure's support cradles was engineered to accuracy within one-sixteenth of an inch.

 

Pilot Boat Peacock:

 

The Pilot Boat Peacock was custom-built for the Columbia River Bar Pilots in Germany in 1964, and is based on a North Sea rescue boat design.

 

Delivered for service in 1967, she is 90 feet long, 33 feet tall, and is self-righting. The stern of the boat is hinged to allow the launch and recovery of a 23-foot "daughter boat" used in heavy weather to make the actual transfer of the pilots between the ship and pilot boat.

 

The Peacock's maximum speed was 26 miles per hour. She carried a crew of three in addition to up to 12 bar pilots.

 

www.crmm.org/maritimemuseum_collection_peacock.html

 

This image is best viewed in Large screen.

 

Thank-you for your visit, and any faves or comments are always greatly appreciated.

 

Sonja

  

 

The land for the Masonic Lodge was originally given by Thomas Brayford in 1910 to trustees of the Theodore Unmack (Irish) Masonic Lodge. It is estimated that the building was designed and constructed in the 1950s.

 

Source: Scenic Rim Council Heritage Register, Department of Environment and Heritage Protection, December 2012, Draft Scenic Rim Region Places of Possible Heritage Significance - Draft Scenic Rim Region Contextual and Thematic History, p.4.

I was talking with Lord Belcher the other day, over lunch at the East India Club. His Lordship was impressing on me the deep significance of our new connection at The Salon with the D’or Baleine family.

 

“Lady Rebecca, it’s like this” he explained, gesturing extravagantly with his pastry fork. “There are men like your husband Lord Lyndon, who are fabulously wealthy. And then there are a few families in the world – a very, very few – who are wealthy and powerful beyond our powers to describe – or even imagine. The D’or Baleines are one of these such families – or, I should rather say, dynasties.”

 

“But Your Lordship - if they are so rich and powerful - why have I never heard of them? Why do I never hear people speak of them, even in the circles that you and I frequent?“

 

“There are some things, Lady Rebecca, that are so big that they become invisible – like the ocean, or the sky!“ Warming to his theme, Lord Belcher put down his pastry fork, and looked me in the eye, with a quizzical frown. “The D’or Baleines trace their history back to the court of King Charlemagne – in fact, to one of the legendary knights of that court, Count Ganelon himself, who was actually present at the Battle of Rencsevals.

 

“Throughout the Middle Ages, the family’s power and wealth spread through France. And, as a result of the Norman Conquest, they became the power behind the throne of England, but also powerful in Scotland – promoting the so-called Old Alliance of Scotland and France. Throughout the Mediterranean – operating chiefly from Venice and Genoa – and in Northern Europe through the Hanseatic League – their power inexorably spread. With the emergence of the British Empire, the family’s power encircled the five continents of the world. Hong Kong’s development and the so-called Opium Wars were essentially a Trojan Horse for their infiltration of China…. Lady Rebecca, you may think that you know who owns the bank where you keep your money. But it is almost certainly controlled by a holding company that ultimately belongs to the D’or Baleine family. They are everywhere!

 

“And now, the Grand Duc himself wishes to use The Salon as a place to induct his grandson – the so-called Dauphin – into the carnal pleasures of the flesh. This is the greatest honour that could possibly befall you, Lady Rebecca – and it places The Salon deep inside the ultimate circles of power that control our world…”

 

Lord Belcher picked up his fork again, and jabbed it in the general direction of our waiter.

 

“George! Bring me a double Napoleon brandy! And one for my beautiful companion…”

 

His Lordship slowly turned his gaze back to me.

 

“Do you know the skipping rhyme about the D’or Baleines that children repeat all over the world?”

 

I pondered his question for just a moment.

 

“I guess you mean the rhyme that goes:

 

‘Semen Leman Lyman Loman

Semen D’or Baleine.’

 

Every child in the world knows that!”

 

“Exactly, Lady Rebecca. In that simple children’s rhyme is encoded the secret political and economic history of Western civilization…”’

 

Toodle Pip!

 

Love and Kisses to All My Friends and Fans!

xxxxxxxx

Lady Rebecca Georgina Arabella Lyndon

Duchess of Basingstoke

 

A Local Landmark Many people who visit Marvig ask the significance of the painted rock by the road junction in the village. A picture of the rock even appears in an Art Gallery in Glasgow by all accounts. Painted on the rock is the legend Thuit Rob an a seo (Rob fell here). The Rob referred to is Seaman Robert Campbell. He was well known for having a dram or two and he fell and split his head on the rock then went home and fell into his bed. When he woke up his head was stuck to the pillow and after examination he was sent to the hospital but he soon signed himself out. By all accounts it was a pretty nasty gash.

 

Info - Hebridean Connections

These two images hold some significance for various reasons :-

 

1) I rarely take insect photos. In fact, apart from a couple of close-up shots from Peru last November, I haven’t posted a macro shot to Flickr for nearly four years!

 

2) They were taken using the Nikon 200mm f/4D micro lens, which I purchased many months ago, but have never used before. I like the way it feels on the D500 and, without doubt, the extra reach (effectively 300mm) it gives allowed me to get these shots in a very confined location without disturbing the subject.

 

3) Both photos were taken on my new, very small, garden pond - and when I say small, I mean small, which is why I was so pleased to see the damselfly.

 

4) The frog popped up and took me by surprise while I was trying to capture the damselfly - it’s not a great shot at ISO6400, but I like the very low viewpoint and the fact that you can see my reflection in its eye.

 

5) And finally, these are my last two posts for a while. Hopefully my next uploads will be very different indeed!

 

26 x 17 cm collage

Nitmiluk National Park is in the Northern Territory of Australia, 244 km southeast of Darwin, (4 hours or 350 km by road) around a series of gorges on the Katherine River and Edith Falls.

Previously named Katherine Gorge National Park, its northern edge borders Kakadu National Park. The gorges and the surrounding landscape have great ceremonial significance to the local Jawoyn people, who are custodians of Nitmiluk National Park. In Jawoyn, Nitmiluk means "place of the cicada dreaming".

Katherine Gorge, a deep gorge carved through ancient sandstone by the Katherine River, is the central attraction of the park. Katherine Gorge is made up of thirteen gorges, with rapids and falls, and follow the Katherine River, which begins in Kakadu. During the Dry, roughly from April to October, the Katherine Gorge waters are placid in most spots and ideal for swimming and canoeing.

There can be freshwater crocodiles in most parts of the river, as they nest along the banks, but they are generally harmless to humans unless provoked. Saltwater crocodiles regularly enter the river during the wet season, when the water levels are very high, and are subsequently removed and returned to the lower levels at the onset of the dry season. Thus, swimming in the wet season is prohibited.

Cruises of various lengths go as far as the fifth gorge. The gorges can be explored by canoe and flat bottomed boat. In the dry season the gorges become separated as the level of the river falls. They are interconnected in the wet. There is a visitor centre located at the Katherine Gorge, about 30 km east of the town of Katherine.

Freshwater crocodiles are widely distributed along the river year-round. During the wet season, rises in water levels may allow saltwater crocodiles to enter the gorge, where they are caught and relocated to lower levels when the dry season begins.

Birds that can be seen include ospreys, red-tailed black cockatoos, great bowerbirds, white-gaped honeyeaters and red-winged parrots. Part of the Yinberrie Hills Important Bird Area, identified as such by BirdLife International because of its importance for endangered Gouldian finches, lies in the park

 

Combined trees

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No Group Awards/Banners, thanks

aqui-jaz is a portuguese word translating to 'here lies death...'

 

examples of some 3,000 graffiti images documented from around the 13 districts of east timor that will be included in a forthcoming book looking at the existence of graffiti in timor leste and it's significance in a post-conflict context. dili, timor leste, 2007.

The British Isles is full with places of significance. Some have remained so for many generations but others are lost to our consciences for hundreds and in some cases thousands of years. Copt Hill on the outskirts of Houghton le spring is one such place. For hundreds of generations the dead were buried here at this prominent position. When you stand alone at dusk among the seven sisters it's not difficult to understand why this place had such resonance for so long. This was amazingly my first visit to Copt hill despite driving past it hundreds of times. I most certainly will be back. I believe the pink tinge in the Sky was caused by my cokin filters. I have left it as is because I really like the effect. Another happy accident :)

Best on black (Press L). Press F to favorite and C to comment.

Whilst generally recognised as a monolith with a significance back into prehistory, ancient surface marks on La Peña Gorda are not immediately obvious. It's almost as if the stone is so staggering and 'finished' that there is very little that man could add without appearing small. I found one sheltered panel that may have had the tanned grease-marks of fingers repeatedly touching over what may just be the remains of some very blurred rock art, and a ledge with a basin that looks to have been adapted by man. There are several areas of polished rock from frequent passage (which have no date) but other than that, the outcrop is pure and naturally spiritual. The one area of great interest is perhaps the long rise of steps up the steep site to the summit.

 

The steps do not follow parallel historical convention, and at times sprinkle over the surface without a constant rhythm or logic. We managed to climb up about half way, but in the heat of the sun a slip would certainly have put an end to our planned explorations, so we pulled back from following the steps to the top.

 

The steps are not obvious and need to be found and there are no associated modern ropes or rails. For people who are not free climbers, the word 'freaky' or the phrase 'out there' might be employed to describe the sensation of climbing.

 

The steps are of a style seen on a far smaller but equally vivid outcrop that still sits at the upper centre of an important local village/town to the south, and it seems obvious to at least propose that the act of making a step and looking after a step over time may have had significance. Here each oval step may have a story or an individual behind the attention and the symbolic of playing a part in helping a community to 'climb' in life.

 

The top of the monolith is certainly dangerous for casual activity and not adapted for human or agricultural project, so the act of climbing the rock may have had a ritual or ceremonial function. Rites of passage, solstice and offerings to the 'sun' all adapted to just such an indubitable landscape marker.

 

At risk of repetition, the reason to consider the steps as markers from individuals: from a category of prehistoric artefacts that may also include cups and rings, is because each step is of a style and the positioning of the steps are not systematic - at times scattering past ideas of simple function suggesting an element of episodic significance.

 

The steps can be contrasted with those at the la Roca de Los Moros (Ayera)

 

If these are prehistoric steps in origin then they must be some of the most vivid and well preserved, making their recognition and preservation a pleasure for all.

 

AJM 13.08.20

From Wikipedia, the free encyclopedia

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

N. C. Wyeth

Prestongrange ca. 1924 (detail)

Oil on canvas

 

David Balfour-Being Memoirs of the Further Adventures of David Balfour at Home and Abroad, by Robert Louis Stevenson, Scribner and Sons, 1924, fp. 42

 

Originally published in 1893, David Balfour was written by Robert Louis Stevenson as a sequel to his very popular 1886 novel Kidnapped. Both books follow the adventures of Balfour as he pursues his inheritance and his alliance with Alan Breck Stewart in the intrigues of Jacobite troubles in Scotland. The novel was very popular upon its first publication in Young Folks Magazine, and then revitalized again when it was republished with Wyeth's dynamic illustrations. One of the main characters in this sequel is Lord William Grant Prestongrange, for whom Balfour searches to plead his friend's innocence in a murder trial. Wyeth painted this portrait of Prestongrange in a dark, serious manner, reflecting the character's weighted significance in the story.

 

No real significance that I know of. I just liked the way it looked.

 

In 2017 I had some problems with Firefox and Yahoo, and as a result lost all access to my email and flickr account. Because I still do photography, and I still like flickr, I started a second free account, and started uploading photos. After two months of frustration, thanks to this flickr account, I managed to get everything back. I've been meaning to upload those images here for a while, but just haven't got around to it, until now. I will be adding them slowly over time, and will not put them into any groups they are already in.

 

Here is the link to my other account, if you are curious: www.flickr.com/photos/151317533@N05/

   

25 Days of Christmas ~ Day 5

 

Advent Wreath

www.ourlittleroses.org/blog/what-is-advent-season/

The most significant tradition of the Advent season is the Advent Wreath. The wreath and candles are full of symbolism tied to the Christmas season. So what does the Advent Wreath symbolize? The wreath itself, which is made of various evergreens, signifies continuous life. The circle of the wreath, which has no beginning or end, symbolizes the eternity of God, the immortality of the soul, and the everlasting life we find in Christ.

 

Advent Candles

The candles also have their own special significance. The four candles represent the four weeks of Advent, and one candle is lit each Sunday. Three of the candles are purple because the color violet is a liturgical color that signifies a time of prayer, penance, and sacrifice.

 

•[11/28/21 Sunday] - THE FIRST CANDLE, which is purple, symbolizes hope. It is sometimes called the “Prophecy Candle” in remembrance of the prophets, especially Isaiah, who foretold the birth of Christ. It represents the expectation felt in anticipation of the coming Messiah.

 

•[12/5/21 Sunday] - THE SECOND CANDLE, also purple, represents faith. It is called the “Bethlehem Candle” as a reminder of Mary and Joseph’s journey to Bethlehem.

 

•[12/12/21 Sunday] - THE THIRD CANDLE is pink and symbolizes joy. It is called the “Shepherd’s Candle,” and is pink because rose is a liturgical color for joy. The third Sunday of Advent is Gaudete Sunday and is meant to remind us of the joy that the world experienced at the birth of Jesus, as well as the joy that the faithful have reached the midpoint of Advent.

 

•[12/19/21 Sunday] - On the fourth week of Advent, we light THE FINAL PURPLE CANDLE to mark the final week of prayer and penance as we wait for the birth of our Savior. This final candle, the “Angel’s Candle,” symbolizes peace. It reminds us of the message of the angels: “Peace on Earth, Good Will Toward Men.”

  

Inside Humayun's Tomb

 

This tomb, built in 1570, is of particular cultural significance as it was the first garden-tomb in the Indian subcontinent. It inspired several major architectural innovations, culminating in the construction of the Taj Mahal.

 

Taken on 28.11.2020

 

EXIF Data :

 

Nikon D850

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50.0 mm

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100

 

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Unesco Site

  

Outstanding Universal Value

 

Brief Synthesis

 

Humayun’s Tomb, Delhi is the first of the grand dynastic mausoleums that were to become synonyms of Mughal architecture with the architectural style reaching its zenith 80 years later at the later Taj Mahal. Humayun’s Tomb stands within a complex of 27.04 ha. that includes other contemporary, 16th century Mughal garden-tombs such as Nila Gumbad, Isa Khan, Bu Halima, Afsarwala, Barber’s Tomb and the complex where the craftsmen employed for the Building of Humayun’s Tomb stayed, the Arab Serai.

 

Humayun’s Tomb was built in the 1560’s, with the patronage of Humayun’s son, the great Emperor Akbar. Persian and Indian craftsmen worked together to build the garden-tomb, far grander than any tomb built before in the Islamic world. Humayun’s garden-tomb is an example of the charbagh (a four quadrant garden with the four rivers of Quranic paradise represented), with pools joined by channels. The garden is entered from lofty gateways on the south and from the west with pavilions located in the centre of the eastern and northern walls.

 

The mausoleum itself stands on a high, wide terraced platform with two bay deep vaulted cells on all four sides. It has an irregular octagon plan with four long sides and chamfered edges. It is surmounted by a 42.5 m high double dome clad with marble flanked by pillared kiosks (chhatris) and the domes of the central chhatris are adorned with glazed ceramic tiles. The middle of each side is deeply recessed by large arched vaults with a series of smaller ones set into the facade.

 

The interior is a large octagonal chamber with vaulted roof compartments interconnected by galleries or corridors. This octagonal plan is repeated on the second storey. The structure is of dressed stone clad in red sandstone with white and black inlaid marble borders.

 

Humayun’s garden-tomb is also called the ‘dormitory of the Mughals’ as in the cells are buried over 150 Mughal family members.

 

The tomb stands in an extremely significant archaeological setting, centred at the Shrine of the 14th century Sufi Saint, Hazrat Nizamuddin Auliya. Since it is considered auspicious to be buried near a saint’s grave, seven centuries of tomb building has led to the area becoming the densest ensemble of medieval Islamic buildings in India.

 

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Thanks to all who comment or favorite; it is always appreciated!

 

I took this photograph of the Washington Monument illuminated against the night sky. Standing 555 feet tall, this iconic obelisk pays tribute to George Washington, the first President of the United States. Situated on the National Mall in Washington, D.C., the monument's impressive presence is even more striking when lit at night. The golden illumination highlights its grandeur and historical significance, attracting visitors worldwide.

 

The Washington Monument was finished in 1884, and its construction encountered various challenges, including funding issues and the Civil War. Today, it stands as a symbol of national pride and resilience. Each time I visit, I am reminded of the rich history and the immense effort that went into creating this masterpiece.

 

Thank you for taking a look! If you enjoy this photo, remember to favorite it and follow for more! Have you been to the Washington Monument? Share your experiences below!

The Schadau Castle lies beneath the Lake Thun in the city of Thun and is the seat of the Swiss Gastronomy Museum Thun. It is a Swiss heritage site of national significance.

 

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OK, I was in the US Navy

 

Bells have a centuries-long tradition of varied use in the navies and merchant fleets of the world. Signaling, keeping time, and sounding alarms are important in a ship’s routine and readiness. Their functional and ceremonial uses have made them a symbol of considerable significance to navies of the world. There has been a centuries-long tradition of varied use for bells in the Royal Navy, United States Navy, Royal Australian Navy, and in the Royal New Zealand Navy. They have been and still are used for several purposes, e.g. signalling, keeping time, and providing a way of an alarm. The ship’s bell is a special symbol and highly used in ceremonies, one tradition of baby Christenings. Although much of its purpose is obsolete it still plays a significant ceremonial role in today’s Royal Navy.One of the earliest recorded mentions of the shipboard bell was on the British ship Grace Dieu about 1485. Some ten years later an inventory of the English ship Regent reveals that this ship carried two “wache bells”. The bell’s position on the ship may vary. When a ship visits in port it is often seen on a ship bell stand at the quartermaster’s position.

Timekeeping

Before the advent of the chronometer time at sea was measured by the trickle of sand through a half – hour glass. One of the ship’s boys had the duty of watching the glass and turning it when the sand had run out. When he turned the glass, he struck the bell as a signal that he had performed this vital function. From this ringing of the bell as the glass was turned evolved the tradition of striking the bell once at the end of the first half hour of a four hour watch, twice after the first hour, etc., until eight bells marked the end of the four hour watch. The process was repeated for the succeeding watches. This age-old practice of sounding the bell on the hour and half hour has its place in the nuclear and missile oriented United States Navy at the dawn of the Twenty-First Century, regulating daily routine, just as it did on our historic vessels under sail in the late Eighteenth Century and watch system is still used in the Royal Navy and Royal New Zealand Navy today. The whole ships’ functioning is centred around watch systems. The Watch and bells system hasn’t changed much at all over hundreds of years in the Royal Navy. The watch system is maintained, however, the bells system is rarely used. The ship maintains the traditional bell with the ships name and used for ceremonies but hardly used during the daily functioning of the ship.

Bells as a way of timekeeping[1]

Before the introduction of a reliable clock to naval vessels, the passage of time was marked by striking a bell with paired clapper blows very time a half-hour sandglass was turned. The sea-day was divided into watches of four hour duration. Except for the dog watches of which there were two 1600-1800 & 1800-2000.

 

Hence, starting at0800 – 8 bells

0800 Eight bells

0830 one bell

0900 two bells – in the forenoon up to 12pm

0930 three bells

1000 four bells

1030 five bells

1100 six bells

1130 seven bells

1200 eight bells

 

The time would then resume to one bell at 1230 and so on. For example, 1530 would be seven bells in the afternoon. The striking of eight bells signalled the changing of the watch. A naval tradition has it that the youngest member of the ship’s company on New Year’s Eve strikes the bell sixteen times; hence “ring out the old, ring in the new”

Safety and Communication

The sounding of a ship’s bell found a natural application as a warning signal to other vessels in poor visibility and fog. In 1676 one Henry Teonage serving as a chaplain in the British Mediterranean Fleet recorded , “so great a fog that we were fain to ring our bells, beat drums, and fire muskets often to keep us from falling foul one upon another”. Ringing a ship’s bell in fog became customary. In 1858, British Naval Regulations made it mandatory in that function. Today, maritime law requires all ships to carry an efficient bell.

American ships of the Revolutionary War period and our early national years adopted many of the practices and traditions of the British Royal Navy, including the use of bells. In 1798, Paul Revere cast a bell weighing 242 pounds for the frigate USS Constitution, also known today by its nickname “Old Ironsides”. It is of interest to note that the use of a ship’s bell contributed to the richest single prize captured by the American Navy during the War of Independence. While a Continental Squadron under Commodore Whipple lay-to, wrapped in Newfoundland fog in a July morning in 1779, the sound of ships’ bells and an occasional signal gun could be heard a short distance off. When the fog lifted the Americans discovered that they had fallen in with the richly-laden enemy Jamaica Fleet. Ten ships were captured as prizes, which – together with their cargo – were valued at more than a million dollars.

Alarms

The bell is an essential link in a ship’s emergency alarm system. In the event of a fire, the bell is rung rapidly for at least five seconds, followed by one, two or three rings to indicate the location of a fire – Forward, amidships, or aft respectively.

Navy Ceremonies and Events

The bell is used to signal the presence of important persons. When the ship’s captain, a flag officer, or other important person arrives or departs, watch standers make an announcement to the ship and ring the bell. This tradition extends to major naval command transitions, often held aboard vessels associated with the command.

Bells in religious ceremonies

The bell’s connection to religious origins continues. Originating in the British Royal Navy, it is a custom to baptize a child under the ship’s bell; sometimes the bell is used as a christening bowl, filled with water for the ceremony. Once the baptism is completed, the child’s name may be inscribed inside the bell. The bell remains with the ship while in service and with the Department of the Navy after decommissioning. In this way, an invisible tie is created between the country, the ship and its citizens. Bells have been loaned or provided to churches as memorials to those vessels; this practice has been discontinued in favor of displaying bells with namesake states or municipalities, with museums, and with naval commands and newer namesake vessels.

Maintenance and Upkeep

Traditionally, the bell is maintained by the ship’s cook, while the ship’s whistle is maintained by the ship’s bugler. In actual practice, the bell is maintained by a person of the ship’s division charged with the upkeep of that part of the ship where the bell is located. In such a case a deck seaman or quartermaster striker or signalman striker may have the bell-shining duty.

Disposition and continuing Navy use

In addition to its shipboard roles, the bell serves a ceremonial and memorial function after the ship has served its Navy career. U.S. Navy bells are part of the many artifacts removed from decommissioned vessels preserved by the Naval Historical Center. They may be provided on loan to new namesake ships; naval commands with an historical mission or functional connection; and to museums and other institutions that are interpreting specific historical themes and displays of naval history. Bells remain the permanent property of the US Government and the Department of the Navy. These serve to inspire and to remind our naval forces and personnel of their honor, courage, and commitment to the defense of our nation.

Bells remain a powerful and tangible reminder of the history, heritage, and accomplishments of the naval service.

For more than a century, the ship’s bell of HMS Lutine has hung in the Maritime Lloyds of London building and the Lutine bell has been synonymous with Lloyd’s.

Rung traditionally to herald important announcements to underwriters and brokers in the Room – one stroke for bad news and two for good – it is recognised throughout the world as the symbol of an organisation whose fortunes are linked inextricably with natural and man-made catastrophes. The bell was carried originally on board the French frigate La Lutine which surrendered to the British in 1793. Six years later, as HMS Lutine, carrying a cargo of gold and silver bullion, she sank off the Dutch coast. The cargo, valued then at around one million pounds, was insured by Lloyd’s underwriters who paid the claim in full.

Ship’s Bells

There has been a centuries-long tradition of varied use for bells in the Royal Navy. They have been and still are used for several purposes, e.g. signalling, keeping time, and providing a way of an alarm. The ship’s bell is a special symbol and highly used in ceremonies, one tradition of baby Christenings. Although much of its purpose is obsolete it still plays a significant ceremonial role in today’s Royal Navy. The bell’s position on the ship may vary. When a ship visits in port it is often seen on a ship bell stand at the quartermaster’s position.

Origins

Although bronze cast bells have been used throughout the ages one of the earliest recorded mentions of the shipboard bell was on the period warship Grace Dieu about 1485. Some ten years later an inventory of the period warship “Regent” reveals that this ship carried two “wache bells”.

 

Warning Bells

Henry Teonage, 1676, a serving Chaplain in the British Mediterranean Fleet recorded:

 

SO GREAT A FOG THAT WE WERE FAIN TO RING OUR BELLS, BEAT DRUMS, AND FIRE MUSKETS OFTEN TO KEEP US FROM FALLING FOUL ONE UPON ANOTHER

 

Ringing a ship’s bell in fog became customary. In 1858, Royal Naval Regulations made it mandatory to ring the ships bell during fog. Today, maritime law requires all ships to carry an efficient bell.

Timekeeping practice of the bell

The measurement of time at sea before the advent of the chronometer time was measured by the Half-hour glass. The ship’s boys had the duty of watching the glass and turning it when the sand had run out. Each time this occurred the ships bell was struck providing time for the crew. From midnight, for the first half hour the bell was struck once, when another half hour past the bell was struck twice, for the third turning, three strikes of the bell, until eight bells was struck and the cycle was repeated. Each eight cycles became a ‘Watch” The watch end was at eight bells and the new watch starts.

The watch system is still used in the Royal Navy today. The whole ships’ functioning is centred around watch systems. The Watch and bells system hasn’t changed much at all over hundreds of years in the Royal Navy. The watch system is maintained, however, the bells system is rarely used. The ship maintains the traditional bell with the ships name and used for ceremonies but hardly used during the daily functioning of the ship.

Ship Routine 1790’s

The following ships routine is based on the writings of ‘Jack Nastyface’. He was a sailor of the time and later in his life published a book titled, “Nautical Economy of Forecastle Recollections of Events during the last war” in 1836. It was never reprinted and now a very rare book. It is believed he served onboard HMS Revenge in which he certainly provides a very accurate, descriptive event during the Battle of Trafalgar. A crew were divided into two watches, starboard and larboard. When one was on deck the other was down below. As an example:

24 Hour Clock In practice one dong increment is made every half hour. E.g. the first one bell is made at the end of the first half hour of the watch. Two bells at the end of the first hour. Three bells at the end of one and one half hour of the watch so forth.)

 

navymuseum.co.nz/explore/by-themes/customs-and-traditions...

The significance of the Nataraj (Nataraja) sculpture is said to be that Shiva is shown as the source of all movement within the cosmos, represented by the arch of flames. The purpose of the dance is to release men from illusion of the idea of the "self" and of the physical world. The cosmic dance was performed in Chidambaram in South India, called the center of the universe by some Hindus. The gestures of the dance represent Shiva's five activities, creation (symbolized by the drum), protection (by the "fear not" hand gesture), destruction (by the fire), embodiment (by the foot planted on the ground), and release (by the foot held aloft).

 

As Nataraj (Sanskrit: Lord of Dance) Shiva represents apocalypse and creation as he dances away the illusory world of Maya transforming it into power and enlightenment. (Source: www.lotussculpture.com/nataraj1.htm).

  

The Word of God | “ The Two Incarnations Complete the Significance of the Incarnation”

 

The Word of God | “The Two Incarnations Complete the Significance of the Incarnation”

Almighty God says, “From the creation of the world down to the present, the Spirit of God has set this great work in motion, and has moreover done different work in different ages and in different nations. The people of each age see a different disposition of His, which is naturally revealed through the different work that He does. He is God, filled with mercy and lovingkindness; He is the sin offering for man and man’s shepherd; but He is also man’s judgment, chastisement, and curse. He could lead man to live on earth for two thousand years, and He could also redeem the corrupted mankind from sin. Today, He is also able to conquer mankind, who do not know Him, and prostrate them under His dominion, so that all submit to Him fully. In the end, He will burn away all that is unclean and unrighteous within men throughout the universe, to show them that He is not only a merciful and loving God, not only a God of wisdom and wonders, not only a holy God, but, even more, a God who judges man.”

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We're Here! : Christmas Gifts

 

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The Significance of One

 

Who am I that

Love should have woven me a mate

That sees me yet loves me,

Despite knowing me?

His eyes so foreign but

His heart my home.

How is it that his

Imperfections are perfect

Because they are his

...and mine.

How did I become

Precious to him

When I was nothing

To many, even family?

Friends at first, nay

More sibling until

An accidental day

When His significance became

Paramount.

How did he merge from friend

to mate and the companion

Of all my adult years?

Before I knew him, I was marred

Of heart and mind.

Before he knew me,

He had his griefs.

Neither were looking for an other,

For trusts had been soiled before

And each kept it close and precious

And were pleased at being friends alone,

Learning that one wouldn’t, couldn’t

Harm the other in any measure...

And the seedlings of trust were sown.

Until I knew he was the one.

Three decades and he still is.

He did not become my life

For that is worship.

I was not lonely,

But he completed my being.

My life became a better place to live.

We have failed each other at times,

Outlived family pronouncements of failure,

 

But mostly have forgiven much,

For one is not more right

Than the other at the last.

How blessed to find that one

No matter whence it comes.

And this is from God...

 

C.Hill

Dec 2015

 

**************************************************

- Costa da Caparica, Lisbon, Portugal -

Cardiff Castle is one of Wales’ leading heritage attractions and a site of international significance. Located at the heart of the capital, within beautiful parklands, the Castle’s walls and fairytale towers conceal 2,000 years of history.

The Roman fort at Cardiff was probably established at the end of the 50s AD, on a strategic site that afforded easy access to the sea. Archaeological excavations made during the 1970s indicate that this was only the first of four forts, each a different size, that occupied the present site. Remains of the Roman wall can be seen today.

After the Norman conquest, the Castle’s keep was built, re-using the site of the Roman fort. The site was divided into inner and outer wards, separated by a huge stone wall. The first keep on the motte was erected by Robert Fitzhamon, the Norman Lord of Gloucester, and along with many of these early defences was probably built of wood. More medieval fortifications and dwellings followed.

The Castle passed through the hands of many noble families until in 1766, it passed by marriage to the Bute family. The 2nd Marquess of Bute was responsible for turning Cardiff into the world’s greatest coal exporting port. The Castle and Bute fortune passed to his son John, the 3rd Marquess of Bute, who by the 1860s was reputed to be the richest man in the world.

From 1866 the 3rd Marquess employed the genius architect William Burges to transform the Castle lodgings. Within gothic towers he created lavish and opulent interiors, rich with murals, stained glass, marble, gilding and elaborate wood carvings. Each breathtaking room has its own special theme, including Mediterranean gardens and Italian and Arabian decoration.

The 3rd Marquess died when he was only 53 in 1900. He had transformed the Castle into a Welsh Victorian Camelot – now regarded as being of international significance. Despite huge death duties on the estate, the 4th Marquess completed many of his father’s restoration projects including the reconstruction of the Roman wall. The Bute family continued to stay at the Castle throughout the 1920s and 1930s, although they had sold off many of their business interests in South Wales. Following the death of the 4th Marquess of Bute, the family decided to give the Castle and much of its parkland, known as Bute Park, to the city of Cardiff.

© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.

 

Carcassonne is a fortified French town in the Aude department, of which it is the prefecture, in the Region of Occitanie.

Occupied since the Neolithic period, Carcassonne is located in the Aude plain between two major thoroughfares linking the Atlantic to the Mediterranean sea and the Massif Central to the Pyrénées. Its strategic importance was quickly recognized by the Romans who occupied its hilltop until the demise of the Western Roman Empire and was later taken over in the fifth century by the Visigoths who founded the city. Also thriving as a trading post due to its location, it saw many rulers who successively built up its fortifications, until its military significance was greatly reduced by the Treaty of the Pyrenees in 1659.

The city is famous for the Cité de Carcassonne, a medieval fortress restored by the theorist and architect Eugène Viollet-le-Duc in 1853 and added to the UNESCO list of World Heritage Sites in 1997.

This hill might not be of any significance in most places; however, in a place so flat like the state of Florida it is looked upon as an actual mountain.

 

Sugarloaf Mountain is the fifth highest named point in the state of Florida. At 312 feet (95 meters) above sea level it is also the highest point on the geographic Florida Peninsula. The mountain is in Lake County, near the town of Clermont. Comparatively, Florida's highest point, Britton Hill, rises to 345 feet (105 meters) above sea level in the Florida Panhandle. However, Sugarloaf Mountain is the most prominent point in the entire state.

 

Sugarloaf Mountain, located along the western shore of Lake Apopka in Lake County, Florida, is the northernmost named upland associated with the Lake Wales Ridge, a series of sand hills running south to Highlands County. The mountain, really a ridge with rolling dome-like peaks, rises abruptly from the surrounding flat terrain. Its prominence is thought to be 245 feet (74 meters), with its highest peak having a local prominence of approximately 200 feet (61 meters) relative to the surrounding ridge. Despite not being the highest point in Florida (which is Britton Hill near the Alabama border, the lowest high point of any U.S. state), Sugarloaf Mountain's summit is the most prominent peak in the state, and in a national ranking, is more prominent than the most prominent hills in both Louisiana and Delaware.

 

Prior to the 20th century, Sugarloaf Mountain was a wilderness dominated by sandhill and flatwood pine forests. By the 1920s, logging had stripped the mountain of its hardwood vegetation, permanently altering its native environment. Scrub began to grow on the mountain’s slopes, in addition to grapes, which were planted mostly to the south of the mountain for a decade or so.

 

By the 1940s, grape farming had declined due to fungal diseases, and it was replaced by citrus farming. Citrus plantations flourished on the flanks of Sugarloaf Mountain, providing the basis for the local economy until the 1980s, when freezes began to systematically devastate local groves. As the citrus industry faded, property on the mountain was rezoned for residential development, with value seen in the mountain’s panoramic views of the surrounding area. Other lands abutting the mountain, primarily along Lake Apopka, were preserved with the intention of restoring long absent ecologies. Only a few citrus plantations and vineyards managed to persist to the present day.

 

Sugarloaf Mountain’s geology is tied to the formation of Florida’s sand ridges, specifically the Lake Wales Ridge. The mountain consists of relict sand ridges and dunes formed in a marine shoreline environment approximately 2 million years ago during the Pleistocene epoch. Since the Pleistocene, the sands comprising the mountain have probably been uplifted due to isostatic rebound of the crust beneath the Florida Platform. The uplift is attributed to the karstification/erosion of the platform, which is reducing the weight on the underlying basement rock, triggering a process similar to post glacial rebound.

 

Sugarloaf Mountain was recently recognized for its scenic, cultural, and historic value. The state of Florida designated the Green Mountain Scenic Byway, which primarily traverses the eastern side of the mountain. The route offers rare panoramic views of the surrounding landscape and access to newly acquired ecological preserves and historic sites. Biking along the Byway as well as on other roads on the mountain has become popular, due to the challenge imposed by the relatively rugged terrain of the mountain compared to the surrounding area.

 

Sugarloaf Mountain also featured a golf course designed by the firm of Coore & Crenshaw. The course, part of the proposed private Sugarloaf Mountain Golf Club residential development, was somewhat unusual in Florida, and took advantage of the relatively prominent topography. The golf course was closed in 2012 due to low turnout and the inability for the planned development to take hold following the 2008 housing bubble and has remained abandoned since.

 

Credit for the data above is given to the following website:

en.wikipedia.org/wiki/Sugarloaf_Mountain_(Florida)

 

"Truth had risen again. In the fields and meadows of human hearts variegated flowers of inner significance were blooming and the good fruits of the kingdom of God became manifest.

I have come here with this mission; that through your endeavors, through your heavenly morals, through your devoted efforts a perfect bond of unity and love may be established between the east and the west, so that the bestowals of God may descend upon all and that all may be seen to be the parts of the same tree,—the great tree of the human family. For mankind may be likened to the branches, leaves, blossoms and fruit of that tree."

‘Abdu’l-Bahá

el.kingdomsalvation.org/videos/significance-of-the-appear...

 

Χριστιανικά τραγούδια | Η Σημασία της Εμφάνισης του Θεού | Ο Χριστός των εσχάτων ημερών εμφανίστηκε Chi Χορός

 

Ύμνος των λόγων του Θεού

 

Η εμφάνιση του Θεού αφορά την προσωπική Του άφιξη επί γης για να πραγματοποιήσει το έργο Του.

 

Με την δική Του ταυτότητα και διάθεση και με την δική Του μέθοδο,

 

Κατέρχεται μεταξύ των ανθρώπων για να εκκινήσει μια εποχή και να κλείσει μια άλλη.

 

Μια τέτοια εμφάνιση δεν είναι οιωνός ή εικόνα.

 

Δεν είναι είδος τελετής.

 

Δεν είναι θαύμα. Δεν είναι μέγα όραμα.

 

Ακόμα λιγότερο ένα είδος θρησκευτικής διαδικασίας.

 

Είναι αληθινό και υπαρκτό γεγονός, απτό και παρατηρήσιμο,

 

ένα γεγονός απτό και παρατηρήσιμο.

 

Τέτοια εμφάνιση δεν είναι για χάρη της ακολουθίας μιας διαδικασίας

 

ή για χάρη βραχυπρόθεσμου εγχειρήματος,

 

είναι μάλλον για χάρη ενός σταδίου του έργου του σχεδίου διαχείρισης του Θεού.

 

Η εμφάνιση του Θεού είναι πάντα ουσιαστική

 

και πάντα συνδεδεμένη με το σχέδιο διαχείρισης Του,

 

συνδεδεμένη με το σχέδιο διαχείρισης Του.

 

Η "εμφάνιση" είναι εντελώς ανόμοια

 

με την "εμφάνιση" όπου ο Θεός καθοδηγεί τον άνθρωπο,

 

τον οδηγεί ή τον διαφωτίζει, τον οδηγεί ή τον διαφωτίζει.

 

Ο Θεός επιτελεί ένα μέρος μεγαλειώδους έργου κάθε φορά που αποκαλύπτεται.

 

Το έργο αυτό διαφέρει από το έργο κάθε άλλης εποχής,

 

αφάνταστο για τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο.

 

Είναι το έργο που αρχίζει τη νέα εποχή και ολοκληρώνει την παλαιά,

 

νέο και βελτιωμένο έργο για την Σωτηρία της ανθρωπότητας,

 

και έργο που φέρνει την ανθρωπότητα στη νέα εποχή.

 

Είναι η σημασία της εμφάνισης του Θεού.

 

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

σύσταση：

Ύμνοι

 

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html

Stoke Park Pavilions are all that remain of the stately house and grounds of Stoke Park, near the village of Stoke Bruerne, Northamptonshire. The surviving portions of the house built by Robert Crane in the late 1620s, consist of two pavilions and remains of a curving colonnade, form the centrepiece of the park, with an attractive terraced 17th-century garden with views across the parkland to the south. The pavilions represent some of the earliest Palladian structures built in England and, despite some remodelling in the 18th century and modern conversion for residential use of the eastern pavilion, they are of great historic and architectural significance.

© all rights reserved by B℮n

 

Please take your time... to View it large on black

 

Ranking among the most important caves in the world, the Škocjan Caves represent the most significant underground phenomena in both the Karst region and Slovenia. Due to their exceptional significance, the Škocjan Caves were entered on UNESCO’s list of natural and cultural world heritage sites in 1986. International scientific circles have thus acknowledged the importance of the Caves as one of the natural treasures of planet Earth. From time immemorial, people have been attracted to the gorge where the Reka River disappears underground as well as the mysterious cave entrances. The Reka River sinks under a rocky wall; on the top of it lies the village of Škocjan after which the Caves are named. Archaeological research has shown that people lived in the caves and the surrounding area in prehistoric times – from the Mesolithic, the Neolithic, the Bronze and Iron Ages through Antiquity and the Middle Ages to the present; altogether for more than 5,000 years. The Škocjan Caves have a highly multi-branched system of cave passages totalling 6.2 kilometres. The Caves have 11 speleological structures that are interconnected by means of the Reka River or collapse dolines. The shifting of the sinkholes in contact with the underground caves caused the formation of numerous collapsed dolines. The sinkhole fascinate every visitor with their depth of 163 meters as well as great floral and faunal diversity. The best view of both sinkholes, with their natural bridge and the cave that separate them, is from Miklov skedenj, named after the local explorer Franc Cerkvenik.

 

In Slovenia we visit the amazing Škocjan Caves. The photo shows the fascinating depth of the 163 meter Velika dolina Sinkhole. A sinkhole, also known as a sink, shake hole, swallow hole, swallet, doline or cenote, is a natural depression or hole in the Earth's surface caused by karst processes. Karst topography is characterized by subterranean limestone caverns, carved by groundwater. Karst landforms are generally the result of mildly acidic water acting on weakly soluble bedrock such as limestone. The shifting of the sinkholes in contact with the underground caves caused the formation of numerous collapsed dolines. The regional park comprises a unique landscape or natural heritage in the form of Karst and interesting features. .

 

De Grotten van Skocjan, Skocjanske jame, liggen in het zuidwesten van Slovenië niet ver van Postojna. Het druipsteengrottenstelsel van Skocjan is ca. 6 km lang en ligt langs rivier de Reka, die hier op een diepte van 200 m door de Grotten van Skocjan stroomt. Rivier de Reka stroomt over een lengte van 38 km ondergronds door meerdere grotten in het Sloveens karstgebied. De Grotten van Skocjan vormen de grootste ondergrondse canyon ter wereld. Vanaf het bezoekerscentrum maakt men onder leiding van een gids een wandeling naar de ingang van de Grotten van Skocjan. Warme kleding en wandelschoenen zijn nodig voor de ondergrondse tocht van zo'n 2 tot 3 uur langs o.a. de Stille Grot en de Grote Zaal. In de Müllerzaal stort de Reka zich van verschillende hoogtes met woest geraas naar beneden, men loopt over een in de wand van de grot uitgehakt smal pad, over een 50 m boven de woest stromende Reka gelegen bruggetje, langs donderende watervallen en door de Martel's Chamber, de grootste grot ter wereld. De bezoeker wordt gefascineerd door de diepte van een zinkgat van maar liefst 163 meter. De Rimstone Pools' Hall is een grot met druipsteenformaties in de vorm van elfenbankjes. Men kan niet anders dan deze meesterstukken van de natuur bewonderen. Eenmaal buiten ziet men de Reka met donderend geraas de Grotten van Skocjan uitstromen. In de Grotten van Skocjan is fotograferen niet toegestaan. Maar ja dat heb ik maling aan natuurlijk. De Grotten van Skocjan werden in 1986 Werelderfgoed en staan ingeschreven op de Werelderfgoedlijst van UNESCO als: Skocjan Caves.

A life size statue of Jesse Owens stands outside the stadium named in his honor at The Ohio State University in Columbus, Ohio. The Jesse Owens Memorial Stadium opened in 2001 and hosts the university's track and field events, lacrosse, and soccer games. The 10,000 seat facility is anchored by the faux Olympic cauldrons at either end of the main grandstand, paying homage to Owens' historic Olympic significance.

 

Kodak Porta-160 base

The number 7 takes on great significance in Christianity. I guess it also takes on great significance at St. Monica's Cathedral and College in Abbott Street, Cairns where this seven bell, bell tower fronts the street, ready to call the congregation to worship or children to class. I notice these are obviously electronically activated...I bet they sound lovely.

  

en.m.wikipedia.org/wiki/St_Monica's_Old_Cathedral,_Cairns

  

www.christianity.com/wiki/bible/what-is-the-biblical-sign...

The Museum of Liverpool in Liverpool, England, is the newest addition to the National Museums Liverpool group having opened in 2011 replacing the former Museum of Liverpool Life. National Museums Liverpool intention is for the new venue to tell the story of Liverpool and its people, and reflect the city’s global significance. The museum is housed in a new purpose-built building on the Mann Island site at the Pier Head.

  

The museum, designed by architects 3XN and engineers Buro Happold, was expected to cost £72 million and provide 8,000 square metres of exhibition space, housing more than 6,000 objects.

 

From Wikipedia: en.wikipedia.org/wiki/Museum_of_Liverpool

Google AI Overview

The image shows a banana plant (genus Musa), which is actually a large perennial herb, not a tree.

The plant has a false "trunk" or pseudostem, formed by the overlapping leaf sheaths.

The large, paddle-shaped leaves can grow up to 8 feet long.

The plant produces a hanging stalk with flowers (the purple bud at the bottom) that develop into a bunch of fruit.

The fruits shown are green, indicating they are not yet ripe for typical consumption as a sweet banana, but might be plantains, which are starchy and used as a vegetable.

After flowering and producing fruit, the main stem dies, but new shoots (suckers) grow from the underground rhizome to form new plants.

 

en.wikipedia.org/wiki/Banana

A banana is an elongated, edible fruit—botanically a berry[1]—produced by several kinds of large treelike herbaceous flowering plants in the genus Musa. In some countries, cooking bananas are called plantains, distinguishing them from dessert bananas. The fruit is variable in size, color and firmness, but is usually elongated and curved, with soft flesh rich in starch covered with a peel, which may have a variety of colors when ripe. It grows upward in clusters near the top of the plant. Almost all modern edible seedless (parthenocarp) cultivated bananas come from two wild species – Musa acuminata and Musa balbisiana, or their hybrids.

 

www.promusa.org/Morphology+of+banana+plant

 

We took an all-day photography tour with Oahu Photography Tour. It was a lot of fun. I recommend it highly.

www.oahuphotographytours.com/

 

Our second stop was at Waimea Valley Botanical Garden.

en.wikipedia.org/wiki/Waimea_Valley

Waimea Valley is an area of historic cultural significance on the North Shore of Oahu, Hawaii. The valley, being an important place in Hawaiian religion, includes several historical structures including stone terraces and walls constructed during the time of the Hawaiian monarchy. The nutrient-rich volcanic soil combined with a rainy environment provided the resourceful Hawaiians of the area the opportunity to create one of the most prosperous farming communities in all of Polynesia. The area had complex fish ponds, domesticated animal pens, various large farming beds, and was famous for the cultivation of pink taro root stock, a coveted item to the Ali`i (the Hawaiian elite).[1][2] Much of the garden floor was once cultivated for taro, sweet potato, and bananas, with new crops and orchards introduced by Europeans after their arrival.

Formerly known as the Waimea Valley Audubon Center and the Waimea Arboretum and Botanical Garden, the Waimea Valley is a historical nature park including botanical gardens. It is located at 59-864 Kamehameha Highway, Haleiwa, Oahu, Hawaii and is open daily except for Christmas and New Year's Day; an admission fee is charged.

www.waimeavalley.net/admission

 

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